![]() ![]() ![]() “The way my projects are designed - through the use of repetition, sound and long takes that stare at you - there’s a structure built into them that, at best, is hypnotic.” ![]() “We all know we live in a sound-bite culture and we’re all aware of people’s short attention spans, yet I’m compelled to make these pieces a certain way,” Handelman says of her commitment to longform video, talking with KQED Arts. Shannon Funchess, John Kelly and Viva Ruiz playing Iceberg Slim, Toby Dammit and Marguerite Duras in Michelle Handelman's 'Hustlers & Empires,' 2018. But an hour-long, non-narrative, three-channel video installation? Good luck.Īnd then there's New York-based artist Michelle Handelman’s latest piece, Hustlers & Empires, commissioned by and on view at the San Francisco Museum of Modern Art, which doesn't just hold the audience’s attention - it commands it.ĭrawing from three very different sources - Iceberg Slim’s 1967 memoir Pimp, Federico Fellini’s 1968 short film Toby Dammit and Marguerite Duras’ 1984 autobiographical novel The Lover - Handelman layers fact, fiction and mesmerizing performances to create a compelling, fragmented, hallucinatory depiction of those living on society’s edges. Sure, anyone will watch a 30-second Instagram video, a 2-minute-30-second movie trailer, and maybe, if you’re blessed, a 6-minute long mini-doc about a visionary local filmmaker. The real trick with any durational art - video or performance - is holding the audience’s attention. ![]()
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