Crossing

Jazz pianist Mary Lou Williams was a genius ahead of her time. From child prodigy to "Boogie-Woogie Queen" to groundbreaking composer to mentoring some of the greatest musicians of all time, she never ceased to astound those who heard her play. But for a Black woman in the early 1900s, life as a star did not come easy.

The censored images in Rosebud were shot in a library in Tokyo. I came across them by accident while researching there in the spring of 2012. The books, monographs on Mapplethorpe, Tillmans and May Ray, were being imported into Japan from Europe when they were stopped by customs officials. Local law in Japan forbids a library from having books with any images that might induce arousal in a viewer. So after negotiations with the Director, it was agreed that customs workers would go through the shipment and sandpaper away the genitals from any contested images. The video is focused on the violence of the action of sandpapering – to the point where glossy black printer ink gives way to the scuffed and bruised paper stock underneath. There’s something intense but also futile in these marks. The video is a study of rubbing against and along different surfaces: the meniscus of water over the print, the elderflower rubbed along a boy’s body.

Text on a spectral gray background gives way to a disorienting irregular flicker. A foreboding soundtrack of buzzy drones and whirring motors lends a menacing color to febrile declarations of indefinite love. Eyes emerge from darkness, peering at us from faces carved in rock.

A film tribute, portrait and investigation of the set designer, photographer and actor Albrecht Becker. Staying with Becker’s self-portraits, artists Steve Reinke and James Richards pair public and private images in ways that challenge and re-signify one another.

James Richards’ Qualities of Life: Living in the Radiant Cold is a descent into a maelstrom of images and objects—from glitched medical optics, photos from the archive of Horst Ademeit, who documented the impact of radiation on his body, to Richards’ own collection of erotic objects, drug paraphernalia, and other ephemera that swim in a dark techno-pharmacological miasma.

The starting point was a video tape of projection footage made by the artist Gretchen Bender, who turned clinical images of infections, deformities, and morbid injuries into an abject flicker film. Reinke and Richards expanded Bender’s medical gaze into a broader perspective, combining new sequences and animations, interweaving them to produce a film with a rich soundtrack of audio and spoken word.