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Holland Cotter, writing in The New York Times, describes Trecartin's "sensationally anarchic" new video I-Be Area, in which the artist uses what Cotter terms "very basic digital tools to create a highly personal narrative art, almost a kind of folk art." He writes, "Like the work of John Waters and Jack Smith, his art is about just saying no to life as we think we have seen it and saying yes to zanier, virtual-utopian possibilities."
On the grounds of an opulent mansion in Los Angeles, Ramos staged a sequence of performances in which his naked body is positioned in sharp contrast to a setting of white marble pedestals, stairwells, and a pile of alabaster mannequin limbs, making a connection between divisions of race and class.
Discovered after Cantor’s death in 2013, If I Just Turn and Run is an anomaly in Cantor’s body of work. Departing from her metatextual and appropriation-based practice, the video retains the bold, diaristic quality of her work, blurring boundaries between fiction and life.
A compilation of Schneemann's anti-Vietnam War group performances, this work merges film projection, sound and slide systems, light beams, audience and performer action in a sensory collage linking the exposed Illinois landscape to the devastation in Vietnam. Writes Schneemann: "I think of this...
The spontaneity of improvisational jazz is captured in this series of video music performances created on the Beck Direct Synthesizer. Featuring "live" improvisations with musician Warner Jepson, Beck's "jazz video" evokes musical forms and their visual abstractions.
Tony Conrad writes: "A trisection of the spectators' power over their own image language: word, trance, and command are installed as valences of the artist’s license, revealed as figures of parental authority."
Part of Gillette's series for Classical Video — tapes designed to act as non-literal, visual interpretations of classical music — In the Creeks is a lush, contemplative study of the natural microcosm of a creek in summer, transformed into an almost abstract, formalist microcosm. The dichotomy...
