Gender

2009
Oded Hirsch, 50 Blue

In 50 Blue a young man (the artist’s brother) pushes an elderly disabled man (the artist’s father) in a wheel chair through a muddy landscape. It is a long and exhausting trip to an unknown destination only discovered at the end. After an arduous struggle the two arrive at the edge of a grey lake where a 10-meter high guard tower stands. The young man ties the wheel chair to a rope and hoists the old man up on the tower platform with the help of eight men, all dressed in yellow plastic raincoats.

1998
Aerobicide - Julie Ruin

This music video for the band Julie Ruin, fronted by Kathleen Hanna, formerly of Bikini Kill, critiques the cynical music marketeers of corporate America. Criticism particularly targets campaigns aimed at women, which Benning and Hanna refer to here as the "Girls Rule (kind of) Strategy."

1974
Affected and/or Effected

Affected and/or Effected begins with a close-up of a girl resting her head on her hand, reading. On the overlapping track a male voice states “affected,"—followed by a female voice that responds “and/or effected….”  This pattern of dividing words in half and presenting them in alternating male and female voices continues throughout the video. While what is seen is separated from what is heard, the boundaries between the audio and video portions of the piece are complicated by other sounds. The statement of intent is spoken: "An artist may construct an art.

2009
against a trans narrative

Trans filmmaker Jules Rosskam's against a trans narrative is a provocative and personal experimental documentary investigating dominant constructions of trans-masculine identity, gender, and the nature of community.

By sensitively framing the film through his own personal journey within the trans-masculine community, Rosskam creates an electric and original investigation into gender politics and social self-identity.

2007
Peggy Ahwesh 2007: An Interview

In this interview, American filmmaker, teacher, and video artist Peggy Ahwesh (b.1954) delves into the key figures and primary texts that have inspired her work in Super-8 and video since the 1970s.  She discusses her early influences as a member of the underground art scenes in Pittsburgh in the late 70s and Soho’s Kitchen in the 80s. Ahwesh’s experimental hand-processing and controversial subject matter can be traced to feminist theory, and her exposure to underground experimental films, including works by Werner Herzog, George Amaro, Kenneth Anger, Jack Smith and her teacher at Antioch College, Tony Conrad.

2011
Doug Ischar, Alone With You

At the heart of Alone With You is the notion of impassioned avarice, i.e. the kind of motivated acquisitiveness that drives both erotic desire and obsessive collecting.

2005
Ani(fe)mal(e)

Woman, monster, animal? A portrait of a woman's face, the movement slowed down and reversed, the grotesquely made-up face examined in close-up.

2009
Animal

Masked men prowling in the bushes and not touching anything but satin, dandelions and flesh.

 

1998
 Auto : Body

This project on family violence, spanned two years and several sites across the country, and involved wrecked cars in sculptural installations. The cars were reconfigured by women and children who suffered violence at the hands of loved ones. Linked to each other through common experience, women from a domestic violence shelter in Pittsburgh, a family violence program at Bedford Hills prison, children from shelters in Niagara Falls and Cleveland, teenage girls in Oakland, and politicians on Staten Island all collaborated in making the cars.

1994
The Ballad of Myra Furrow

The image comes up suddenly and then continues unwavering: a young person (Mirra) dressed in a black watchcap and pea coat stands at the edge of a large body of water and sings a sea shanty, occasionally flinching to emphasize certain lyrics or fend off the steady drizzle of rain. The frame is broken up into simple shapes—sea, sky, hat, face, coat—and the longer Mirra sings, the more rain collects on the lens of the camera—threatening to obliterate the subject into the background of sea and sky.

1980
Janice Tanaka, Beaver Valley

In this angry answer to the expectations advertsing culture places on women and their bodies, Tanaka deftly edits commercial images and sound-bite slogans to underscore the message such images carry: that women exist to please men, as wives, mothers, and lovers. Tanaka balances such mainstream images with black and white footage of herself lying naked next to her own doubled image, rejecting the mainstream model of female sexuality that regularly consists of seductive glances and suggestive poses arranged and pre-ordained for the male gaze of the spectator.

1994
BLO Nightly News

In a form of subversive media terrorism, BLO operatives purchased talking Barbie and G.I. Joe dolls, both of which were programmed to speak crude cultural clichés. The dolls were then taken to the BLO headquarters where “corrective surgery” was performed: switching the dolls’ voice boxes.

1998
Lyn Blumenthal Videoworks: Volume 1

The two Social Studies videos call into question fundamental assumptions about the cross-purposes of entertainment: to entertain, to present cultural values, to mediate public policies, and to define social relationships.

 

1988
Both

A beautifully ambiguous study of the nude in light and movement, this short silent film focuses on the dimly lit bodies of two women shot from Child’s distinctly non-male perspective.

2015
BOY NEEDS A FRIEND

"The title, A Boy Needs A Friend, is both a pathetic plea and just a fact."

 – Steve Reinke