The 2016 installment in Muntadas and Reese's series documenting the selling of the American presidency features political ads from the 1950s to ads from the 2016 campaigns, and highlights the development of the political strategy and marketing techniques of the TV campaign process.
Executive produced by Sara Diamond at the Banff Art Centre, co-produced by Michelle Baughn and Suzanne Lacy, directed by Tom Weinberg and Dick Carter, and edited by Holen Kahn.
In this episode of The Glennda and Brenda Show, Glennda and Brenda take over a public bus to protest discrimination and violence against queer people who are "out and outrageous". They pick up many other out and proud friends to stage this queer sit-in.
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.
From the performance by the same name, by Suzanne Lacy, Stan Hebert, Councilwoman Sheila Jordan, Frank Williams, Officer Terrance West, Mike Shaw, and Annice Jacoby, Oakland, 1995-6. Suzanne Lacy worked alongside youth activists, city council members and the mayor’s office to draft a Youth Policy Initiative that would create a dedicated stream of funding to serve youth needs. In the spring of that year, No Blood/No Foul was a performance on the eve of the Policy’s vote by the Oakland City Council, with Mayor, Council members and a large audience in attendance.
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 video documents an interview with the wife of Bobby Seale, Artie Seale. The video opens with a statement by Mrs.
This video takes its departure from the BBC's coverage of the killing of three IRA volunteers by British Security Forces in Strabane, a small town on the border between Northern Ireland and the Irish Republic. Interrogating television discourse, the video examines what is referred to as the British “shoot to kill” policy of planned assassination in the North.
"In The Very Very End, Barber points to his medium's plastic possibility by somehow traveling into the future and the past, nodding to Neville Shute's apocalyptic 1957 novel On The Beach, while setting an end-of-days story in a 21st Century holiday resort.
In conversation with curator and educator Mary Jane Jacob, visual artist Ann Hamilton (b. 1956) talks about care, interactivity, and social relations — key concepts that preoccupy her practice — and why she feels compelled to revisit these issues under the Trump administration. Hamilton was trained in textile design and sculpture, and she received her MFA from Yale University School of Art in 1985.
Book Report explores themes of sexual assault, the weaponization of language, and the futility of escape. It combines short sequences of Mad Men's Don Draper with relevant facts about the 2016 presidential campaign — including a history of the hashtag #trumpbookreport and notes on a payment to the mysteriously named “Draper Sterling” ad agency. A choral voice-over, drawn from the infamous Access Hollywood transcript, revises the misogynist “locker room talk,” turning it against the original speaker.
In this episode of The Brenda and Glennda Show, Brenda and Glennda lead a group of drag queens on a trip to Donald Trump’s Taj Mahal Hotel & Casino in Atlantic City. Intended to be a drag queen gambling getaway and a public stage for drag visibilty, the trip turns into a moment of protest and reflection incited by homophobic discrimination. The group is kicked out of the gambling area for supposedly wearing excessive makeup and inapprorpiate, flashy attire — somehow unlike and worse than that of the casino's showgirls and other heavily powdered female patrons.
In this video, Glennda Orgasm and social critic Camille Paglia walk the streets of downtown Manhattan and discuss the status of mainstream feminism in the early 1990s. They visit the Stonewall Inn, Washington Square Park, and a gay bookstore, and confront a group of anti-pornography protesters.
An episode of Glennda and Friends, hosted by Glennda Orgasm and Camille Paglia. Featuring The Centaurians, Brian Roach, and Rennard Snowden.
What Farocki Taught is literally and stubbornly a remake — that is, a perfect replica in color and in English, of Harun Farocki’s black and white, 1969 German language film, Inextinguishable Fire.
In From Fagtasia to Frisco, Brenda and Glennda report from Fagtasia, an event honoring the Summer Solstice in New York organized by the Radical Faeries. Through interviews with Faeries and footage of their walk across the Brooklyn Bridge, the group proposes to reclaim the city as a safe space for queer people, and discuss reorienting queer consciousness toward spirituality.
On September 21, 2014 Ligorano Reese installed a 3,500 pound ice sculpture of the words The Future at the intersection of Fifth Avenue and 23 Street in New York during the People's Climate March. This video compresses the 11 hour event into 4 minutes.
“A century's carelessness is now melting away the world's storehouses of ice, a melting whose momentum may be nearing the irreversible. It's as if we were stripping the spectrum of a color or eradicating one note from every octave.”
–Bill McKibben, January 2006
"On January 22, 1987 an unjustly convicted Budd Dwyer grasped onto the pages of his final speech as Pennsylvania's State Treasurer before shooting himself in front of news cameras. Our current year of armageddon, recession, and occupation resonates as a fitting time to step into Budd's shoes (and perhaps others who sought freedom the same way.) I set up a mini news conference with antiquated, glitchy analog cameras, mixers, players, and decks with the goal of recording Budd's speech in one take.
Employing footage from an obscure 8mm film trailer for Battle for the Planet of the Apes to highlight the unstable relationship between the real, historical past and the distant, imaginary future, this project revolves around a central question: Is alien-ness indeed the metaphor for the 20th Century as power relationships have been embodied within our subconscious? Is there a relationship between these forgotten formats and the discontinued political ideologies that they depict?
In this episode of The Brenda and Glennda Show, Glennda meets up with guest co-host Joan Jett Blakk to discuss Blakk’s 1992 presidential run. The pair interview people on the street outside of the 1992 Democratic Convention. They discuss topics including the police state, weaknesses of the two-party political system, feminism, and political elitism.
An experimental documentary about resistance, balance and fame. Kings of the Sky follows tightrope artist Adil Hoxur as he and his troupe tour China’s Taklamakan desert amongst the Uyghurs, a Turkic Muslim people seeking religious and political autonomy.
They say there are only two stories in the world: man goes on a journey, and stranger comes to town.
Six people are interviewed anonymously about their experiences coming into the U.S. Each then designs a video game avatar who tells their story by proxy. Goss focuses on the questions and examinations used to establish identity at the border, and how these processes in turn affect one's own sense of self and view of the world.
Q: What was the Cubists’ greatest contribution to modernity? A: The invention of camouflage. The Art of Protective Coloration asks us to consider the less-than-innocent connections between the making of art and the making of war. Such questions are the first few steps into the deceptively shifting terrain of this videotape, which leaps into a lurid meditation on aggressive male fantasies, linking the domains of art, war, and sex. It looks at binocular voyeurism, the regressive illusion of the perfected body (whether female or male), the phallic gun-toting pin-up, and camouflage.
People enjoy my company connects the privatisation of telecommunications with techno-optimism, euphoria and online communication in the lead-up to the millennium.
The film explores the privatisation of the Irish state-owned telecommunications company Telecom Éireann from the viewpoint of shareholders communicating on early online forums. The event is contextualised within ideologies of technological emancipation in the pre-millennium period.
Fences Make Senses re-stages and interrogates international barriers and borders using the bodies of non-refugees. Through a series of rehearsals, Barber aims to have privileged bodies experience the themes, situations, and ideas that refugees frequently face. This video was produced in response to the great number of documentaries the artist witnessed that interviewed the unfortunate in their impoverished conditions. Kept in limbo and squalor for years, these refugees are casually disliked by their "host" country.
The 2008 iteration Muntadas and Reese's series documenting the selling of the American presidency features political ads from the 1950s to ads from the 2008 campaigns, and highlights the development of the political strategy and marketing techniques of the TV campaign process.
In the words of activist Dhoruba Bin Wahad, “Historical and social events are subject to almost instant censorship by those who have better access and control over the medium of communication. It is important that there exist people skilled in the use of the technological instruments of communication who will seek out the real truth behind the headlines and tell it for all to see, know, and hear.”
