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Condit writes: "We Were Hardly More Than Children tells an epic tale of bloodshed as lived by two women on a perilous journey through a world that has little concern for their survival."
Welcome to This House is a feature documentary film on the homes and loves of poet Elizabeth Bishop (1911-1979), about life in the shadows, and the anxiety of art making without full self-disclosure.
"Filmed in the wetlands of Long Island, NY and Cerritos Beach in Baja California Sur, Mexico, Wetland Americana flickers between abstraction and depictions of raging water. LoVid mixes materials from their analog A/V synthesizer with footage shot using an underwater camera. This immersive work is...
Fusing graphics, illustration and animation, Jones creates a spare, intense evocation of sexual and metaphoric love, desire and loss. According to the artist, this short piece was originally intended as a "love letter, inspired by a broken heart." What Goes Around/Comes Around is composed of four...
The three short, low-tech works in this compilation celebrate downtown New York nightlife at the beginning of the 1990's. Set in a New York Meat Market restaurant after hours, Butchers' Vogue features a voguing waiter and waitress, two prostitutes on the run, and a cop. In The Draglinquents, the performances of two drag queens are superimposed over cliched images and intercut with 1950's muscle-boy movies. Disco 2000 mixes footage of a crowded dance floor, homemade optical effects, and a dancing chicken.
What Is Poetry to You?
Cecilia Vicuña
1980, 23:20 min, color, sound, 16 mm film on video, Spanish with English subtitles
Vicuña asks passersby on the streets of Bogotá – including fellow artists and poets, sex workers, children, a police officer, and a scientist – the question: "What is poetry to you?" The surprising answers she elicits reveal the richness of oral culture in Colombia.
Where Evil Dwells
Tommy Turner, David Wojnarowicz
1985, 31:16 min, b&w, sound, Super 8mm film on HD video
Where Evil Dwells originated as a scripted project based on the sensational story of teen killer Ricky Kasso, self-described “Acid King” of Northport, Long Island, who sparked a panic over heavy metal, drugs, and Satanism after the pseudo-ritualistic murder of a fellow teen in the woods. The...
"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.
WILDNESS is a resonant portrait of a Latino Los Angeles LGBT bar, the Silver Platter. WILDNESS integrates elements of fiction and documentary structures to vividly portray Tsang’s multi-layered relationship with the bar, one that explores her role as an artist and activist, and a member of a younger generation introducing itself into a gay scene that started before the Stonewall riots – the Silver Platter’s birth year is 1963. The impact of gentrification and a changing city on the bar’s working class, Hispanic and immigrant patrons is something Tsang implicates herself in when the weekly Wildness party brings art world crowds and attention.
