Thanks for watching our daylong stream of videos from across the internet.
Artist Michelle Handelman has taken the epic 7-hour film Les Vampires about a bizarre underground criminal gang and transformed into “Irma Vep, The Last Breath,” a video project that is about “living in the shadows, criminal anxiety and the relationship between the artist and her creation, both fictional and real.”
Commissioned by former Iraqi leader Saddam Hussein, the songs in Adel Abidin’s “Three Love Songs” (2010) are transformed into sinister pop music videos that use attractive blonde women as conduits for the fallen dictator’s propaganda.
Last month, German filmmaker and artist Harun Farocki died at the age of 70. Farocki made films that were unabashedly political yet remarkably reserved.
In the 1980s, the dream of going pop — as in pop culture rather than Pop art — in the art wold was raging strong, and many people thought it practically imminent.
One of my favorite pieces included in Radical Presence: Black Performance in Contemporary Art at the Studio Museum in Harlem earlier this year was Adam Pendleton’s “Lorraine O’Grady: A Portrait” (2012).
Why do we make art? Why does anyone create anything?
On Wednesday, artist Jayson Musson tweeted “lol this performance art scene in She’s All That is better than real performance art,” and his 84 characters opened the flood gates of memory for me.
Do you ever feel like the art world is sort of like high school, or life at a small liberal arts college? Or maybe just a blowout party you’re not actually sure you were invited to, but you decided to show up anyway?
Every year, Hyperallergic pays tribute to David Cronenberg’s Videodrome (1983), the classic sci-fi thriller, with a 12-hour journey through videos we discover littering the internet.