Jennifer West

  • The First Amendment Network, Studio of the Streets, 1990–93, still from a public-access cable TV show on public television, Buffalo. Right: Tony Conrad. © Tony Conrad Estate.

    Tony Conrad

    PICKLING, HAMMERING, electrocuting, cooking—Tony Conrad’s impish assault on the physical substrate and ideological underpinnings of the “seventh art” has been a key influence on me ever since I started making cameraless and direct films in 2003. Conrad embodied the prankster, the comic, the do-it-yourself ethos. His work was messy, it was funny, it was organic; it embraced the everyday and flaunted its economy of means. At times, it was violent. In live performances, he hammered or electrocuted film onstage, then processed it and played it back. If the movies endlessly depict violence,

  • video January 12, 2015

    Jennifer West, Serpentine Dance, 2014

    Jennifer West - Flashlight Filmstrip Projections SERPENTINE DANCE LIVE PERFORMANCE DOCUMENT

    Commissioned by PICA TBA Fest 2014, curated by Kristan Kennedy for visual arts exhibition, “As round as an apple, as deep as a cup” Performed live for two nights in September inside the “Flashlight Filmstrip Projections”


    Video shot and edited by Peter West

    Serpentine Dance: Connie D. Moore

    Flashlight Performers: Leif J. Lee, Julie Perini, Micah Schmelzer, Jwest

    Synthesizer: Jesse Mejía

    Theremin: Mark Keppinger

    Choreography and Serpentine Costume: Maranee Sanders

    Serpentine Dance Research

  • Věra Chytilová.
    passages July 01, 2014

    Vera Chytilová (1929–2014)

    THE FIRST TIME I saw Czechoslovakian director and writer Věra Chytilová’s 1966 film, Sedmikrásky (Daisies), it blew my mind. Why had I never seen this farcical feminist work? It was at once dark, absurd, political, philosophical, rebellious, outrageous, critical, hysterical, and subversive—all while featuring some of the most brilliant uses of optical printing, film collage, jump cuts, colored filters, textures, costumes, props, and food that I had ever seen. (The cinematography and special effects were the work of the great Jaroslav Kučera.) Eyeliner plays a role in the film, as do a host of

  • video October 31, 2012

    Trailer for One Mile Film by Jennifer West


    One Mile Film is 5,280 feet of 35mm film negative and print taped to the mile-long High Line walk way in New York City for seventeen hours on Thursday, September 13th, 2012 with 11,500 visitors. The visitors walked, wrote, jogged, signed, drew, touched, danced, parkoured, sanded, keyed, melted popsicles, spit, scratched, stomped, left shoe prints of all kinds, and put gum on the filmstrip.

    Commissioned and produced by Friends of the High Line and the New York City Department of Parks and Recreation.

  • Ei Arakawa and Karl Holmqvist, pOEtry pArk (with a painting by Silke Otto-Knapp), 2010. Performance view, Regent’s Park, London, October 15, 2010. Léa Tirabasso, Ei Arakawa, and Jenny Moule. Photo: Polly Braden.



    Gutai is often considered the starting point for postwar art in Japan, typically described as a response to American Abstract Expressionism (via Pollock, who first exhibited in Japan in 1951) and as a parallel to French art informel (via Michel Tapié). However, I want to point out two earlier collectives of midcentury Japanese art (pre-Conceptual On Kawara aside): Jikken Kōbō (Experimental Workshop)—an avant-garde art, music, and theater collective that was influenced by the Bauhaus and European Surrealism—and Zero-kai (Zero Society), whose member Kazuo Shiraga had already