“The syntactic structure and lateral movement of Arcade match its fairground equivalent. The work includes a series of images recycled from television and film, interspersed with location footage of Chicago El stations and punctuated with paintings created by Paschke on a computerized paint box. Flashing insights and lights, the ready-made imagery presents a sideshow of current concerns playing on the slippage between the televised and the real.”
Scenes from an Endless War is an experimental documentary on militarism, globalization, and the "war against terrorism." Part meditation, part commentary, Scenes employs recontextualized commercial images, rewritten news crawls, and original footage and interviews to question received wisdom and common sense assumptions about current American policies.
It's not my memory of it is a documentary about secrecy, memory, and documents. Mobilizing specific historical records as memories which flash up in moments of danger, the video addresses the expansion and intensification of secrecy practices in the current climate of heightened security. A former CIA source recounts his disappearance through shredded classified documents that were painstakingly reassembled by radical fundamentalist students in Iran in 1979.
1968 was the opening of the Summer Olympics in Mexico City, ten days after the massacre of students and civilians by military and police on October 2 in the "Plaza de las Tres Culturas, Tlatelolco."
We Were Hardly More Than Children tells an epic tale of an illegal abortion, as lived by two women on a perilous journey through a world that has little concern for their survival.
Paintings by Diane Messinger.
Music by Renato Umali.
Lena and friend: Flora Coker and Cecelia Condit.
This is an audiovisual manifesto in support of people in resistance against a military coup.
A wide-screen video diptych of scenes shot during two different periods in Moscow––old footage from 1990 and newer from 2009. There's no linear narrative as the "story" is told principally in the juxtaposition of the two images of the city with this almost 20yr gap. It runs 31 minutes as a single screening, but it is meant to be seen as an installation since its visual theme, from an American perspective, is the recurring cycle of Russian upheaval. It is also principally a "fractal" piece, meaning that its story is replicated in every scene.
–– Ken Kobland
Sections 31-60 of an incomplete extended poem describing the artist's connection to the radical black tradition. The completed poem will be formed of 180 sections.
"Lessons are all about constraints; they are thirty seconds, must feature a black figure, and I have rules about where to make cuts, how to edit sound, etc."
— Martine Syms in conversation with Aram Moshayedi, Mousse Magazine
This video proposes an ironic metaphor to grasp the follies of U.S. government action and inaction in Central America. The process of learning U.S. policy is similar to the process of a young child acquiring the principles of language. These dual senses of literacy operate on several levels, situating a child’s consciousness within the contradictions of history comments on the illusory innocence of childhood, and the unexamined, but real, guilt of the U.S. government, its supporters and clients.
Rosler calls Domination and the Everyday, with its fragmented sounds, images, and crawling text, an artist-mother's This Is Your Life. Throughout this work, we hear—but do not see—a mother and small child at dinner and bedtime while a radio airs an interview with a gallerist about Californian art of the 1960s. The soundtrack moves into overdrive with feedback, a passing train, barking dogs, and a bedtime story. The visuals, all still images, are drawn from television, movies, advertising, and the family album.
“The Riot Tapes is a video biography of Segalove’s political involvement in college, of her boyfriend (who became anorexic while dieting to evade the draft), and of her discovery that art could give her a voice and a forum for her political views. It is her first real political work. Segalove says, ‘I’m trying to comment on the state of things. A lot of my peers spend a lot of time in a state of disbelief, but I’m tired of disengaging myself from the world by doing that.’”
—Gloria Ohland, “Segalove’s Latest Is a Riot,” L.A. Weekly 6:22 (27 April 1984)
In conversation with curator and educator Mary Jane Jacob, visual artist Ann Hamilton (b. 1956) talks about care, interactivity, and social relations — key concepts that preoccupy her practice — and why she feels compelled to revisit these issues under the Trump administration. Hamilton was trained in textile design and sculpture, and she received her MFA from Yale University School of Art in 1985.
The Videofreex had several experiences with the Black Panther Party, including interviewing Illinois Chapter Deputy Chairman Fred Hampton and New Haven Minister of Information Cappy Pinderhughes. In this tape, recorded on March 5th 1971, the Videofreex one-person camera crew Bart Friedman is walking the hallways of CBS, trying to find out where a video statement by Black Panther Eldridge Cleaver is located. The shots are mostly close up on people’s torsos and there is some image loss, but the sound is intact. The tape has an eerie espionage feel.
In this piece Dani Leventhal recounts to camera her experiences of living and working in Israel, the fabled land of milk and honey of childhood lessons. With time spent in a metal factory and a battery farm for chickens, her harrowing tale includes stories of sexual harassment and sick birds. Against this background, there are idyllic images of bees and flowers, cows and calves, intimate caresses, dead birds. Every thing is worthy of Dani's gaze, and is transformed by the encounter, becoming more human or sacred, and we are closer to the pain and beauty of being alive.
A desktop video in five parts that modestly propose ways of existing with or against history and politics.
"The Flag is the second part of a video series about the state-controlled national day ceremonies of the Turkish Republic. Shot during the April 23rd Children’s Day celebrations, which mark the establishment of the new Turkish Parliament, and hence the official demise of the Ottoman Empire back in 1920, this split screen film documents a pompous patriotic performance devised by elders to be performed by children.
A historical analysis of the on-going war in the Western Sahara. Liza Bear interviews Abdullah Majdid, the Polisario Front's United Nations representative. The tape addresses Morocco's U.S.-backed military effort to subjugate the indigenous Sahrawi population and annex one of the world's largest phosphate deposits, as well as the Sahrawis' conditions for a referendum.
In the wake of Lord of the Universe, TVTV planned to cover the impeachment of Richard Nixon, but, unfortunately, Nixon resigned. The group made a ninety-degree turn to covering the “first hundred days” of the Gerald Ford administration, a cavalcade of photo ops and campaign appearances. In Part One of the four-part series, entitled WIN (referring to the Ford slogan, “Whip Inflation Now”), TVTV goes on a whirlwind across-country trek with Ford, stopping in Sioux City, Iowa, Salt Lake City, and Portland. The show is more about Ford’s public than Ford.
On February 10th, 2005, Lynne Stewart was convicted of providing material support for a terrorist conspiracy. She is the first lawyer to be convicted of aiding terrorism in the United States. Stewart was convicted on charges of conspiracy and providing material support to terrorists in 2005, and sentenced to 28 months in prison. Her felony conviction led to her being automatically disbarred. She was re-sentenced on July 15th, 2010, to ten years in prison in light of her perjury at trial.
Andres Serrano was born and raised in New York. At fifteen he dropped out of high school. A few years later he attended the Brooklyn Museum School and studied painting and sculpture. After two years, Serrano decided that neither of these art forms were appropriate for his particular vision, and began to make photographs. Serrano’s work came to the attention of the general public as part of the controversy surrounding the issue of censorship and the NEA.
Deathrow Notebooks is structured around an interview with Mumia Abu-Jamal, a political prisoner who is on death row in Pennsylvania. Former president of the Association of Black Journalists, Abu-Jamal is a writer and creator of widely-broadcast radio programs who continues to write from prison. He was accused of killing a police officer, and in 1982 was convicted in a trial that contained many irregularities. To date, all of his appeals have failed.
A "young woman who finds herself surrounded by the relics of Western culture" is the subject of Richard Foreman's formal tableaux. The narration centers on a young woman's struggle to find a relation between her body and her self as mediated by language. The text is a poetry of formal relations that carries personal and historical implications, including the desires of the woman paradoxically voiced by a male narrator. The title suggests the vivid virtuality of dreaming; scenes repeatedly refer to both reading and sleeping.
A political composition on natural resistance. These images are an expiring breath in danger of extinction. These images become extinguished, consumed: a drop, a pure intensity which only appears when falling. In the presence of the image these audiovisual crowds become an affected body, assaulted by entropy. A face exhausted and reanimated by the continuous sound trance that traverses the battlefield. Faces for an eye that would not need to see.
Statement
A last stand for the silent guardians of the old order. Take It Down is a filmic day of reckoning for the Old Confederate South. What is up must come down, like the Confederate soldier monuments standing in court house squares across the South. At long last, a grand inversion! Solarized film makes positives bleed into negatives. The South is renewed.
This film looks to North Carolina to describe the cultural fissure that runs through the South, a legacy of the Civil War. In the context of the divisive Trump presidency and the increasing visibility of white supremacist activism, these Confederate memorials have become sites of conflicting politics and historical narratives.
Historians agree that a majority of Confederate statues were erected as propaganda tools legitimizing racism in the era of Jim Crow laws. For example, “Silent Sam”, a statue depicted in the film, was erected on the quad of the University of North Carolina campus. In an act of civil disobedience in Fall 2018, students and protestors tore down the statue in a statement against white supremacist oppression.
