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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.
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.
Winter in Miami 2005 is Kubota's touching tribute to her husband, artist Nam June Paik, who died at their home in Miami in January 2006. This intimate piece features previously unreleased sound recordings of Paik at the piano in his New York home in 2005, playing haunting compositions that he wrote in 1945, when he was thirteen years old. Layered footage of Kubota and Paik, sitting together in Miami in the winter before his death, takes on the resonance of memory.
"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).
This 1984 musical performance, shot on Center Street in Los Angeles, follows in the tradition of many of Ulysses Jenkins’ contemporary critiques of Reagan-era America and includes longtime collaborators Senga Nengudi, Maren Hassinger, May Sun, and Todd Gray. Playing with his music-dance troupe Life in the Park with Debris, Jenkins recites lyrics reflecting the west’s ignorance and condescension toward the third world, cutting in between images showcasing warfare, sweatshops, and American consumerism.
