VIDEO - Kate Gilmore

Kate Gilbert, Buster (2010) Film-Still

Kate Gilmore's video Buster operates like a long-exposure photograph.  It documents motion and change, accumulating information as time progresses.  With the purple and white paint pouring down grey steps, the viewer can trace Gilmore's action (methodically walking horizontally across the frame, smashing ceramic paint pots).  Some of the ceramic containers remain whole, splattered with the contents of their neighboring chards, serving as markers of what used to be.  Ultimately, the video, and the remaining installation of Gilmore's set-up become evidence of what has occurred.  This is Gilmore's "long-exposure" document.


To view a clip of Buster from the artist's website, click here.

VIDEO - Bill Viola

Bill Viola, Two Women (2008) Film-Still

Bill Viola's work flirts with the idea of the photograph as he films momentary occurrences and slows them down.  Two Women records two women passing through a wall of water.  It happened within seconds in realtime, yet Viola extends these moments into a nine minute piece.  By slowing down the footage, Viola's work becomes more about the visual experience of each frame.  It's as if he made still images, allowing the audience to simultaneously dwell on the concept and composition.

To view Two Women by Bill Viola, click here.

VIDEO - Guido van der Werve

In the center of the frame there is a large icebreaker plowing through an unending expanse of frozen water.  In front of that icebreaker, there is a small dark figure.  The person seems to be walking just ahead of the ship, completely dwarfed as they are framed by the white of ice breaking at the boat's bow.    For ten minutes and ten seconds, the audience is held suspense: will the trudging figure be overcome by the cold and the ship?  This is Guido Van der Werve.
The frame is constant, yet even though the figure continues to approach the camera, their size remains relatively unchanged.  This illusion reminds us of the power of the camera.


To view a (unfortunately low-quality) youtube clip of this work, click here.

VIDEO - Rineke Dijkstra

Rineke Dijkstra, The Buzz Club, Liverpool, England/Mysteryworld, Zaandam, Netherlands (1996-1997) Film-Still

Dijkstra's 24:40 minute (dual-channel) video of isolated individuals at a dance club is awkward.  But it is just that revealed sentiment that makes the work so interesting.  Set against a white background, individuals or couples stand centered, facing the camera.  The music is blaring and many of the subjects self-consciously start and stop dancing along.  They are removed from, yet still in the dance club.  

The video piece is usually installed in concert with her photograph portraits - further tying the mediums together.  From Dijkstra's prints, we are drawn to their gorgeous stillness.  In her videos, the viewer is pulled into the motion.  Ultimately, both mediums translate the awkward reality of these young dance club-goers.

To view a (unfortunately low-quality) youtube clip from this piece, click here.