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The Big Wheel
Chris Burden. In collaboration with Willoughby Sharp and Robert Burden.
1980, 29:02 min, color, sound
During the 1980 exhibition of Burden's monumental kinetic sculpture The Big Wheel at Ronald Feldman Fine Arts, New York, Burden and Feldman were interviewed by art critic Willoughby Sharp. Burden articulates the process of creating The Big Wheel, a 6,000-pound, spinning cast-iron flywheel that is...
Collaging appropriated CGI-animated clips from the Taiwanese news outlet TomoNews, The Blackest Sea juxtaposes the sky and sea as primordial phenomena against the anxious, bureaucratic features of modern human life. Hundreds of fish die and float to the top of the ocean due to pollution and rising temperatures; a deep-sea diver discovers a ceramic pot on the ocean floor; Syrian refugees flee across the ocean in tight-packed quarters, and a group of surfers spot the great white whale. By recontextualizing apocalyptic footage that is at once hyperrealistic and surreal, Ahwesh magnifies the ever-shifting relationship between news documentations of current events and the circumstances that produce them. Writes Peggy Ahwesh: “My intention is to force the source material to point back to itself and lay bare the gap between that sketchy cartoon world and reality.”
In The Book of Love, Cokes' mother recounts her life through interview, stories, and song, effectively re-presenting history through the personal. Through intimate subjectivity, Cokes attempts to understand his own present and history by tracing/retracing the life of his mother.
Ahwesh subjects an apparently found pornographic film to coloring, optical printing and general fragmentation; the source material threatens to virtually collapse under the beautiful violence of her filmic treatment. What emerges is a portrait at once nostalgic and horrible: the degraded image, locked in symbiotic relation with an image of degradation.
In The Days of the Commune, Beloff reimagines Bertolt Brecht's 1949 play on the rise and fall of the 1871 Paris Commune as a response to the Occupy Wall Street movement, which began in the fall of 2011 in New York City's Zuccotti Park.
Made in collaboration with Keith Sanborn, The Deadman is based on a story by Bataille, charting "the adventures of a near-naked heroine who sets in motion a scabrous free-form orgy before returning to the house to die — a combination of elegance, raunchy defilement and barbaric splendor." — Jonathan Rosenbaum, Chicago Reader.
This portrait of Nam June Paik was produced as a "video catalogue" for the national touring exhibition The Electronic Super Highway, which premiered at The Museum of Art in Fort Lauderdale, Florida. This work features recent installations, historical background and interviews with the artist....
“Refashioning the intention of footage lifted from an online animated news outlet, The Falling Sky is a cautionary tale about human foibles increasingly out of alignment with the forces of nature. The bombardment of fragmentary information, discoveries, crises, gossip and opinion on a daily...
