Done To (alternately titled It Is, Done To) consists of simple still-frames accompanied by a complex, incongrous soundtrack, or silence. There are instances where image and sound coalesce; however, the majority of the images are overwhelmed by the at-times symphonic, at-times cacaphonous soundtrack, displacing the normal film viewing experience. The standard film format of going from frame to frame — and then and then and then — is what this film is concerned with.
Playing with cliched feminine personae, Eleanor Antin in The Adventures of a Nurse manipulates cut-out paper dolls to tell the story of innocent Nurse Eleanor who meets one gorgeous, intriguing, and available man after another. Nurse Eleanor is the fantasy creation of Antin, who is costumed as a nurse. Staged on a bedspread and acted by a cast of one, The Adventures of a Nurse moves through successive layers of irony to unravel a childlike, self-enclosed fantasy of a young woman’s life.
"We buried ten Cadillacs in a row alongside Interstate 40 (the old Route 66), just west of Amarillo, Texas; each car represented a model change in the evolution of the tail fin. This was clearly a sculptural act, but with a minimal amount of formal manipulation. Media Burn, created a year later in San Francisco, was a live performance. It was a spectacle staged for the camera culminating in the 4,000 pound Phantom Dream Car crashing through a pyramid of TV sets to the cheers of the audience of 400.
From A to Z in this mock cooking-show demonstration Rosler 'shows and tells' the ingredients of the housewife's day. She offers an inventory of tools that names and mimics the ordinary with movements more samurai than suburban. Rosler's slashing gesture as she forms a letter of the alphabet in the air with a knife and fork is a rebel gesture, punching through the 'system of harnessed subjectivity' from the inside out.
"I was concerned with something like the notion of 'language speaking the subject', and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity."
— Martha Rosler
A stutter-step progression of "extended moments" unmasks the technological "miracle" of Wonder Woman's transformation, playing psychological transformation off of television product.
Skip Blumberg of the Videofreex conducts an interview with Charles “Cappy” Pinderhughes, the Lieutenant of Information of the New Haven branch of the Black Panther Party. From the steps of the New Haven headquarters, Cappy publicizes the upcoming Revolutionary Peoples Constitutional Convention set to take place in Washington, D.C. later that week (June 19th, 1970). In addition, Cappy provides a statement to be shared via the Videofreex at the Alternative Media Conference occurring at Godard College in Vermont.
Skip Sweeney was an early and proficient experimenter with video feedback. A feedback loop is produced by pointing a camera at the monitor to which it is cabled. Infinite patterns and variations of feedback can be derived from manipulating the relative positions of camera and monitor, adjusting the monitor control, becoming a swirling vortex. Sweeney and others were intrigued with feedback's ability to generate pulsing images like a living organism.
Baldessari asks Ed Henderson to discuss the meaning of selected news photos. Henderson invents the conditions of the where, when, and why each was taken—and decides whether the photo was altered in any way. This exercise complicates the reception of news media images and encourages a more analytical attitude towards the implicit meaning, and potentially faked reality, of such images.
This title was in the original Castelli-Sonnabend video art collection.
Acconci listens to his own recorded monologue of sexually intimate secrets and repeatedly tries to obscure these secrets by shouting over the tape, demonstrating the paradoxical situation of the artist confounded by two desires: to reveal oneself for the sake of pleasing the audience, and the conflicting desire to protect one’s own ego. As viewers, we are intrigued and tantalized by the confession we never hear.
Poison Ivy is an energetic activist response to conservative ideologies and their ‘Contract On America’.
"A hand made raster deflection unit was used, inspired by Nam June Paik's video synthesizer system. I also used a TV repair person's test signal grid, early digital. Two b+w video cameras, audio oscillator sweeping up and then down. More keying permutations. Video, oscillator, keying, graphic timing buzzes."
– Peer Bode
"My first digital recording and my first and only recording with Don McArthur's "Spatial and Intensity Digitizer". The digitizer was not working properly. I had no idea. The shift I saw was stunning. Digitalization of luminosity, strange notion, wonderful light and early digital embodiment. Image/signal in digitized state/space, noise field. I always thought of this to be 100 seconds of very beautiful digital light noise."
– Peer Bode
Capitalizing on the visual aspect of musical performance, Quad Suite explores the essential link between the image of music and its sound. In Six Vibrations, the camera is riveted to a close-up of the four upper frets of Landry’s guitar, maintaining an image of the sound easily identified with the gridded field paintings of Agnes Martin. In Hebe’s Grande Bois, Landry improvises on a bamboo flute as the camera frames his mouth, again in extreme close-up, in the center of the screen. There is something sensual, almost obscene, about Landry’s lips.
"Actions, states, one B+W video camera, the Paik Abe Colorizer, a video switcher. The two states, a b a b, I put my hand in the camera frame and saw a colored hand shifting. I moved my, the, hand, including back and forth, realizing or connecting to the visual and language potential of front hand and back hand. Giving it some veracity, the pace became about attempting to keep up with the position changes together with verbally reciting front hand back hand, co-coordinating from hand to mouth and mouth to hand."
– Peer Bode
"This is the first of a set of pieces that involve combining a series of electronic video process recordings, musics, texts and appropriated materials. These multiple elements, simple and tricky grammars, trigger expanding electronic narratives. The trajectories and drags of multiple narratives color the electronics and visa a versa.
A table is set with two red books placed at diagonal corners and a stack of three poker chips placed in the center. Two women enter, sit, and begin to play with the books and poker chips. Different soundtracks converge; the dialogue begins to sound like an interrogation as one character asks, “What is the structural definition of logical positivism? Lawrence Weiner, what is the structural form as in the manner and use of your language? Does it not have a direct relation to logical positivism?”
As a verite documentation of the May 1, 1971 demonstration against the Vietnam War staged in Washington, D.C., Mayday Realtime presents a largely unedited flow of events from the point of view of participants on the street. Cort's camera captures the random, disorienting incidents that marked the day - demonstrators holding up traffic in the Capitol, skirmishes with police, on-the-scene interviews with onlookers. The camera impulsively responds to shouting and movement on the street.
In Sonnier’s video tape TV In and TV Out, two images are superimposed, one shot off network television and the other shot from a studio performance situation involving some of the materials and visual qualities of his sculptures. This live image is colorized by a device which adds color to a black and white image and in turn manipulates the color. Colorized color is more opaque and less three-dimensionally tactile than synthesized color, but it is tactile in its video scan-line texture.
In this angry answer to the expectations advertising culture places on women and their bodies, Tanaka deftly edits commercial images and sound-bite slogans to underscore the message such images carry: that women exist to please men, as wives, mothers, and lovers. Tanaka balances such mainstream images with black and white footage of herself lying naked next to her own doubled image, rejecting the mainstream model of female sexuality that regularly consists of seductive glances and suggestive poses arranged and pre-ordained for the male gaze of the spectator.
Short for "Probably The Last" (of the series), Spiral PTL uses the image processor like a musical instrument to create variations on a spiral, transforming its basic form into an ever-moving gyro. The movement is synchronous with an audio track that varies from electronic buzzes and Space Age voices to the quiet sounds of running water.
With Benglis standing in front of a photograph of herself, which is then affixed to a monitor bearing her image, the notion of "original" is complicated—making the viewer acutely aware of the layers of self-images and layers of "self" that are simultaneously presented. Like Martha Rosler's Vital Statistics of a Citizen, Simply Obtained, Benglis presents the viewer with a "document" of questionable veracity. It is a document attesting not to the "real" Benglis, but to the impossibility of discerning one real identity.
Repeating the same activity as featured in Bouncing in the Corner, No. 1—leaning back and bouncing forward from the corner—this time the camera is positioned just above Nauman’s head. This gives his body the sense of constantly rising and falling, his chin just crossing the bottom edge of the screen before sinking back.
This title was in the original Castelli-Sonnabend video art collection.
Reading the billboards, the cars, the people, and the graffiti of the street as cultural signs, Rosler extracts the network of social power and domination that determines whose culture gets represented where, asking whose culture is reported in the press and whose is forced to exist in the street?
Taking its title from the four consonants of the ancient Hebrew name for God, Tetragramaton contemplates the relationship between man, technology, and ecological systems. The sweeping camera movements, sudden changes of scale, and layers of natural and man-made sound, result in a visceral, turbulent and hypnotic dialogue between the artist's camera and the environment.
This title was in the original Castelli-Sonnabend video art collection.
“In Left Side Right Side, Jonas explores the ambiguities caused by her attempt to identify correctly the spatial orientation of images simultaneously played back by a monitor and reflected in a mirror. This is confusing because, contrary to what one might expect, the monitor image gives back a ‘true’ reading of the space while the mirror reverses it.… Throughout the course of the tape, the image switches back and forth between the double image of monitor and mirror to the simple ‘real’ image of Jonas’s face.”
