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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.
In a collusion of text and image, Rosler re-presents the NBC Nightly News and other broadcast reports to analyze their deceptive syntax and capture the confusion inserted intentionally into the news script. The artist questions the fallibility of electronic transmission by emphasizing the...
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.
