Los Angeles-based, Kaucyila Brooke (b.1952) makes what she describes as, "wall size photographic sequences in comic-strip format that consider lesbian relationships within American popular culture." Produced over the past five years, Brooke’s large-scale photo-text installations look at aspects of lesbian culture and alternative communities. Wry and often quite critical, they probe some of the ways lesbian relationships both challenge and reproduce the power relations and narratives of the wider culture.
A glittering, Las Vegas-inspired music video for John Sex’s song "Bump and Grind It". With an outrageous fountain hairdo (by stylist Danilo), Sex sings his catchy pop lyrics, “You gotta put your love behind it/Bump, bump, bump and grind it.” Featuring the Bodacious Ta-Tas and inter-cut with Vegas showgirl footage.
The Bus Stops Here is an experimental narrative about two sisters, Judith and Anna, plunged into depression by their struggle to gain control over their lives. Narrated by Judith’s counselor, The Bus Stops Here traps these women in a narrative in which their unmediated voices are rarely heard; instead, the viewer learns about them only through the interceding power structures of narrative, family, and psychiatric establishment.
This video diary visits two sites that exhibited my visual works this past year, culminating at the VOLTA ART SHOW in N.Y.C., where I sold some paintings and a photograph.
The underling theme of the diary deals with some bloating, scarring and beefcake exposure while on the road to an acting gig where I'm scheduled to play a BI-SEXUAL, paraplegic in heat.
There are some in depth scenes of me working out the romance/sex routines with a young and attractive, male co-star. The all-girl crew appears to be getting off on the whole thing and I don't blame them!
CHANNELING is an entryway into the spirit realm and the queer body politic: a program of experimental moving image work that calls up the ghosts of the past and the specters of the future. The intent of the program is to re-imagine film and video as occult technologies that allow us to connect with the bodies, experiences, and emotions that are often invisible--ghostly even--in everyday life.
Taiwanese artist Shu Lea Cheang (b. 1954) tackles conceptions of racial assimilation in American culture, examining the political underbelly of everyday situations that affect the relationship between individuals and society.
Cheang’s work from the early-to-mid 1990s demonstrated an exciting fusion of identity politics and erotic exploration, making her one of the period’s most prominent queer media artists. This collection presents two of her solo works, along with two collaborations.
Rubnitz’s short cooking clip showcases a chicken casserole recipe from the kitchen of Elaine Clearfield. All you need is chicken, rice, a packet of Lipton onion soup mix, a can of cream of mushroom condensed soup, and water!
Quoting Confucius, that “food and sex are human nature,” Chinese Characters builds a parallel between the Chinese legend about the search for the source of the Yellow River and contemporary Asian-Canadian gay men’s search for pleasure via their relationship to gay pornography. Advancing the positive value of pornography as a way to help fantasize and experience greater sexual pleasure and ingenuity, personal techniques are demonstrated and deployed in a High Noon dream of sexual adventure.
The Chocolate Factory is a suite of monologues in the voice of a fictionalized serial killer, one monologue for each victim. The camera, with an almost structuralist rigor, pans up and down simple line drawings of each of the seventeen victims. A Black Sabbath song, picked apart and extended, serves as punctuation and soundtrack. Reinke has described the video as, "My autobiography as Jeffrey Dahmer." But really, as the narrator says, "It's all about the victims."
Shot primarily in Fisher-Price pixelvision, for the “murky look of memory," Coal Miner’s Granddaughter is a profoundly moving family portrait focusing on the youngest daughter Jane, as she leaves her Pennsylvania home and finds sexual independence in San Francisco. This semi-autobiographical narrative is remarkable for Dougherty’s unconventional approach: working with non-professional, plain-looking actors and improvised dialogue to recreate the life of the “average” family, and women who are “Plain Janes with big desires.”
Color Schemes was exhibited in its installation form (with a self-service washing machine) at the Whitney Museum in 1990. Using the washing machine as a metaphor for the great American “melting pot” of ethnicity, the tape presents individuals from a variety of ethnic backgrounds “representing” their ethnicity—in one sense by being on camera, and also by acting out or speaking about ethnic divisions. Cheang plays with this “overdetermiNation” of ethnicity, creating a multi-layered discourse on racism and assimilation that condemns the former and refuses to condone the latter."
This humorous video begins with two women—one white, the other Asian—attempting to fit into a Japanese bathtub. The awkward fitting of bodies into a small space is just one of the allegorical scenarios dramatized in a pressing appeal for lesbian rights. In a game of hanafuda (flower cards), the terms of lesbian domesticity are cleverly played out according to such legalities as joint property, social security, and pensions.
Script/Performance Izumo Marou and Claire Maree, Superdyke Inc. Japan.
Community Action Center is a 69-minute sociosexual video by A.K. Burns and A.L. Steiner which incorporates the erotics of a community where the personal is not only political, but sexual. This project was heavily inspired by porn-romance-liberation films, such as works by Fred Halsted, Jack Smith, James Bidgood, Joe Gage and Wakefield Poole, which served as distinct portraits of the urban inhabitants, landscapes and the body politic of a particular time and place.