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.
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."
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.
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.
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.
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.
In the video An Evening with Kembra, Glennda and Brenda attend one of Kembra Pfahler's dinner shows on New York City's Lower East Side. At her show, she performs cabaret versions of songs from her band The Volumptuous Horror of Karen Black. After the show, the group discusses the relationship of her work to queer culture. Interspersed throughout the video are two short clips: a skit entitled Drag Queen Starter Kit, and a call to boycott a bakery due to its discriminatory behavior.
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.
Masked men prowling in the bushes and not touching anything but satin, dandelions and flesh.
Ascensor is an exploration of grief, longing and mysticism through a queer lens. It documents a syncretic ritual that culls from the magical reverberations in Mexican culture to process the unexpected loss of a dear friend. The repetition of the ritual eventually leads to the transcendence of physical space, transforming unrelenting ache into shining resilience.
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.
In Bad Grrrls, Glennda and Fonda LaBruce attend a Riot Grrrl conference on New York’s Lower East Side. At the conference, they conduct interviews with punk women, performers and artists, including Penny Arcade and Sadie Benning. In doing so, Glennda and Fonda navigate a range of perspectives on feminism, punk, and underground activism. Furthermore, they engage with questions of drag’s relationship with feminism, and how one would reconcile the problems of punk with Riot Grrrl’s desire for women’s liberation.
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.
In this angry answer to the expectations advertising 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.
Zach Blas is an artist, writer, and filmmaker whose practice spans technical investigation, research, conceptualism, performance, and science fiction. Currently a Lecturer in the Department of Visual Cultures at Goldsmiths, University of London, Blas has exhibited internationally, including at the Walker Art Center, Gwangju Biennale, Los Angeles County Museum of Art, and Whitechapel Gallery.
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.
"The title, A Boy Needs A Friend, is both a pathetic plea and just a fact."
– Steve Reinke
Produced for Britain’s Channel 4, Bright Eyes is an impressive and complex essay detailing the various factors that have colluded to misrepresent the true nature of the threat posed by AIDS. Exposing the relationship between the mass media, scientific systems of classification, and definitions of pathology, Marshall pinpoints the construction of sexual politics based on a reactionary morality. The video places the AIDS crisis in the context of the historical persecution of homosexuals and focuses on the efforts of gay activist groups to combat social and medical prejudice.
A family embraces the heart of evil in this Poltergeist re-make/drag show, circa 1992.
In conversation with David Getsy — an art historian focusing on queer and transgender methodologies in sculpture theory and performance history — Cassils discusses their monumental performance artworks and inspirations.
As regional character disappears and corporate culture homogenizes our surroundings, it's increasingly hard to tell where you are. In Chain, malls, theme parks, hotels and corporate centers worldwide are joined into one monolithic contemporary "superlandscape" that shapes the lives of two women caught within it. One is a corporate businesswoman set adrift by her corporation while she researches the international theme park industry. The other is a young drifter, living and working illegally on the fringes of a shopping mall.
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. Using video in formally innovative installations, her works include the Airwaves Project, which focused on the one-way flow of global information and industrial waste, and Those Fluttering Objects of Desire, an installation presenting the work of women artists negotiating interracial sexual politics.
C.L.U.E. (color location ultimate experience), Part 1 is a collaborative video and performance work by artists A.L. Steiner and robbinschilds, with AJ Blandford and Seattle-based band Kinski. Inhabiting the intersection of human movement and architecture, A.L. Steiner and robbinschilds (Sonya Robbins and Layla Childs) present a full-spectrum video, set to a score by rock quartet Kinski.
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.”
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.