Dream City
Ulysses Jenkins composed "Dream City" from documentation of a twenty-four-hour performance he organized in collaboration with David Hammons, Maren Hassinger, and Senga Nengudi. A discordant, absurdist, and poetic montage, the video weaves together jazz and punk shows, recitations by Jenkins, and shots of the Los Angeles skyline and oil wells to comment on power and nation in the early years of Ronald Reagan's presidency.
Ulysses Jenkins
Ulysses Jenkins
Also Directed by Ulysses Jenkins
Mass of Images, a recorded performance that does indeed engage black stereotypes perpetuated by the American media. In the work, Jenkins appears on a set accompanied by a stack of televisions, his face obscured by a plastic mask and sunglasses, neck wrapped in American-flag-print scarf, and sporting an Adidas t-shirt underneath a bathrobe, arranged such that only the “ID” of Adidas is visible. The video cuts between this scene and examples of blackface and racist stereotyping from American films and TV. Jenkins repeats a mantra as he settles into a wheelchair and wheels himself toward center stage: “You’re just a mass of images you’ve gotten to know / from years and years of TV shows. / The hurting thing; the hidden pain / was written and bitten into your veins / I don’t and I won’t relate / and I think for some it’s too late!”
This video documents Cake Walk, an installation and performance piece by artist Houston Conwill, staged in November 1983 at Linda Goode Bryant's pioneering gallery Just Above Midtown (JAM), at its second (downtown) location on Franklin Street. The piece refers to the cakewalk dance which developed in the mid-eighteenth century among enslaved African Americans as, among other things, a way to covertly ridicule slaveholders. The dancers in Cake Walk move amid Conwill's sculptures and paintings, one of Conwill's cosmograms painted on the floor beneath them.
In his Video Griots Trilogy, Jenkins creates a series of video meditations on history and culture. Using archival footage, photographs, image processing, and an elegiac soundtrack, he pulls together diverse strands of thought to construct an "other" history. "Mutual Native Duplex" is a video essay on the mutual alliances between Native and African Americans which celebrates the "neo-American model" of inter-cultural cooperation that grew out of these encounters.
In his Video Griots Trilogy, Jenkins creates a series of video meditations on history and culture. Using archival footage, photographs, image processing, and an elegiac soundtrack, he pulls together diverse strands of thought to construct an "other" history. "Self-Divination" speaks poetically about origins and the realities of the African diaspora.
Writes director Ulysses Jenkins: "This video takes the 'Planet X' myth and interfaces it with the Katrina tragedy in New Orleans, LA, based upon their similar natural disaster principles. With a proclamation of prophecy spoken by avant garde jazz musician, Sun Ra, predicting a coming disaster to African-Americans."
Director Ulysses Jenkins calls his film a "dreamscape in which the dreamer awakens to a visitation of three minstrels who tell the story of the development of African American stereotypes in the American entertainment industry."
Experiemental video using Datamax graphics software. This piece is a very early example of the use of computer animation in video art. ZGrass refers to the programming language used to create the images.
The Watts Summer Festival is one of the oldest African American cultural festivals in the United States. The Watts community founded the event in 1966, one year after the Watts uprising. Ulysses Jenkins's film captures moments from the festival, including footage from a performance by the band War. This California funk band—famous for songs such as "Low Rider," "The Cisco Kid," and "Why Can't We Be Friends?"—was also well known for its multiethnic membership. The 1972 Watts Festival was one of the first events that Jenkins filmed, and he captured the underlying issues of community and commemoration that defined the annual event. At the time the local news media would, in Jenkins's opinion, misrepresent the festival by issuing warnings about it, and the artist's own footage served to counteract the media's negative view.
In his Video Griots Trilogy, Jenkins creates a series of video meditations on history and culture. Using archival footage, photographs, image processing, and an elegiac soundtrack, he pulls together diverse strands of thought to construct an "other" history. "The Nomadics" takes a sweeping overview of peoples from across the world and develops an intuitive and aesthetic sense of history which can posit a global identity amongst people of color.
This performance took place in 1983 at the Art Dock on Center Street in Los Angeles. Like much of Jenkins's other work, it involved multiple performers, including Maren Hassinger and Senga Nengudi. Here Jenkins addresses social and geopolitical issues—specifically the "insensitivity of middle-class attitudes towards the Third World"—often using an invented language referred to as "doggereal." Jenkins confronts Americans' indifference to events outside their own country, particularly to crises and need in poorer nations.