The Legend of Leigh Bowery

Proper doesn't have to mean prim: Alice Hawkins gives the bourgeoisie mood of the Autumn/Winter 2010 collections a terribly British spin in a tongue-in-chic ode to Margot Leadbetter, Beverly Moss and quintessentially English class consciousness.

Bernhard, an actress-comedienne whose brassy humor attracts a cult-like following, here offers a semiconfessional view of her life's landscape. Childhood memories of her father, a doctor, and her mother, an artist, are warmly rendered in scenes of the Jewish family amiably accommodating itself to the Christmas season, and of the obligatory communal vacations joined by colorful relatives. The abrupt transition to a flamboyant denizen of "downtowns," Los Angeles or New York, to an existence as a character in the lives of marginal people, is evoked in sharply satirical terms, in a melange of humorous fact and fiction, monologues akin to those that make Bernhard an icon of pop culture.

“In this legendary sculpture/performance Acconci lay beneath a ramp built in the Sonnabend Gallery. Over the course of three weeks, he masturbated eight hours a day while murmuring things like, "You're pushing your cunt down on my mouth" or "You're ramming your cock down into my ass." Not only does the architectural intervention presage much of his subsequent work, but all of Acconci's fixations converge in this, the spiritual sphincter of his art. In Seedbed Acconci is the producer and the receiver of the work's pleasure. He is simultaneously public and private, making marks yet leaving little behind, and demonstrating ultra-awareness of his viewer while being in a semi-trance state.” – Jerry Saltz (via: http://www.ubu.com/film/acconci_seedbed.html)

We Remember Marilyn. Marilyn Monroe transforms from Norma Jean, a cuddly teenager, into the most recognizable face and body in the world in these home movies, photos and film clips which span her early bit parts to her most known roles.

Art dealer Salvatore Viviano and director Angela Christlieb embark on a search for the lost artist collective Gelitin, which since the 1990s has shattered the borders of "good taste" again and again with extravagant actions and installations. Interviews with old companions and artist friends in the U.S., Europe, and Asia are linked with anarchically montaged Gelitin archive material: intense, transgressive, experimental, gaudily colorful, funny, and virulent.

Filmed at New York’s Carnegie Hall, Cut Piece documents one of Yoko Ono’s most powerful conceptual pieces. Performed by the artist herself, Ono sits motionless on the stage after inviting the audience to come up and cut away her clothing in a denouement of the reciprocity between victim and assailant.

Jamila reads aloud a stack of printed emails written to individuals and organisations delaying, postponing, or cancelling work due to illness from her sickbed.

"Meat Joy is an erotic rite — excessive, indulgent, a celebration of flesh as material: raw fish, chicken, sausages, wet paint, transparent plastic, ropes, brushes, paper scrap. Its propulsion is towards the ecstatic — shifting and turning among tenderness, wildness, precision, abandon; qualities that could at any moment be sensual, comic, joyous, repellent. Physical equivalences are enacted as a psychic imagistic stream, in which the layered elements mesh and gain intensity by the energy complement of the audience. The original performances became notorious and introduced a vision of the 'sacred erotic.' This video was converted from original film footage of three 1964 performances of Meat Joy at its first staged performance at the Festival de la Libre Expression, Paris, Dennison Hall, London, and Judson Church, New York City."

A nude woman relaxing on a bed to Minnie Riperton's song Les Fleurs is exited by its chorus. Director Saam Farahmand heats up the body hair debate.

When he was only 9-years-old Tan France tried to lighten his own skin with bleaching cream. He faces up to his own experiences in an attempt to explore perceptions of beauty, skin tone and colourism.