I would like to say more about what I liked in what I have seen, of the
"Immaterial Girls" program in particular.
There seems to be a remarkable refinement in the way that an artists'
thoughts, which on screen text titling serve to invoke, work with the
imagery the artist uses. In each of the Vanderpool and Bardsley cases the
video combines popular imagery with footage she shoots. But what she says
is always particularly - how shall I put it? - moving/fascinating.
I was at first tempted by a dismissive response (in myself) toward this
Immaterial Girls program. While I would love to run on about that, it would
be less constructive than simply adopting the "subject position" of the
program. So . .
It is not a photographer's work we are seeing. And I was reminded of that
initial invitation to propose films here on the list that explore the
damaged photograph (at least as I understood the invitation). What came to
mind was Memento, which I doubt anyone is particularly interested in.
I myself wouldn't make the work in the program of Immaterial Girls. Let's
say that a photographer's moving image artist uses frames. And not in any
sense that a video would have frames. That fact about a viewer could
contribute to an explanation for that echo of impatience toward certain
characteristics of such videos as Onion City's.
It often seems to be a question of what you remain with, what stays with
you, as you recall a few works in a program you have just seen. To a
certain extent, there is a polish and self-assurance that always impresses,
whatever the genre. But then there is a further question that cannot be
suppressed, and in these Onion City works (I mean the Immaterial Girls) I
would say it is very much a question that is not photographic.
I was also going to write an d recommend one video from that first program
("Are we there yet?"), the one with the pizza delivery. You who set up
shots and think about what their relationships are might share the pleasure
I took in this little gem ("Stress Ball" was its title).
Bernie
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