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"Aerial views of Los Angeles rooftops and a swimming pool surrounded by tan sunbathers contrast starkly with the Wheeler Ranch, hippie free land of shacks and barren landscape in Sonoma County. Is this about the filmmaker's own childhood urban lifestyle and the rural life she chose in early adult years – identifying with Cassandra, the prophet foretelling a future celebrating an end to capitalism? And what of the radical attempt to divert the small aircraft with mirrors and bow and arrows harassing the open land freestylers?" — Barbara Hammer
Wild Blue Yonder fuses animated drawings and text with video footage of Weiner's friends, colleagues, and family. Weiner recontextualizes the everyday, leveling gestures, conversations, actions and interactions into a system of codes that blur the boundaries between what is choreographed and what is improvised. Weiner's visual grammar (arrows, horizons, frames) suggests motion and borders; the relationships of the animations, aphoristic text, and conversations activate questions of intimacy within the conventions of physical and personal space.
Wind is a 1968 performance film, recently restored. Cutting between snowy fields and a raw seashore, Jonas focuses on a group of performers moving through a stark, windswept landscape. The 16mm film — silent, black and white, jerky and sped-up — evokes early cinema, while its content locates it...
The artist drinks a Red Bull—the Austrian energy drink that claims in its advertising campaigns that it will “give you wings”—against a PhotoBooth background of clouds.
The artist drinks a Red Bull—the Austrian energy drink that claims in its advertising campaigns that it will “give you wings”—against the backdrop of a 2013 ad for the beverage by cartoonist Horst Sambo. Featuring music by NYC Vanity Fair.
"In July I hid several credit cards in a planter on the roof of the building where I live. I vowed to abstain. But in ten days I was desperate." So writes Barr in With Special Thanks, his wry commentary on American consumer culture. In this comic homage to consumerism, the camera pans over a...
Swinging between pleasure and torment, Cantor narrates an autobiographical story of a doomed love affair over scenes from The Sound of Music (Robert Wise, 1965) and The Texas Chainsaw Massacre (Tobe Hooper, 1974).
Women I Love is a series of cameo portraits of the filmmaker's friends and lovers intercut with a playful celebration of fruits and vegetables in nature. Culminating footage evokes a tantric painting of sexuality sustained.
