Photographed in penal installations throughout California; depicts the activities, interviews, and artwork of inmates whose lives have been changed by art projects in prison. State officials, program directors, and prison administrations verify the statements made by inmates and prove that the experience of the punishment can also be an experience of the restoration of humanness
Like a photo album long forgotten in an abandoned house, words and images gently recall, as if by osmosis, the outbursts of hope and distress of three women facing a disintegrating world. Also remember the silence of the one who said "Listen", then who was silent, never said anything again.
Mexican feature film
Mexican feature film
New York trucks, both menacing and toy-like, over feminist performance group Disband in songs of political and environmental declamation. ‘The film works on a juxtaposition between what we think is very macho and these women who, through their songs and the way they sing them, getting louder and louder, manage to dominate the image’ - Tina Keane.
This video documents two early live telecommunication performances by media artist Tom Klinkowstein: On 27 April 1982, at cultural center 't Hoogt in Utrecht, Klinkowstein employed slow-scan TV technology to juxtapose pictures of a shopping mall in his Pennsylvanian hometown Levittown, a 1950s planned suburban city, with then present-day Netherlands. On 13 May 1982, Klinkowstein in Rochester, NY, and Ruud van Empel in Rotterdam produced a series of print facsimiles simultaneously in both countries using telecopiers and an international telephone connection.
Documentary by Bill Stamets about the American Nazi Party's 1982 rally held in Chicago's Lincoln Park in response to the city's annual Gay and Lesbian Pride Parade.
In this centennial tribute to the Brooklyn Bridge, the artist combines computer and analog processed visuals with an interconnected meld of the sounds of the bridge with clarinet and synthesized music. Elements of light and heavy materials contrast in both the visual and sonic tracks, greatly enhancing the grace of this piece.
Political hyperbole and media rhetoric are the focus of This is the Truth, in which Hall confronts the calculated platitudes and contrived gestures that signify "truth" in a media-saturated society. In a characterization that is part dictator and part preacher, Hall, flanked by emblematic red banners, recites a litany of clichés: "Mind your superiors... Obey the laws... Leave politics to the politicians..." The monotonous repetition of these aphorisms imbues them with a sinister, Orwellian ambiguity. Through theatricality and spectacle, this work continues Hall's investigation of the manipulation of images and language as signs of power.
‘Bob & Jill’ forms a collage of several, seemingly separate, narrative strands: naturalistic interviews with art students reflecting on the reception of their work; a faux interview with the artist acting the part of a successful businessman; scenes of a man making breakfast; and a text about a bourgeois couple whose complex problems are conveniently solved.
Short film by Keiichi Minegishi
In U.S. Sweat, which Gorewitz terms a "cathartic reaction to social and personal upheavals," he transforms images of the familiar American landscape into a nightmarish, ghostly vision. Recording throughout the South and in New York, he amassed footage that reflects the American experience. Country roads, gravestones and small-town main streets seen from a car window gradually give way to an ominous vision — saturated by Gorewitz's signature image-processing techniques and lurid, fluorescent colors — of an America dominated by industry and the military. Called a "tour-de-force" by The New York Times, this is a propulsive, kinetic work of rich visual and aural textures. -EAI
This documentation of a 1982 event at the A.I.R. Gallery in New York features a riveting performance by Wilke, who is nude (except for high heeled-shoes) and aiming a gun. As she stalks the performance space like Emma Peel crossed with an exotic dancer, two cameramen follow her, recording her every movement. Dissonant music and a voiceover text about art, violence, power and gender provide the aural counterpoint to her often provocative physical gestures.
