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Sam Taylor-Wood, A Little Death, 2002
2002, 4:36
Sam Taylor-Wood makes photographs and films that examine, through highly charged scenarios, our shared social and psychological conditions.
Marina Abramović and Ulay, Imponderabilia, 1977. (Excerpt)
9:56
Marina Abramović and Ulay, Imponderabilia, 1977. (Excerpt)
Trailer for Kevin Jerome Everson's Spicebush, 2005
1:34
"Spicebush is an experimental feature film that interweaves various fragmentary narratives concerning education, landscapes, gaining and losing a job, and the passage of time. The technique and style employed alternates between the documentary, the symbolic, and more conventionally scripted scenes. Filming individuals engaged in their careers conveys the documentary aspect. At a symbolic level, the fossil is a leitmotif suggesting past and present. The title of the film refers to the state butterfly of Mississippi, Spicebush Swallowtail. In the film, Mississippi is a place of origin. The Spicebush Swallowtail represents renewal or starting over. Throughout the film, a little girl appears in different guises and settings, functioning indirectly in the role of the chorus. The scripted scenes, shot in a documentary style, collaged with the other scenes begin to create the traces of a narrative structure. (16mm, mini DV, 70:00, color, black and white)"
“Nowhere to Run,” 1965, by Martha and the Vandellas on CBS
3:00
Videotaped performance of “Nowhere to Run,” 1965, by Martha and the Vandellas staged by Motown producers and Murray “the K” Kaufman for broadcast on his TV show It’s What’s Happening, Baby on CBS.
Mike Kelley, Day Is Done Judson Church Dance, 2009. (Excerpt)
0:29
A short video excerpt from Mike Kelley's Day Is Done Judson Church Dance for Performa 09.
György Ligeti, Poeme Symphonique For 100 Metronomes, 1962
György Ligeti
1962, 8:15
The Hungarian composer György Ligeti composed Poème Symphonique for 100 Metronomes in 1962, during his brief acquaintance with the Fluxus movement. The piece requires ten "performers," and most of their efforts take place without the audience present. Each of the hundred metronomes is set up on the performance platform, and they are all then wound to their maximum extent and set to different speeds. Once they are all fully wound they are all started as simultaneously as possible. The performers then leave. The audience is then admitted, and take their places while the metronomes are all ticking. As the metronomes wind down one after another and stop, periodicity becomes noticeable in the sound, and individual metronomes can be more clearly made out. The piece typically ends with just one metronome ticking alone for a few beats.
Trailer for Tim Burton's Alice in Wonderland, 2010.
Tim Burton
1:59
A trailer for Tim Burton's Alice in Wonderland, (2010).
K8 Hardy modeling J'APPROVE at JF & Son, New York, 2010.
1:02
K8 Hardy modeling J'APPROVE at JF & Son, New York, 2010.
Richard Serra, Surprise Attack, 1973
1973, 2:18
During a period in the 1970s, Richard Serra began using video, sometimes as a reference point his sculpture. The lead in Surprise Attack, is a reference to his sculpture, and to his 1968 film Hand Catching Lead. The video involves the piece of lead being tossed back and forth, while reciting an excerpt from Thomas C. Schelling's The Strategy of Conflict (1960). The act is simplistic, and similar to physical motions used while thinking or speaking, is done to assist memory. The artist seems as though he is trying to recall a previous event.
Trailer for Banksy's Exit Through The Gift Shop, 2010.
1:17
Trailer for Banksy's Exit Through The Gift Shop, 2010.
François Truffaut, The Soft Skin, 1964. (Excerpt)
1:12
François Truffaut, The Soft Skin, 1964. (Excerpt)
Rodarte spring/summer 2010 show, New York.
10:59
Rodarte spring/summer 2010 show, New York.
Trailer for Kevin Jerome Everson's Erie, 2010.
1:22
"Erie consists of a series of single take shots in and around communities near Lake Erie. The scenes relate to a Black migration in the USA, contemporary conditions, folks concentrating on the task at hand, theater and famous art objects.

I’m hanging out, coolin’, on the frames that connect the necessity and the coincidence. Formally, that is.With a sense of place and historical research, my films combine scripted and documentary elements with rich elements of formalism. The subject matter is the gestures or tasks caused by certain conditions in the lives of working class African Americans and other people of African descent. The conditions are usually physical, social-economic circumstances or weather. Instead of standard realism I favor a strategy that abstracts everyday actions and statements into theatrical gestures, in which archival footage is re-edited or re-staged, real people perform fictional scenarios based on their own lives and historical observations intermesh with contemporary narratives. The films suggest the relentlessness of everyday life––along with its beauty—but also present oblique metaphors for art-making." (Everson)
Trailer for Takako Matsumoto's Yayoi Kusama: I Love Me, 2008.
Takako Matsumoto
1:02.
This documentary features the avant-garde artist Yayoi Kusama, a polka dot loving artist recognized throughout the international art world. This film captures Kusama's creative process as she diligently works to complete her series of fifty large monochrome drawings. As her work comes to life, one can witness the essence of her art as it wells up in the conflict between life, death, and love; sometimes quietly and sometimes just the opposite.
David Attenborough, "Birds of Paradise," BBC. (Excerpt)
3:11
An excerpt from David Attenborough's documentary "Birds of Paradise" for the BBC.
Ulay and Marina Abramović, AAA AAA, 1978
1978, 9:52
This work shows half-length portraits of Abramović and Ulay standing opposite each other, looking at each other and producing a long sound with open mouths. In the course of the performance, which lasts fifteen minutes, they move ever closer to each other until they are yelling into each other’s open mouths. While in the beginning, they were breathing in at the same time and produced sounds of about the same duration, the rhythm sometimes changed: When one of them was breathing in, the other kept the sound going.
Excerpt from Malcolm McLaren's Paris: Capital of the XXIst Century, 2010
2:12
Chapter 13, "Le Peintre" (The Painter), from Malcolm McLaren's 2010 film Paris: Capital of the XXIst Century.
Sam Taylor-Wood, Still Life, 2001
2001, 3:18
This work examines the split between being and appearance. The artist often places her human subjects––either alone or in groups––in situations where the line between interior and external sense of self is in conflict.
Marina Abramović and Ulay, Rest Energy, 1980. (Excerpt)
0:51
An excerpt form Marina Abramović and Ulay's Rest Energy, 1980.
Richard Serra, Hand Catching Lead, 1968
1968, 3:02
Richard Serra's first film features a single shot of a hand in an attempt to repeatedly catch chunks of material dropped from the top of the frame.
Bruce Nauman, Pinchneck, 1968
1968, 2:11
In several of his films Bruce Nauman manipulates his flesh. Here he pinches his neck as well as his cheeks and mouth.
Merce Cunningham Dance Company, site specific performance, Battery Park, NY 2009
River To River Festival
2:17
Merce Cunningham, arguably the most influential American choreographer of the last half century, passed away on July 26, 2009. This clip shows excerpts of his company's free performance given less than one week later in lower Manhattan.
Performance documentation of SHRED THE GNAR FULL MOON FILM NOIR, 2010
Jennifer West
2010 (5:09)
Footage of the creation of SHRED THE GNAR FULL MOON FILM NOIR, 2010, a project commissioned by the Aspen Art Museum. The work is a 35-mm film print and negative shredded and stomped on by snowboarders and a few skiers catching air during Aspen Big Air Competition and Fallen Friends Event. The film was marked with blue course dye and sprayed with Diet Coke, Bud Lite, and whiskey, which was then taken to a hot tub with epsom salts, rubbed with arnica, K-Y Jelly, butter, and Advil.
Gil Scott-Heron, The Revolution Will Not Be Televised, 1971.
Julian House
1971, 2:45.
Official promo for Gil Scott Heron's collected lyrics and poems, Now and Then. Produced by Peter Collingridge and directed by Julian House.
Cory Arcangel, Naptime, 2002
2002, 1:26
This 2002 work is emblematic of Cory Arcangel's interest in the relationship between technology, culture, and appropriation.
Gran Fury, Kissing Doesn't Kill, 1990
0:30
Directed by Gran Fury. US 1990, video, color, 2 minutes.
Trailer for The Runaways (2010)
0:48
Trailer for The Runaways (2010).
Alexander McQueen menswear autumn/winter 2010 show, Milan.
8:49
Alexander McQueen menswear autumn/winter 2010 show, Milan.
Robert Bresson, Au Hasard Balthazar, 1966. (Excerpt)
1:45
A short excerpt from Robert Bresson's 1966 film Au Hasard Balthazar.
M Blash, Lewis Takes Off His Shirt, 2010
Owen Pallett (Domino Records)
2010 (5:13)
Music video by Brooklyn/Portland based artist and director M Blash for Owen Pallett's song from his album "Heartland."

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