In this episode of The Glennda and Brenda Show, Glennda and Brenda take over a public bus to protest discrimination and violence against queer people who are "out and outrageous". They pick up many other out and proud friends to stage this queer sit-in.

Interspersed with clips of Judy Garland films and televised concerts, Glennda Orgasm and Judy LaBruce (Bruce LaBruce's Garland inspired drag persona) travel to the West Village to "discover their gay roots". They discuss the current state of queer culture with people attending gay bars and patroning queer businesses, with a cameo from Sadie Benning. They discuss the idea of the post-queer movement, and give guests a "post-queer quiz". 

An episode of Glennda and Friends, hosted by Glennda Orgasm and Judy LaBruce.

“Similar in structure to The Speech, this tape suggests the gesture and language of the television proselytizer as opposed to the politician.”

— Doug Hall

“This Is The Truth is a recitation of the rules and social codes that makes evident the results of strategic posturing and facial expression on television. Through emblems and selected phrases, Hall dissects those components that produce the image of authority.”

— Bob Riley, The CAT Fund Presents: Doug Hall (Boston: Institute of Contemporary Art, 1986-87)

“Take back the airwaves: Mexico’s video art doyenne Ximena Cuevas books herself onto the tabloid talk show Tombola (Raffle), toying at first with whimsical deconstruction until she turns the whole affair on its head by seizing the televisual flow itself.”

Modeled after NBC’s long-running science program Watch Mr. Wizard, this tape features Torreano as Mr. Wizard instructing a skeptical boy on how to build a diamond out of pieces of wood. The boy remains unimpressed until Torreano uses a “video paintbox” to create flashy special effects. Painter John Torreano’s use of galaxy clusters as a reference for his fake jewel studded canvases and diamond-shaped sculptures suggested the nostalgic format of this video profile by MICA-TV.

Addressing the imbalance of information flow between the wealthy and the destitute nations of the world, Towards A New World Information Order suggests means by which this imbalance might be rectified, including ways to control the press.

This tape is, in effect, a ready-made. Produced by the Pepsi Cola Company for its own use, it was accidentally substituted for one of my tapes in 1974. The mistake in the transfer was a communications mishap that involved a series of people and corporations... I wonder what accidents of this sort might reveal about secret channels of information. I see the material on this tape, innocuous as it may be, as a phenomenon that affects us without our being aware of its existence.

—Antonio Muntadas

Transformers: Age of Extinction, the fourth installment of the Transformers movie franchise directed by Michael Bay, was released June 27 2014. But for months ahead of the release, on YouTube one could already access an immense trove of production footage recorded by amateurs in locations where the film was shot, such as Utah, Texas, Detroit, Chicago, Hong Kong and mainland China. Transformers: the Premake turns 355 YouTube videos into a critical investigation of the global big budget film industry, amateur video making, and the political economy of images.

This tape was shot in August 1972 by the same crew that had convened for pioneer video collective TVTV’s (Top Value Television) project Four More Years. Videotaped at the 1972 Republican Convention, it begins with the cameraman taping from inside the press area, with protestors from the People’s Band outside at the fence. There is footage of girl- and boyscout groups. A group of protestors are shown calling for non-violent blockades of the delegates' entrance. Tear gas is feared, and there are interviews with tear-gassed people and medics.

Turn It On, Tune It In, Take It Over! is a portrait of freedom of expression at the dawn of the Electronic Age. The video was distilled from hundreds of hours of footage shot mostly in the early 1970s, using the first portable video format—the 1/2" open-reel, black-and-white, battery-operated, video Portapak. The piece recovers an almost lost and forgotten era of television history, when participation set out to conquer passivity, and when process was more important than product.

In Sonnier’s video tape TV In and TV Out, two images are superimposed, one shot off network television and the other shot from a studio performance situation involving some of the materials and visual qualities of his sculptures. This live image is colorized by a device which adds color to a black and white image and in turn manipulates the color. Colorized color is more opaque and less three-dimensionally tactile than synthesized color, but it is tactile in its video scan-line texture.

Bill Murray and Christopher Guest lead a behind-the-scenes tour of the 1976 showdown between the Dallas Cowboys and the Pittsburgh Steelers. This irreverent view of football and America's number one sports event examines the "Woodstock of corporate America" from the viewpoint of the players, the wives, the fans and the media. The big business of sports, the high stakes, the pressures, the cost in health and happiness are all covered in this kaleidoscopic view of another American ritual.

Mixing documentary reality with clever comic invention, TVTV decked itself out in tuxedos and ankle-length gowns to cover Hollywood's annual celebration. Following several nominees on the day of the event, TVTV takes the viewer behind the scenes, exposing the hazards and exhilaration of being a "star". Throughout, Lily Tomlin appears as a middle-American housewife watching the awards at home on TV, and her deadpan humor about the ephemeral nature of fame serves as a delightful counterpoint to all the serious ego-stroking going on.

In Two-Spirits Speak Out, Brenda and Glennda interview members of We'Wah and Bar-Chee-Ampe, one of the first Two-Spirit Native American organizations in New York. This episode addresses gender identity among Two-Spirit people, and discusses their involvement and experiences within the queer community in New York City. 

TV's invasion of viewers' domiciles gets turned upside down in the video as a fan's (Millner) domestic life is superimposed onto the set of Roseanne, driving home unexpected reverberations as the nuclear family teeters on the edge of dysfunction. A schmooze-fest between Millner and Roseanne ends by detonating the UNcommon desire that both fan and star articulate, to GO TOO FAR. Note: This tape is a director’s cut of the version originally telecast as part of the PBS mini-series, Signal to Noise, about the videomaker’s obsession with Roseanne.

“We are hoping that in presenting this story in such a minimal way it would become evident that this Freudian logic is a conceptual and visual cliché. We want our audience to have an emotional response to the work, but at the same time realize that they’re being manipulated.” —Bruce and Norman Yonemoto

“We are hoping that in presenting this story in such a minimal way it would become evident that this Freudian logic is a conceptual and visual cliché. We want our audience to have an emotional response to the work, but at the same time realize that they’re being manipulated.” —Bruce and Norman Yonemoto

This two-disc title contains the following video documentation:

Playing back "visual quotations" of everything from Poltergeist to Blade Runner, Muntadas rescans the surface of the monitor, questioning the "nature" of media—film, television, video, and image. Television emerges as the medium to eat all mediums, raising the question: Is it possible,within the context of television, to tell art from life or fact from fiction? An endless row of generic TV monitors visually evokes a hall of mirrors as the expression of the cultural homogeneity and bland abundance achieved through the dominant medium of the late 20th century.

Blurred images, glowing like a foggy moon and reminiscent of early television broadcasts, are rhythmically set to a relentless, pulsing soundtrack.

This title is also available on Anthony Discenza Videoworks: Volume 1.

A video in two parts about two states (being asleep and being awake) and the absurdity, or even impossibility, of bridging between them. The camera becomes a microscope examining light as if it were a state of mind.

A deft and cunning re-examination of John Boy’s near-death experience at the sawmill. A homespun midnight deconstruction of an entire era of television mannerisms.

“One of the strengths of The Waltons, a video that records a session of TV viewing using a handheld camera, is its ability to convey how our surroundings inform our experience. The video doesn’t stray far from the images on the TV screen, but our attention is divided between the show’s action and the off-camera activity in the apartment.”

A window or two on the outside world is not enough, especially when you have such a lousy view of things as I had in this Oklahoma residential care home. The majesty of the console-model TV gave new dimension to the concept of time and space, and shrank it all down to a 21-inch lump of nature—a 21-incher that didn’t smell and permeate the atmosphere with discomfiture. A meditation on the elsewhere and wanting to be there.

Repurposing an ancient confessional video diary made about 40 years ago, this 11-minute narrative creates a poignant and humorous conversation where both ‘selves’ question, enlighten, and warn one another about things in life that really matter.

Note: This title is intended by the artist to be viewed in High Definition. While DVD format is available to enable accessibility, VDB recommends presentation on Blu-ray or HD digital file.

On June 23rd, 2016 Britain voted to leave the European Union. Who Are We? is a re-working of material from a BBC television debate transmitted a few weeks earlier.