Sherry Millner (born 1950 in Brooklyn, New York) is an American artist working primarily in video. She has also worked in photography and installation art.
On February 4, 1999, 19 of the 41 shots fired in 10 seconds by 4 NYPD Street Crimes Unit cops hit Guinean immigrant Amadou Diallo as he stood in the vestibule of the building where he lived in the Bronx…. This video essay seizes on the grotesque factual precision of this numerical data, proceeding with an intense contemplation of how police violence is produced and then addressed by other forces on the city streets.
This video proposes an ironic metaphor to grasp the follies of U.S. government action and inaction in Central America. The process of learning U.S. policy is similar to the process of a young child acquiring the principles of language. These dual senses of literacy operate on several levels, situating a child’s consciousness within the contradictions of history comments on the illusory innocence of childhood, and the unexamined, but real, guilt of the U.S. government, its supporters and clients.
The nine months of the filmmaker's pregnancy constructed as a serio-comic fractured nine-chapter narrative, from conception to birth, emphasizing the constantly changing transitional state of embodiment of pregnancy.
The nine months of the filmmaker's pregnancy constructed as a serio-comic fractured nine-chapter narrative, from conception to birth, emphasizing the constantly changing transitional state of embodiment of pregnancy.
The nine months of the filmmaker's pregnancy constructed as a serio-comic fractured nine-chapter narrative, from conception to birth, emphasizing the constantly changing transitional state of embodiment of pregnancy.
The nine months of the filmmaker's pregnancy constructed as a serio-comic fractured nine-chapter narrative, from conception to birth, emphasizing the constantly changing transitional state of embodiment of pregnancy.
An ‘educational’ documentary on the evils of shoplifting is itself shoplifted, mocked, and then remade or extrapolated on the Proudhonian principle that ‘property is theft,’ with the figure of the shoplifter freed from the zone of morality and re-situated as a vital part of an alternative economy. The dual aim is to shake up the disciplinary role of the educational doc as well as conventional definitions of criminality.
Disaster, a two-screen Super 8 film made in San Francisco, has been called the first situationist film made in the U.S. As an antidote to Hollywood’s 1970s disaster films like Earthquake, Millner and cowriter Ernie Larsen turned their attention to the disaster of everyday life.
