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In Leaf of Life, Harris-Babou imagines an alternate reality where the tropes of wellness culture are disrupted by the healing potential of Black self-determination. The artist takes inspiration from conspiracy theories, diet gurus, and biblical quotes, among others. The video combines reflection on the legacy of Dr. Sebi, a Honduran health guru with a significant following of Black Americans, with DIY home cooking tutorial footage and interview-style conversation with the artist’s sister, who works as a nurse. The work combines fiction with personal and shared stories of loss and neglect in the US healthcare system.
leeds.talk.04 is an animated video text, presenting a series of pointed anecdotes about the vexed relationship between art criticism and art making in Britain and the U.S. during the 1960s and 70s. the video is based on an article titled "Leeds Talk" by Los Angeles art historian Andrew Perchuk. Its characters include noted figures like Clement Greenberg, Michael Fried, Charles Harrison, Rosalind Krauss, Artforum, October, and features important cameos by Morris Louis, Lynda Benglis, and the late sculptor David Smith (among others).
Writes Cokes, "leeds.talk.trailer is an animated text, a script of sorts. The video outlines selected issues framing a media / lecture performance by Tony Cokes and Andrew Perchuk...The text, edited from the collaborators' project notes, considers the vexed relationship between modernist art criticism and art making, and their reverberations up to the present. The text is sequenced in short phrases of white words on a black background."
Lesbian Whale ... is a video animation of Hammer’s early notebook drawings set to a sound track of commentary by the artist’s friends and peers.
"Made in collaboration with composer and artist Gryphon Rue, License modifies a video forensics report by The New York Times that reconstructs the October 2017 mass shooting in Las Vegas, the deadliest in U.S. history. John Cage’s infamous 1952 composition 4’ 33” (Four Minutes and Thirty-three Seconds) was the catalyst for our intervention. An emerging form of big data journalism, the audio and visual second-by-second account is organized by the shooter’s twelve bursts of gunfire. By erasing the intermittent voiceover that substantiates the timeline, silence punctuates the mayhem — mapped with intel gathered from cellphones, social media posts, police audio and bodycams — and allows the real of the carnage to resonate. Gambling, the gunman’s motive, the increasing body counts, and the structure of the Times report can all be correlated as a 'numbers game.' By underscoring this logic, License shows algorithms now occupy the place of the Name-of-the-Father, the guarantor of patriarchal institutions, e.g., law, family, church, state, markets." — Robert Buck
A silent "motion drawing," Light Blue Sky continues Weiner's digital exploration of language structures, categorical systems, and the process of reading. With his distinctive interactions of shifting colors, animated graphics and epigrammatic text, Weiner engages in visual and linguistic play that suggests philosophical puzzles. "The future laden as it is with the mistakes of the past" reads one of his typically gnomic phrases.
Writes Donegan: "... The video is the centerpiece of a large project comprised of paintings and video inspired by the Jean-Luc Godard film Le Mépris. This project does not seek to analyze or critique the Godard film, but to use it as a model, as an inspiration, as a 'classical' language through...
Commissioned by Dokumenta XI in 2002, Jonas' multimedia performance piece Lines in the Sand takes up two works by the poet H.D. (Hilda Doolittle)—Helen in Egypt (1955) and Tribute to Freud (1944)—as source material. Jonas transposes H.D.'s re-working of the story of Helen of Troy to present-day Las Vegas. This video document of Jonas' layered theatrical performance features the artist and performers interacting with large-scale video projections, ritualized objects, and a rich sound collage.
Living with the Living Theatre
Nam June Paik with Betsy Connors and Paul Garrin.
1989, 28:30 min, color, sound
One of Paik's most compelling and poignant tapes, Living with the Living Theatre pays tribute to Judith Malina and the late Julien Beck, founder of the Living Theatre. Reversing the theme of the earlier Allan 'n' Allen's Complaint, which dealt with two artists and their relationships to their...
"The First Intermediate Period, around 2025 BCE, was the occasion for a remarkable constellation of innovations in Egyptian thought and civil order. After the death of Pepi II, the longest-reigning monarch in history, none of the numerous claimants to his sacred throne was able to reverse the dire drought, which announced the modern incursions of the Sahara into Egypt. One after another these 'seventy pharaohs in seventy days' were secretly denounced and executed, and simultaneously Egypt was visited by refugees filtering in across the eastern and western sands. Local nobles were unopposed in their power for the first time in a millennium, and they attained to the same privileges as pharaoh in the afterworld ('the West'). Eventually for the first time men and women won rights of private ownership, of contracted marriages, and of entry to the West (with a proper burial). Remarkably, individuals began reflecting in writing on the world around them, and the first introspective literature was invented. Long-shot/run/dead immerses itself in this concatenation of catastrophes, which is elaborated across the mixed space of family, gender, writing, law, civil order, religion, personal identity, and death. Any historical complex is simultaneously an invocation of our own condition—the conviction that sustains 'history' as narrative arises amid the multiplication of overdetermining details that compose its 'authenticity.' When it is completed, Long-shot/run/dead will incorporate scenes set in the present day US. It is the 'Egyptian' scenes that are attentive to authenticating details of period props and costuming." —Tony Conrad
