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Terry Richardson on the snapshot
Belvedere
An excerpt from an interview with photographer Terry Richardson
Michael Clark and The Fall, Lay of the Land (1984 performance footage)
Michael Clark
1984, performance footage
Footage of Michael Clark's dance troupe performing with The Fall for their song "Lay of the Land" during a 1984 performance at the Old Grey Whistle Test. Excerpts from Artforum's feature on Clark are available online here.
Mark Dion at Bartram Gardens, Philadelphia
2008
Mark Dion returns to Bartram Gardens after the first leg of his journey following in the footsteps of John Bartram.
Trailer for Lars von Trier, Antichrist, 2009.
1:55
The trailer for Lars von Trier's Antichrist.
A Conversation with Alex Coles & Jorge Pardo
Otis College
2008
From the video's producer: "A conversation with Alex Coles, Chair of Fine Arts at Otis College of Art and Design and contemporary artist Jorge Pardo. Among the subjects discussed is Art/Design and Design/Art. Also shown and discussed are several structures and interiors by Pardo."
R.J. Cutler, The September Issue, 2009 (clip)
0:41
A clip from R.J. Cutler's documentary The September Issue.
Harmony Korine, Trash Humpers, 2009. Trailer
0:47
A trailer for Harmony Korine's Trash Humpers.
Interview with artist Alexandra Bircken
Stedelijk Museum
2008
In early 2008, Alexandra Bircken exhibited a series of new works at the Stedelijk Museum's Docking Station under the title of "UNITS." This video contains an interview with the artist and footage from the exhibition.
Miguel Gutierrez, Everybody, 2007 (excerpt)
Miguel Gutierrez
The "Ecstasy" section from Miguel Gutierrez's performance Everybody.
CI08 Interview with Sharon Lockhart about Pine Flat
Carnegie Museum of Art
2008
From the Carnegie Museum of Art: "Blending rigorous aesthetic concerns with an anthropologist's sensibility to community engagement and observation, Sharon Lockhart uses film and photography to create poignant, beautiful, and intimate portraits. She carefully manipulates formal elements as she explores certain concepts with regularity: portraiture, the relationship between photography and film, and the combination of fictive or choreographed performances with unscripted, intimate moments. The film Pine Flat and the accompanying color photographs "Pine Flat Portrait Studio" (both from 2005) present a spare, meditative series of filmic and photographic portraits of a group of children the artist came to know during her nearly four-year stay in Pine Flat, California. Pine Flat is a two-part film focusing on children and adolescents interacting in the sublime landscape surrounding this small rural community. Its determinedly languid pace engages the viewer in a self-conscious reflection on the process of looking and offers a meditation on the subjective experience of time, particularly as an aspect of children's lives."

To read Sharon Lockhart's "1,000 Words" interview, published in the February 2000 issue of Artforum, click here.

To read Brian Sholis's review of Lockhart's film Lunch Break (2008), click here.
Jérôme Bel, The Show Must Go On (excerpt)
Jérôme Bel
An excerpt from Jérôme Bel's The Show Must Go On.
Dara Birnbaum, Technology/Transformation: Wonder Woman, 1978–79
Dara Birnbaum
1978
Dara Birnbaum's seminal 1978 video.
Bernadette Corporation, Get Rid of Yourself, 2003. (Excerpt)
9:12
An excerpt from Bernadette Corporation's 2003 video esssay Get RId of Yourself.
Christopher Hitchens gets waterboarded
Vanity Fair
performance documentation
Vanity Fair's documentation of writer Christopher Hitchens being waterboarded.
A short documentary about Larry Clark
Jamie Winterstern
2006
Larry Clark discusses his life and work, featuring clips from Kids (1995) and Wassup Rockers (2005). Directed by Jamie Winterstern.
Chris Marker, Sans Soleil, 1983. (Excerpt)
3:56
A brief excerpt from Chris Marker's classic film Sans Soleil.
CI08 Interview with Mark Manders
Carnegie Museum of Art
2008
From the Carnegie Museum of Art: "Since 1986, Mark Manders has been engaged in an ongoing project he refers to as "Self-Portrait as a Building," mapping his artistic persona through site-specific renegotiations of physical materials in space. Taking the shape of sculptures, installations, and drawings, these subtle rearrangements of existing and invented forms fuse specific and seemingly incongruous elements—figures, animals, archaeological fragments, everyday objects, and architectural components—into a new visual language. Room with Clothes, Belt and Contact Lenses (1992-2008) is the title of a sculptural installation consisting of multiple works. In the largest work, Continuous Livingroom Scene (2007-2008), two figures appear split down the middle and arranged with wooden beams and plates, while a third, abstracted figurative "fragment" is discernible only by its mop of hair. Chair (2003) is a "found" object as its title suggests, while Assignment (2008) is an odd accumulation of the artist's clothes, shoes, contact lenses, and money. Also on view, Fox/Mouse/Belt (1992) is a poignant floor sculpture of two incongruous beings arrested mid-leap. Bound together by a leather belt and placed on the floor, the animals are frozen in an indeterminable moment in time. Within each object and from one installation to the next, Manders expresses the potential for symbiotic relationships between disconnected or opposing parts."
David Barison and Daniel Ross, The Ister, 2004. (Excerpt)
9:01
An excerpt from David Barison and Daniel Ross's film, The Ister.
Trailer for Eric Bricker’s Visual Acoustics (2009)
2:16
Trailer for Eric Bricker’s Visual Acoustics (2009)
David Byrne conversation with Jeff Koons in 1975
Jamie Dalglish
1975, documentation
1975 video recorded by artist Jamie Dalglish of David Byrne having a conversation with Jeff Koons at 52 Bond Street. Via paintings + drawings and Art Fag City. © Jamie Dalglish
Richard Kelly, The Box, 2009. Trailer
2:09
The trailer for Richard Kelly's The Box (2009).
The making of David Cronenberg's Crash.
8:46
From the 1997 Criterion Collection laserdisc for Crash (1996). Interviews with J. G. Ballard, David Cronenberg, James Spader, Holly Hunter, Elias Koteas, and Deborah Kara Unger.
Augusta Palmer, The Hand of Fatima, 2009. (Trailer)
1:53
The trailer for Augusta Palmer's documentary The Hand of Fatima (2009_.
CI08 Interview with Haegue Yang
Carnegie Museum of Art
2008
From the Carnegie Museum of Art: "Haegue Yang's art resists a defining medium, engaging instead with a range of means, from wall drawing to books, sculpture, installation, moving image, and photography. The oblique self-analysis that Yang uses as both strategy and substance in her "placeless" art is symptomatic of someone who has lived for many years outside of her native country and whose life and work entail the high-mobility and in-transit condition common to many contemporary artists operating internationally. This acute sense of provisional belonging—being at home in what is foreign and feeling foreign in what is home—lends Yang's work a hair-trigger sensitivity for the inflections of quotidian experience as well as public and private territories. She has described her practice in terms of a poetic activism. Three Kinds (2008) employs commonplace objects such as venetian blinds, lights, and mirrors to create an atmosphere of dramatic intimacy. Though the specific point of conceptual departure remains obscured—Yang relates this and similar installations to abstract portraits of various individuals from Asian and European history—the interaction of the elements might be seen as a stand-in for human relations."
Jacob Ciocci, The Peace Tape, 2008
4:02
Jacob Ciocci's 2008 video The Peace Tape.
Documentation of Peter Coffin's UFO project
Peter Coffin
2008
From Peter Coffin's studio: "This summer a U.F.O. was built and flown over the Baltic Sea and into the Gulf of Gdansk where it was witnessed by onlookers whose sightings were captured on cell phone cameras, camcorders, digital cameras, 35 mm SLRs. The photographs and videos are not unlike classic U.F.O. documentation; they are grainy, blurry, and may appear to be of skeptical origin. While the U.F.O. in these photos is real, this familiar documentation initiates inclinations toward curiosity, skepticism or belief.

"In 1958 Carl Jung wrote, 'Flying Saucers, A Modern Myth of Things Seen in the Sky' arguing that an increasing rate of U.F.O. sightings, could be understood as a corollary effect of the eras pervasive atomic fears. Jung's theory is that extreme social unrest and psychological stress may manifest U.F.O sightings as a 'uniting symbol' in the collective unconscious. The rampant armament of nuclear nations, war, poverty, religious fanaticism and other social scares fluctuate with the frequency of U.F.O. sightings. Jung's prompt postulated that the rate of sightings reported must have been endemic of a larger social phenomena, a 'projection-creating fantasy' giving shape to broader psychological experience.

"It is a fact that the frequency of U.F.O. sightings is higher during times of war. A faith in rational reasoning is disturbed in these times and can result in the conviction of abstract notions of reality such as spiritualism, or fantasy. This project initiates a harmless encouragement to consider such phenomena and perhaps even consider how or why our consciousness adapts the way that it does. By facilitating sightings and potentially belief, this project encourages a kind of thinking that escapes the comfort of ordinary perspective. With respect to this project, just as the purpose of art is to 'wash the dust of daily life off our souls' according to Pablo Picasso, it is also 'the lie that enables us to realize the truth.'"
Neill Blomkamp, Alive in Joburg, 2005
6:24
Neill Blomkamp's 2005 short Alive in Joburg
HBO Preview Trailer for True Blood: Season Two.
3:06
An HBO preview trailer for True Blood: Season Two.
Ann Liv Young, American Crane Standards, 2002 (excerpt)
Ann Liv Young
2002
Ann Liv Young, American Crane Standards 2002.
CI08 Interview with Vija Celmins
Carnegie Museum of Art
2008
From the Carnegie Museum of Art: "Characteristically rendered in muted tones, blacks, and whites, Vija Celmins' paintings and drawings explore the farthest reaches of restraint and representation. Her art seeks to understand the limits of human experience through imagery that points toward uninhabitable, desolate, and unbound beauty—the ocean, the desert, and the night sky are subjects that appear repeatedly in her paintings. Yet it is photographs rather than actual natural expanses that form the direct basis for her work. The Night Sky paintings derive from details of flat pages from magazines—the horizonless starry depths have been imperfectly "scanned" and translated by Celmins onto the canvas in a way that implies a seductively held tension of surface and depth, detail and illusion. In a process the artist has compared to masonry or brickwork, she laboriously deposits and constructs, sands, or erases the monochromatic pigments "to fix the image in the memory." The Night Sky works openly invite myriad connotations from philosophical meditations on humanity's place in the cosmos to starry allusions to the "final frontier" in television and cinema."

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