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"Comprises film and videotape from the August (1969) epic freak-out in New York State (White Lake- "Woodstock") with all the groups you can name, and a cast of half a million. Unlike the Rolling Stones films shown on British television, this is full-color and the techniques are more imaginative and acid-based than the Stones film, good as that was." – Alex Gross, London "International Times." Selected for the Montreal International Festival of Film in 16mm at the Museé des Beaux Arts; the Encounter With The American Cinema at Sorrento, Italy, 1970 (Selection of Martin Scorcese); and the Museum of Modern Art in Paris American Underground Film Weekend. Silent version premiered in 1969, accompanied by video and light show, in the extended opening program of Global Village in New York City.
Abstract light poem tribute to Julio Le Parc, first winner at the 1966 Venice Biennial of a Painting Prize for Kinetic Art, filmed at the Howard Wise Gallery in New York. Premiered at the Gate Theater, New York.
"This sensuous sea of color, motion, light that seems to surround us completely and we swim in it almost bodily and it is like going through the most fantastic dream." - Jonas Mekas
A four-screen within one frame film, shot in un-slit regular 8mm, in four sections of four performance / happening / destruction art events presented in 1967 at the Judson Gallery below Washington Square in New York City. SOME MANIPULATIONS captures the confrontational light pieces of Jean Toche, an avant garde musical performance by Nam June Paik and cellist Charlotte Moorman, an actionist painting event by Steve Rose, and a classic Dada lecture/performance by Al Hansen. SOME MANIPULATIONS was premiered in December 1967 as one of the continuous loop elements in Jud Yalkut's DESTRUCT FILM environment, in which spectator/participants were obliged to walk, sit on, and dive into a floor covered with unrolled "junk" 16mm film in order to view the rotating slide and film projections. The film's inclusion represented an instance of ultimate feedback of events back into the space in which they had been presented.
Yalkut's film is the only record of Nam June Paik's legendary 1967 performance Opera Sextronique in New York, which was interrupted by the arrest of cellist Charlotte Moorman, who was performing topless. The incident led to Moorman's subsequent notoriety as the "Topless Cellist." This restaging of the first two movements of Opera Sextronique, performed by Moorman and filmed by Yalkut in a studio, was shot immediately after the arrest incident to present at Moorman's trial. (The judge did not permit it to be shown in court.)
Part of a collection of restored early works by Nam June Paik, the haunting Beatles Electronique reveals Paik's engagement with manipulation of pop icons and electronic images. Snippets of footage from A Hard Day's Night are countered with Paik's early electronic processing.
The ritual of amorous adventure among the domestic peccaries of North America.
This tape is Jud Yalkut's video realization of Charlotte Moorman and Nam June Paik's concert performance of John Cage's composition 26'1.1499" For String Player. In this extraordinary performance, which is manipulated and synthesized by Yalkut, Paik and Moorman play Cage's score on a collection of "instruments" that include a pistol, a dish of mushrooms, balloons, a practice aerial bomb, and a telephone call to President Nixon.
A poetic montage of the 'sculpture garden house' of 67 year old hermit-builder Clarence Schmidt of Woodstock, New York, appraised as 'a really great work of folk art' by curators Lawrence Alloway and Henry Geldzahler. The film includes some of the only footage taken of Clarence living within the seven-story mountain interior of his creation, which was tragically gutted by fire in the winter of 1967-68. A homage to Clarence and his more than forty years of devotion to the transmutation of cast-off objects into an environment or beauty and love.
A film directed by Jud Yalkut