At nineteen, Barbara Kruger (b. 1945) worked as a commercial artist designing for Conde Nast. The risky combination of contemporary art, commercial appeal and social critique runs throughout Kruger’s photography, readings, poetry, collages, and conversation. Her works uses advertising both as a foil and a format. Language and image work together, referencing the manipulations of the advertising media.
Steve Kurtz is a founding member of the Critical Art Ensemble and Associate Professor of Art at University of Buffalo. His areas of focus are contemporary art history and theory as well as post-studio practices. As a student Kurtz collaborated with Steve Barnes on low-tech videos, which they developed into a broad-based artist and activist collective known as the Critical Art Ensemble.
Interview by Gregg Bordowitz.
A historical interview originally recorded in 1999 and re-edited in 2005.
In this video, Glennda Orgasm and Jackie Offie attend Lollapalooza '95 on Randall's Island, New York. Glennda and Jackie sing punk rock songs on the drag stage, and Glennda challenges Courtney Love to a fistfight. The video also shows other performances on the stage, and features Bruce LaBruce's music video for The Riverdales' Fun Tonight.
During a conference in the late 1970s, Carol Leigh (also known as the Scarlot Harlot) coined the term “sex worker.” Now, it is a fundamental part of the lexicon regarding all worker’s rights and this is owed in large part to Leigh’s artistic and activist career. Working primarily through the medium of performance and video – her work attempts to educate and broaden audiences’ understanding of sex work and the fundamental rights sex workers deserve. This interview is a distillation of those aims.
In this video, Brenda and Glennda attend and interview participants at the 1991 New York City Pride March. Speaking with a range of attendees, they underscore the significance of non-white queer communities, diverse gender and sexual identities, and political causes at pride events.
At the Lesbian Museum, Brenda and Glennda interview artists at the opening of Christine Martin’s controversial exhibition The Lesbian Museum: 10,000 Years of Penis Envy at Franklin Furnace. For the exhibition, each artist (including Brenda and Glennda) were given a dildo and asked to turn it into a work of art. The phallus, Freudian philosophy, and female criminality are discussed as a way of analyzing lesbian identity.
Sections 1-30 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
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
Letter to a missing woman, based partly on memories of someone who has been a political fugitive since 1983, combines documentary "evidence" and fiction in an imaginative reconstruction of public documents and private history. This is a quiet, obsessive piece addressing the human costs and repercussions of re-inventing oneself – one’s body, memories, and future – as a living piece of propaganda. The writer/narrator of this "crazy letter" is an unreliable one, a composite of half-truths, paranoid digressions, and feelings of loss.
Letters, conversations: New York-Chicago, Fall, 2001 is driven by a fragmented voice-over that criss-crosses between two female voices – one seemingly formal and distant, the other more conversational and intimate. It begins with short excerpts from emails, phone conversations and letters between friends, family, ex-lovers and acquaintances in the days and weeks following September 11th, 2001.
American, minimalist painter Sol Lewitt (1928-2007) used the grid as a foundation for his many artworks. Seeing himself in the role of architect or composer, Lewitt was most concerned with the concept behind the piece rather than the final product. His geometrical compositions stripped away extraneous information and presented the bare essentials.
Lighthouse is about the labor system and the factory town in Southern China and how individualism is influenced by the social and political infrastructure. Guangdong District is the largest Metropolitan area in one of China's wealthiest provinces, and one of its cities, Guangzhou, attracts farmers from the countryside looking for factory work. The viewer is led to actively compose narratives through the poetic and the sublime images. It opens borders that separate cultural, linguistic and historical differences in the global labor systems.
Cohen shot Little Flags in black and white on the streets of lower Manhattan during an early 90s military ticker-tape parade and edited the footage years later. The crowd noises fade and Cohen shows the litter flooding the streets as the urban location looks progressively more ghostly and distant from the present. Everyone loves a parade — except for the dead.
a little girl dreams of a new pluralism meanwhile the old war continues V.1 2009, 67:00
In La Lucha (the fight), families struggle to cope with frequent deportations and the constant threat of INS sweeps that, in the end, completely dismantle the community. Following up two years later, Hock reports their triumphs and setbacks. The video ends with hope—but no real promise—of a brighter future for those living on the unrecognized margin of society.
This title is also available on The Mexican Tapes: A Chronicle of Life Outside the Law
In October 1969, the Videofreex visited the home of wealthy political and social activist, Lucy Montgomery, as she was hosting the Black Panther Party of Chicago during one of their most fraught times — the period just after Chairman Bobby Seale was wrongfully imprisoned for inciting riots at the Democratic National Convention a year earlier. This particular video documents a discussion with Lucy Montgomery herself interviewed by David Cort, one of the Videofreex.
A barricade is built inside the Main Temple of the Aztecs. Testimony of the contemporary battles against the governmental aggressions.
John Malpede is a performance artist and Director of the Los Angeles Poverty Department (LAPD), a performance art and theater group whose members include the city’s homeless. Through LAPD, Malpede provides an opportunity for homeless people to articulate the reality of their lives for themselves and audiences. Malpede was well known for his collaboration with performer Gill Gordh as Dead Dog and Lonely Horse. In one performance he took on the role of a street person, contrasting the wealth and excess of the 1984 Olympics in Los Angeles with the city’s struggle against homelessness.
This fictional docudrama—based in part on the careers of Anita Bryant, Phyllis Schlafly, and Marabel Morgan—covers the fictitious assassination of Clovis Kingsley, a powerful, pro-family, anti-feminist ideologue, and fictional author of The Power of Total Submission. The narrative is reconstructed in fractured and contradictory flashbacks by those who knew her best and liked her least. The tape travels beyond the faux biography to suggest that the logic of anti-feminism is a strategy of the disempowered.
Blending live action staged as if in a dollhouse with rarely seen archival footage from the National Archives, the fantastically true story of how America entered WWI is told. Through vibrant historical characters like labor leader Elizabeth Gurley Flynn and German naval officer Franz von Rintelen this loose adaptation of John dos Passos’ 42nd Parallel, explores the timeless issues of radical labor politics and the domestic effects of war.
Displaying a broad range of Golden Age Hollywood animation, Manifestoon is an homage to the latent subversiveness of cartoons. Though U.S. cartoons are usually thought of as conveyors of capitalist ideologies of consumerism and individualism, Drew observes: "Somehow as an avid childhood fan of cartoons, these ideas were secondary to a more important lesson—that of the 'trickster' nature of many characters as they mocked, outwitted and defeated their more powerful adversaries.
Kipnis describes this tape as "an appropriation of the aesthetics of both late capitalism and early Soviet cinema—MTV meets Eisenstein—reconstructing Karl Marx for the video age.” She presents a postmodern lecture delivered by a chorus of drag queens on the unexpected corelations between Marx’s theories and the carbuncles that plagued the body of the rotund thinker for over thirty years. Marx’s erupting, diseased body is juxtaposed with the “body politic", and posited as a symbol of contemporary society proceeding the failed revolutions of the late 1960s.
In this 1996 interview, African-American sculptor, printmaker and designer Valerie Maynard (b.1937) describes growing up in Harlem in the mid-20th Century and her awareness of the importance of community during her upbringing. Recalling the prominence of the Baptist church in her early life, Maynard discusses how religion brought her into contact with local politicians who impressed upon her the importance of affecting change. The artist notes how an early affiliation with Congressman Adam Clayton Powell and her brother’s incarceration propelled her interest in social justice and the workings of the judicial system.
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.
Mike Builds a Shelter is a performance comedy with apocalyptic overtones, a narrative extension of Smith's installation Government Approved Home Fallout Shelter/Snack Bar. In this darkly humorous morality play, Smith contrasts Mike's rural adventures in a pastoral landscape with his home fallout shelter. Throughout, the dual narratives are intercut with episodes of Mike's Show on cable, in which Mike's banal domestic activities are eagerly if passively received by living-room TV viewers.