The Co-Star Tapes: 4 Reasons Why:
Because it is only a capitalist plot that keeps me and the other other girls away from our legacy: lady-made art. When the brilliant British video artist Gillian Wearing was making her tapes, did she think: I am making this for academics and critics and people in New York. Probably not. She was just making her art. That's her job. It is the galleries' and museums' job to "bring it to the public". The public is: people who go to and live near galleries and museums that show video art. Everyone else, (which is almost everyone in the entire world) doesn't get to see Gillian Wearing's tapes. Even tho she made them simply, cheaply, in her own neighborhood. Even though they are so good that almost anyone would love them, hate them, be changed forever by them (and secretly this is the problem. It's not money at all, but terror. What would happen if all the girls at Jefferson High School saw these tapes. Their idea of what is possible might change. They might demand more from everyone. They might know for a second that everything doesn't have to suck all the time. This thought is so fearsome to some people that they NEVER THINK IT.)
2. The curator is like the one who holds the remote control. It is a
great feeling to get to choose what everyone should watch. And so boring
when someone hogs the remote.
3. The curators can take liberties that are not appropriate for the
Chainletter tapes. The goal of the Chainletter tapes is to continually
circulate new movies IN VOLUME. In contrast, some Co-Star releases will
represent the work of just one or two artists, or will focus on a
specific theme or region.
4. The Co-Star tapes will draw attention to the specific movies and
artists that Joanie 4 Jackie is presenting, rather than to the project
itself. It's true.