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The Feeling of Power documents a 1989 ACT-UP protest at Trump Tower, offering a self-reflexive manifesto of video activism that brings the ‘70s "guerrilla television" movement into the age of the camcorder.
The Female Closet is an hourlong documentary that uses archival photographs, home movies, interviews, and other visual materials to explore the closeted lesbian histories of artists Alice Austen, Hannah Höch and Nicole Eisenman. Utilizing groundbreaking research, newly discovered home movies, and archival photographs, and other visual sources, The Female Closet. is a cultural interrogation of the closeted and not-so-closeted lives of three women artists.
In The Hitchcock Trilogy, Tajiri uses Bernard Hermann's evocative scores for Hitchcock's films to create a compelling series of deconstructive "meta-narratives." Collapsing these emblematic scores with her own texts, she creates a layered "hall of mirrors" of stories within stories, using the...
The Hollow Coin explores roles of authority in public space and the intersection of personal and historical narratives. The video combines documentary footage of New York City’s rapidly disappearing network of payphones with audio of a covertly recorded telephone exchange between an actor and an unknowing bystander.
In this music video, which operates as a meditation on contemporary Chinese history, Yau Ching combines found images and text to negotiate between idealism and propaganda and the hopes and disillusionment that they bring.
An evening of performance and music by Mike Kelley presented at the Judson Memorial Church in New York City in 2009. Including: The Judson Church Horse Dance and the Horse Dance of The False Virgin, and live performances of instrumental soundtrack music from Kelley's Day is Done, composed in collaboration with Scott Benzel. Plus the world premiere of The Offer (Extracurricular Activity Projective Reconstruction #33), a composition for 12 horns and vocalist.
Writes Antin: "Applying hair to her face, the artist moves through a variety of bearded faces seeking the identity most appropriate to her facial structure and satisfying to her aspirations." Antin transforms herself into a man and adopts one of her recurring performance personae, "The King."
The artist's Ballerina Self, now in the city, has "made it!" Dressed in a tutu, Antin regales an utterly silent gallery audience with her strategy for conquering New York, meeting George Ballanchine in Sardi's and becoming prima ballerina of the company. The climax of the routine is a dramatization (with Antin taking all of the parts) of the ballet she imagines, with sets by Picasso, music by Stravinsky and a scratchy violin as accompaniment.
