In this video, Glennda and Judy LaBruce (Bruce LaBruce) visit the auction house Christie's East on New York's Upper East Side to view Judy Garland memorabilia that is being auctioned off. They attempt to rescue Garland's Oscar from those trying to profit from the auction.
An episode of Glennda and Friends, hosted by Glennda Orgasm and Judy LaBruce.
In the video Glennda does DC, Glennda interviews people in Washington D.C. about the topic of gay rights. As the National Gay and Lesbian Task Force Conference is going on simaltaneously, she asks people if they were aware of this, and if they believe that there should be a gay rights bill.
Smith’s gentle, recusant comedy is a critique of masculine domination, focusing on the myth of manifest destiny. Believing the moral of the Old West that “Everything is there for the taking”, mild-mannered Mike is inspired to “Go for it!" and conquer wide-open spaces in the modern way: as a real estate developer of suburban sub-divisions. Dressed as a cowboy and mime-riding a horse in front of images of mobile homes, Smith updates the notion of “rugged individualism” to include personal theme music and a chorus.
A single-shot, choreographed portrait of the Foley* process, revealing multiple layers of fabrication and imposition. The circular camera path moves inside and back out of a Foley stage in Burbank, California. While portraying sound artists at work, typically invisible support mechanisms of filmmaking are exposed, as are, by extension and quotation, governmental violations of individual privacy.
George Kuchar just received a tape of himself on the Dog and His Friends from the Dog House television show, but he must first track down a VHS player to watch it. After arriving at a friend’s home, Kuchar draws attention to the number of animals present in the kitchen, noting that it reminded him of the Playboy Mansion in Chicago, Illinois. Flashing back to Chicago, Kuchar takes a tour of the abandoned ‘pleasure palace’ by flashlight, exploring the dark recesses of the basement bowling alley and underwater bar.
As sad as it can be to be trapped in a TV show, singing words you don't even know the meaning of.
This title is also available on Ximena Cuevas: El Mundo del Silencio (The Silent World) and Half-Lies: The Videoworks of Ximena Cuevas.
Gibbons presents a Son of Sam-like relationship between a man and his dog in which the man takes the dog to task for the terrible things he has made him do. Shot in Pixelvision.
This title is also available on Joe Gibbons Videoworks: Volume 1.
The idea of suspension is evoked on shifting registers – as levitation, cessation, preservation, and suspense – and located in sites whose identities slip as we track through a space within a space.
Camera, Edit, Sound Design: Deborah Stratman
Scroll: T’ang Yin
Dolly: Matthew Thompson
In the Queen City is a series of three videos shot in Buffalo, New York that were produced following an invitation from Hallwalls Contemporary Art Center as part of their Ways In Being Gay festival.
An episode of The Brenda and Glennda Show, hosted by Brenda Sexual and Glennda Orgasm. Production Support Provided by Hallwalls Contemporary Art Center.
In the Queen City is a series of three videos shot in Buffalo, New York that were produced following an invitation from Hallwalls Contemporary Art Center as part of their Ways In Being Gay festival.
An episode of The Brenda and Glennda Show, hosted by Brenda Sexual and Glennda Orgasm. Production Support Provided by Hallwalls Contemporary Art Center.
In the Queen City is a series of three videos shot in Buffalo, New York that were produced following an invitation from Hallwalls Contemporary Art Center as part of their Ways In Being Gay festival.
An episode of The Brenda and Glennda Show, hosted by Brenda Sexual and Glennda Orgasm. Production Support Provided by Hallwalls Contemporary Art Center.
Tapping into cable because of his lousy reception, Mike gets more than he bargained for as he unwittingly becomes trapped in the medium—the “star” of his own cable TV show. Due to an incomprehensible mishap, Mike’s rewired TV now transmits his image to the world; the observer has become the observed. Turning the tables on viewership in a way that reflects the banality of television, Smith touches on identification with television, and the manner in which television re-presents our world back to us.
In this video, Glennda Orgasm and Jackie Offie attend Lollapalooza '95 on Randall's Island, New York. Glennda and Jackie sing punk rock songs on the drag stage, and Glennda challenges Courtney Love to a fistfight. The video also shows other performances on the stage, and features Bruce LaBruce's music video for The Riverdales' Fun Tonight.
“Trolling for news we call it,” says Bart Friedman a minute into this video, as he pushes down a road the Lanesville TV News Buggy – a baby carriage filled with video equipment, spilling over with wires. The buggy allows for easy transportation of equipment as the Videofreex make their way throughout Lanesville, interviewing residents on their daily activity. Although fairly ordinary – a visit to the lake, a small bit about a neighbor’s new electric golf cart, and an introduction to a newborn baby – the footage has an air of genuineness and all of the interactions are amicable.
"Between March 1972 and February 1977, the Videofreex aired 258 television broadcasts from a home-built studio and jerry-rigged transmitter in an old boarding house they rented in the tiny Catskill Mountain hamlet of Lanesville. It was a revolutionary act in defiance of FCC regulations — the first unlicensed TV station in America."
Among the handful of video recordings of Lanesville TV that exist today, this tape is particularly special for its documentation of one of its very first programs to run on the air. The tape captures the energy and excitement of the Videofreex as they prepare to go live, and Parry Teasdale taking calls during the show to drum up interest and also monitor sound quality.
This tape includes footage of one of the first broadcasts of Lanesville TV, as it appears on the television set of Lanesville local, Todd Benjamin, and a television set installed in a public bar. Interwoven with shots recording the program’s reception, are segments recorded for Lanesville TV itself: Bart (playing the part of “Russell”) approaches Parry, dressed as a hillbilly car mechanic “fixing” the VW Van; nearby, Nancy opens the door to a cabin, wearing a bonnet, while Carol and Chuck, crowding behind her, play the part of other Lanesville TV protagonists.
In this March 9th, 1974 episode of Lanesville TV, the Videofreex screen their recently shot ringside footage from a boxing match that took place over the weekend in Marion Square Gardens of nearby Tannersville, NY. The event, which pitted (volunteer wrestler-boxers) Frank “the Fist” Farkle of Haines Falls against Rocky Van Fight of Hunter in a match, was a fundraiser for the Rescue Squad of Tannersville.
On January 26, 1973, the Videofreex’s installment of Lanesville TV (Channel 3) consists of an interview with a follower of the Divine Light Mission, a semi-religious organization lead at the time by then-17-year-old Guru Maharaj Ji.
Although this episode promises, at first, to be a typical program of Lanesville Television—presenting two videos of previously shot footage of a truck wreck and a recent opening of a Buddhist Temple in South Cairo, NY—an unplanned event, arising mid-recording, becomes the catalyst for a high-energy, live-reportage segment.
A segment produced for radical early video collective Videofreex’s unlicensed broadcast television station, Lanesville TV, a weekly broadcast that was one of the first American pirate stations of its type. Using a DIY luma keyer by Videofreex member Chuck Kennedy to approximate a flying saucer, that was 2 affixed falsies, the group conscripted neighbors to participate in a mock news report about the “sighting”, capturing the feel of Catskills local color in the process.
In this video, the Videofreex host a party during which the main source of entertainment is a video-television feedback loop. In one room, a video camera linked up to a television set allows party guests to see themselves, as if in a mirror, while guests in the other room can also watch the recording, and may speak to them through a microphone. Although the voices of the off-screen guests can be heard on the tape, they are always imageless.
In this video, Brenda and Glennda attend and interview participants at the 1991 New York City Pride March. Speaking with a range of attendees, they underscore the significance of non-white queer communities, diverse gender and sexual identities, and political causes at pride events.
At the Lesbian Museum, Brenda and Glennda interview artists at the opening of Christine Martin’s controversial exhibition The Lesbian Museum: 10,000 Years of Penis Envy at Franklin Furnace. For the exhibition, each artist (including Brenda and Glennda) were given a dildo and asked to turn it into a work of art. The phallus, Freudian philosophy, and female criminality are discussed as a way of analyzing lesbian identity.
