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Using a hand-held camera, Hammer initially shot on 8 mm stock. Her second film—created in 1968 while the artist was still married (her married name was Barbara Ward)—programmatically shows the desecration of a graveyard. Though only at the beginning of her development as an artist, she already disturbs the peace of the dead, confidently erecting a monument to herself amid them: "Barbara Ward Will Never Die." The young filmmaker stakes her claim to a place in history.
Barbie wants to be the perfect lover for Ken, but there is alcoholism and anger and the consequent violation of their actual love. Based on a text called Alcoholism: The Merry-Go-Round of Denial, Barbie struggles throughout to retain her innocence. Consequently, the style of the video is handmade and childlike. The songs in the video, by Willie Nelson and Julie London (which I lip-sync), become the interior dialogue between Barbie and Ken." — Ellen Cantor
This stylized narrative is the first in the Yonemotos' Soap Opera Series,in which they employ the traditional syntax and codes of melodrama to explore how mass media formulas manipulate desire and sexuality, fantasy and reality. Played out with the self-conscious acting and dialogue of a soap...
Bay Window is the complete documentation of an experimental event produced by Jenkins while an artist-in-residence at The Exploratorium in San Francisco in 1990. Transmitted live via videophone at multiple venues throughout California and Canada, the event centered the societal oppression faced by indigenous communities and their shared fight for ecological justice and self-determination.
Elliot Caplan's 35-mm film adaptation of Beach Birds, a dance work originally choreographed for the stage, begins with Merce Cunningham outlining his approach to dance for the camera, and thus his vision for how movement behaves and how we see it. He explains that the piece is choreography...
"The soundtrack begins with the artist stating the conditions: 'An artist may construct a work and/or a work may be fabricated and/or a work need not be built. I elected five possibilities for videotape.' One sees the artist come over the horizon at a rocky beach and throw a piece of wood. The...
Beautiful People
David Wojnarowicz with Jesse Hultberg
1988, 34:57 min, b&w and color, silent, Super 8mm film on video
Beautiful People follows Jesse Hultberg, Wojnarowicz’s former bandmate in 3 Teens Kill 4, as he dresses in his drag persona, the hippie-era singer Melanie Safka, and departs New York City for an upstate lake.
In Because We Must, Atlas continued his collaboration with British choreographer Michael Clark, the enfant terrible of the dance world in the 1980s. Based on an original stage production at Sadlers' Wells Theatre in London, this is an ironic, irreverent work that is as entertaining as it is provocative. The extravagant stylization and burlesque humor that pervade the choreography, costuming and staging are mirrored by Atlas' focus on the theatricality of the performance and the artifice of the behind-the-scenes narrative.
Three highly intellectual, highly sexual, visually playful digital works, charged with humour and political power. Hammer plays with the tools of digital processing mixing up the ‘straight love story’ by queering love and seduction through pixels gone astray.
Writes Kelley: "BEHOLDEN TO VICTORY is an edited video version of the full-length super-8 film Hail the Fallen. It is a 'war movie' genre picture. This film is normally presented in an active way — the act of screening the film is theatricalized by requiring the audience to wear costumes, and...
