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Not Virginia: Animals and People: One Monitor 

One channel Video Projection, 10 min loop, color, sound, 2004

Not Virginia: Animals and People: One Monitor makes correlations between the trance-dance and intelligence testing. Performers were asked to create walks/dances, which were performed in a space encircled by twelve still (analogue) cameras. The walk/dances were recorded by the other performers who were directed to click the shutters of their respective cameras in timed unison. The still images were edited together into films where the gaps and shifts between each frame and gesture became evident. The series Not Virginia might suggest analogies to work, training, or schooling. The title is a reference to the both the location of the CIA (I went to a high School just down the road from it), and the location where the film was shot - a ranch style home from the 1970's in Los Angeles. I am interest in what may be stirring in between political spaces and their affects that we carry around inside and outside ourselves.

 

Not Virginia Two Monitors 

Two channel video installation, 7 min loop, color, sound, 2004

Not Virginia, Two channel and Not Virginia Three Channel are video installations that make correlations between trance-dance and intelligence testing. Performers were asked to create walks/dances, which were performed in a space encircled by twelve still (analogue) cameras. The walk/dances were recorded by the other performers who were directed to click the shutters of their respective cameras in timed unison. The still images were edited together into films where the gaps and shifts between each frame and gesture became evident.

The two installations might suggest analogies to work, training, or schooling. The title is a reference to the both the location of the CIA (I went to high School just down the road from it), and the location where the film was shot - a ranch style home from the 1970's in Los Angeles.  I am interest in what may be stirring in between those spaces and the collision of affects we carry around inside ourselves.

 

Not Virginia Three Monitors 

Three channel video installation, 2 min loop, color, sound, 2004

Not Virginia, Two channel and Not Virginia Three Channel are video installations that make correlations between trance-dance and intelligence testing. Performers were asked to create walks/dances, which were performed in a space encircled by twelve still (analogue) cameras. The walk/dances were recorded by the other performers who were directed to click the shutters of their respective cameras in timed unison. The still images were edited together into films where the gaps and shifts between each frame and gesture became evident.

The two installations might suggest analogies to work, training, or schooling. The title is a reference to the both the location of the CIA (I went to high School just down the road from it), and the location where the film was shot - a ranch style home from the 1970's in Los Angeles. I am interest in what may be stirring in between those spaces and the collision of affects we carry around inside ourselves.

(temp off-line)

Berrigan Reading

Videotape, B/W, sound, 2002

Rev. Daniel Berrigan reads the last pages of Finnegan's Wake, (a soliloquy by the character Anna Livia Plurabelle).

This is a companion piece to Willie Reading/Jack Singing (2002). These pieces are a continuation of my interest in affects of power, in this case that of training, schooling and intelligence testing. Here it is put forward as a correlation between modernism (Joyce's writing), the political left, (Rev. Berrigan, a writer and catholic priest, was an icon of civil rights protest), and the weight of white male identity in the 20th century. (At least that's what I was thinking about at the time).

 

Willie Reading (Jack Singing) 

Videotape, B/W, sound, 2002

This is a companion piece to Berrigan Reading (2002). It is quaint, at first, as one boy prepares to perform and another boy, (his twin), sings a song from a Disney movie. Then, as the performance continues, shifts into a kind of exhaustion. 

 

Two Models_Two Channels

Two channel video projection/installation, 9min Loop, color, sound, 1998

This is a video installation of two projected images. I was thinking about the tradition of the female subject in works by iconic American (male) photographers and the way their models are just stuck in the frame.

 

Untitled (Weston, Callahan, Arbus, Gowin, Levinthal)

3/4inch videotape, color, sound, 17 min, 1994 

Here, I was interested how we (as individuals, as culture subjects) are deeply affected by the photographs we consume - the process of internalizing visual tropes, in this case the nude-in-the-landscape, as a psychic reality.

 

 

What I'm After

3/4 inch videotape, color, mono sound, 10 minutes, 1993

Shot with a very small video camera, the size of a cigarette lighter, (which in the industry is (was) called a 'lipstick camera' - a  pseudo feminist technology if you will), the camera trues to get into the head (mind) of the subject. The video becomes an exhaustive analysis, which becomes a possession, a neurotic possession of grotesque, as well as pathetic proportions - to dig further while remaining on the surface. It also is a reconsideration of the notion of 'narcissism' attributed to early works in video.

 

Teasers 

3/4inch Videotape, color, sound, 10min/36sec, 1992

A woman who is looking for clues about a wanted man, becomes obsessed with finding the perfect diary, and the perfect film trailer. Teasers is about the neurotic space of diary-writing and its conjunction with that of film trailers. The story takes place through the diary of a woman and her subsequent addiction, during "that one fateful summer", to film trailers. Entering into a delirium that is not simply a matter of discerning between fantasy and reality, this is a story about love and self-reflection and all its drifts between the personal and the promotional, between the habitual and the extraordinary.