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Play or ‘Yes,’ ‘Yes,’ ‘Yes’
Barbara Hammer
1970, 11:16 min, b&w and color, silent, Super 8mm film on video
"Plowmans Lunch is called a documentary because its intent was to explore actual occurrence, be it the building of the work, or what befalls the players. Cartoon-like framing and intense color give the film a composed, painterly quality. The story is about emigration — A loose group of individuals consisting of young and old people, intellectuals and workers (blue and white collar), and a transvestite/hermaphrodite attempt to leave where they are and go, simply, somewhere else. They are a microculture and their machinations are revealed in highly stylized vignettes which are almost stories unto themselves and are strung throughout the film like a fisherman's buoys."
The dissolution of a relationship unravels through visual and aural equivalences. Schneemann splits and recomposes actions of the lovers in a streaming montage of disruptive permutations: 8 mm is printed as 16 mm, moving images freeze, frames recur and dissolve until the film bursts into flames,...
A recreation of an early collaborative piece between Mike Kelly and Tony Oursler, Pole Dance features two performers in an empty dance studio. The "dance," choreographed by Anita Pace, who is also one of the performers, is a progression of synchronized movements, with each participant gesturing...
For 40 years, Muntadas and Marshall Reese have been compiling a video history of presidential campaign spots that follows the evolution of broadcast political advertising from its beginnings in 1952 to the present. This fascinating anthology, now updated to include ads from the 2024 presidential...
Channel surfing between the TV show American Pickers and the movie Pollock.
"The camera eye is like an amphibian that sees on two levels in its journey from underwater in a safe pond down to a violent, turbulent ocean." — Kathleen Hulser, "Frames of Passage: Nine Recent Films of Barbara Hammer," Centre Georges Pompidou
"Pools is a pictorially and technically impressive sampling of spectacular swimming pools at W. R. Hearst's San Simeon and manages to validate itself from within, or at least within its own frame of identification." — Richard T. Jameson
Pop is a video portrait of the musician Beck, who appears to inhabit the persona of a childlike pop star surrounded by toys: frenetic images of the singer dancing, wearing a fake beard, and blowing bubbles are layered over a tight close-up of his face as he blows balloons up and noisemakers out. The mood of antic play assumes a darker tone as Beck smears lipstick over his mouth and covers his face with white foam to eradicate his features, acts that suggest a complicated dialogue between public and private personae.
Possibly in Michigan is an operatic fairy tale of cannibalism, desire and dread in Middle America, a densely collaged narrative in which Beauty meets the Beast in the surreal landscape of shopping-mall suburbia. Two women with a penchant for "violence and perfume" take revenge on their...
