Energy of Delusion

A ramshackle underground SF satire set and shot in the self-absorbed art world of lower Manhattan, written, produced, and directed by Joe Gibbons, who also plays one of the lead parts. Gibbons plays a mad scientist who's developed a technique for transferring personalities from one person's body to another; he becomes obsessed with an outlaw artist (played by performance artist Karen Finley) who destroys paintings in various galleries as a form of anarchist, anticapitalist protest.

Joan of Arc and Dorothy of Kansas become one thanks to Hildegard von Bingen.

Made in collaboration with Keith Sanborn, The Deadman is based on a story by Bataille, charting "the adventures of a near-naked heroine who sets in motion a scabrous free-form orgy before returning to the house to die — a combination of elegance, raunchy defilement and barbaric splendor." — Jonathan Rosenbaum, Chicago Reader.

An exploration of Keats’s proposition, that “when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason…the sense of Beauty overcomes every other consideration, or rather obliterates all consideration.” We live in an age of contradictions and uncertainties and no one was more adept at holding these contradictions together visually and with more finesse than Vincent Grenier to whose memory this film is dedicated, along with a certain amount of lunacy.

A slow four-part film on death and the persistence of the dead. Where ignorant armies clash by night: the dolphin-torn and gong-tormented sea.

1982, 3.5 min, 16mm, anaglyph 3D

1980-88, 11 min, 16mm, silent. Preserved by Anthology Film Archives. Separate digital soundtrack accompaniment.

A short essay on the triangular Square du Vert-Galant, one of the favorite repairs of the vanishing Paris of Guy Debord. Yet another slow film.

An attempt to problematize ownership and authorship in the age of digital reproduction. Inspired by the Walter Benjamin essay of the same name and the activities of the Situationists.

2019, 1 min, digital

8mm-to-digital and 16mm projector performance. This work includes the film NAVIGATION, which has been preserved by Anthology Film Archives.

"A didactic treatment of the Reagan assassination event /coverage as spectacle. Nearly anyone in the world who turned on a television that day, or with regularity in the following six months, has had the images of the event burnt into his or her consciousness at the level of myth. Like language itself, these images have entered consciousness at a depth and with such universality that they seem for the present to be inaccessible to analysis. These are 'images that understand us.' The film is an attempt to display something of the institutional quality of the event/experience as it exists in us: as the control of images and the images of control. An anti-Report ." - K.S.

A film by Keith Sanborn

Various permutations and combinations of the Zapruder footage of the assassination of JFK. Intended as an investigation of the footage as visual, experiential, and cultural document. In the USA this footage is both notorious and invisible; seldom actually seen, it is very well known; when seen, it remains opaque. This work is intended to add a level of "transparency" to original. It is set to Jajouka music in order to bring to the foreground the ritual aspects of this visual, mechanical; and media historical event. For some reason I had a memory of that footage being black and white.

In one incredibly long take we see the arrival and disappearance of John Kennedy's body as it is delivered from Dallas aboard Air Force One.

Based on a series of ads in 2008 on Телеканал звезда [the Star Channel], owned by the Russian Department of Defense. The ads seek to draw parallels between stereotypical feminine daily gestures of fashionable self-imaging and stereotypical activities of male soldiers. These ads are sequenced, then juxtaposed with “upskirt” footage of a famous Italian fashion model, downloaded from Youtube. By means of this juxtaposition and strategic interventions in speed and chronological orientation (backwards and forwards) two forms of gendered construction of the gaze are compared and contrasted. This work is a single channel version of part of an on-going series, called Equivalences, generally presented in the format of a site specific installation.