[Image description: A still from my video After... After... (Access) shows a body beneath blankets on a stretcher, looking down a long hospital hallway. An open caption on the screen reads "Access not only refers to permission to make a documentary in a given space."]

CURRENT EXHIBITION

Prophetic Memory
Artists Space
May 9, 2012 - September 4, 2021


[Image description: A circular print of a painting hangs on a lavender wall. The painting depicts two white women wearing dresses with crinoline hoop skirts that appear to be from the antebellum period before the US Civil War, surrounded by a pink mat and a gold frame. It hangs over a coffee maker and next to a vacuum cleaner and a wood armoire. Bed pillows, positioned in the foreground, are lightly reflected in the glass of the print’s frame.]

FILMS & VIDEOS

Shared Resources, HD video, 98 minutes, 2021.
Made over five years, Shared Resources depicts my family after my father was fired from his job as a debt collector and my parents declared bankruptcy, largely due to my own debt. Following my parents’ day-to-day lives and my relationship with them, the film self-reflexively utilizes open captions and visual descriptions both to provide access and to involve my family in reflecting how they see themselves in the film. Meanwhile, as my parents and I confront our very different understandings of debt and disability, the film asks what it means to owe each other everything.

[Image description: Three white people sit at a table together, each with a set of white papers in front of them. The figure on the far left is a bald man in his 60s, who reads the papers intently. The figure in the center is a person in their late 20s, who looks to a woman in her 60s with blonde hair, who holds the papers in her hands and looks back at them. A caption appears over the image that reads: “My mom looks at me, as I speak. My dad looks down at the contract.”]


After...After... (Access), HD video, 16 minutes, 2018.
An essay film that confronts questions of accessibility through an attempt to record my open-heart surgery. The film follows me, as I prepare for the surgery: watching medical imaging of my body with friends, revisiting a former lover, preparing for my mom to come to New York, documenting my family's arrival, and ultimately being admitted to the hospital. Alongside this footage, the film's narration considers the relationship between showing and telling; various dimensions of access; and how access is frequently considered only after the threat of liability, in the context of both filmmaking and disability. The film prioritizes access as a precondition of the film itself; audio description and open captioning are inseparable aspects of the film.


[Image description: The inside of a body, including a spine and other organs, appears on a laptop screen. A white person's hand reaches toward the laptop's keyboard. On top of the hand, a caption reads: “In learning to make a film, students are taught to show rather than tell.”]

I Can Hear My Mother's Voice, with Deborah Lord, HD video, 5 minutes, 2018.
Made collaboratively with my mom Deborah, I Can Hear My Mother’s Voice documents my mom’s process of learning how to use my video camera. As she watches the footage she has recorded, she reacts to and describes the footage she sees––showing what and how she sees––while opening up a space between sense, memory, speculation, and grief.


[Image description: Three elderly white women sit next to each other; two of them wear leopard-print and have matching strawberry blonde hair. The third woman wears a pink track jacket and closes her eyes, as she holds the hand of the woman in the center. They all appear to be singing. A caption at the bottom of the frame reads: “you can read it in their lips.”]


PERFORMANCES


[Image description: A photo of my performance with Carissa Rodriguez, I seemed to be suggesting I was doing a good deed by offering her this platform she hadn't asked for, shows a white person, whose baseball cap casts their face entirely in shadow, awkwardly holding up a white rectangular object that resembles a blank screen but upon closer inspection is, in fact, a table; they are surrounded by a completely black space.]

You Should Wake Up Earlier, a No Total play, performed and written with Arias Abbruzzi, Amelia Bande, Emma Hedditch, Svetlana Kitto, and Nia Nottage, Artists Space : Books & Talks, organized by No Total, 2017.
I seemed to be suggesting I was doing a good deed by offering her this platform she hadn't asked for (with Carissa Rodriguez, music by Gobby and Skype Willams), Artists Space : Books & Talks, It's Already Started, organized by No Total, 2016.
"Ideas of Reference," performed with Arias Abbruzzi, With and For, Knockdown Center, organized by Rachel Valinsky, 2016.
Soho Is Dead, performed with Arias Abbruzzi, No Total weekend, Artists Space : Books & Talks, organized by No Total, 2015.


OTHER COLLABORATIONS

A.) In Person, with Hernease Davis, Asha Ganpat, Guido Garaycochea, Joy Garnett, Gi (Ginny) Huo, Shona Masarin-Hurst, and Monika Wührer, descriptions.
B.) Assumption of Risk, waiver form, frame, caption (dimensions variable).
Presented as part of “Permissions,” Elizabeth Foundation for the Arts Project Space, 2020.


[Image description: A photo of the piece Assumption of Risk shows a waiver form hanging inside a black frame on a white wall. The text is too small to read in this image without zooming in. ]

Dependency and Instruction, Expanded Cinema: Carolyn Lazard, Park McArthur, and Constantina Zavitsanos, 2017.
Behind the Camera, Covering the Image: Caroline Key and Shelly Silver, 2017.
Interventions in the Interview, Fugitive Subjects: Amber Hawk Swanson and Stephen Winter,, 2017.
"Recording and Performing": Apparatuses of Capture, Documentary, and Liveness in Artists' Cinema, 2017,
YOUNGGIRLMANCHILD, organized with Shelly Silver and Nova Benway, 2013
The Politics of Friendship, with Anicka Yi, Carissa Rodriguez, and Lise Soskolne, 2013


WRITING

"Value Subtracted: A Poetics of Access and Interference," published in Intertitles, edited by Jess Chandler, Aimee Selby, Hana Noorali & Lynton Talbot, 2021.
"Personal Appearance Catch Agreement," appeared as part of After... After..., Piper Keys, 2019.
"I seemed to be suggesting that I was doing a good deed by offering her this platform she hadn't
asked for" performed with Carissa Rodriguez, 2016.
"To Have and to Hold," on Carissa Rodriguez's "La collectionneuse", 2015.
"You Can Keep the Sunshine, Save Me the Rain", with Anicka Yi, exhibition text for Denial, 2013.
"Loving in suspense", published in The Politics of Friendship (p. 7 in PDF), 2013.


Credit on resources, ongoing collection of all credit offers, 2016-present
[Image description: A white envelope sets on a table; the envelope has two windows that show its contents. In one window the following text appears: "PAYER'S name, street address, city or town, state or province, (a few letters starting a word that's incomplete), or foreign postal code, and telephone no." Beneath this text appears: "Artists Space, Inc. 38 Greene St., 3rd Floor, New York, NY 10013." Another piece of paper is stacked on top, the Capital One logo is partially visible, recognizable by a portion of its red boomerang, and the slightest traces of its name in a blue font. In the lower window on the envelope, a card is stacked on top of the paper that shows the words "Debt Eraser" surrounded above by the words "Higher Interest" and below by the words: "Up to $25,000." Beneath this text, the words "Invitation To" appear. On the envelope itself, the words "Important Tax Document Enclosed" appear. The corner of another envelope appears at the top of the photo.]

Contact:
jrd.lord@gmail.com