LGBTQ

A video diary about Cuthand's efforts to undergo artificial insemination. Cuthand contemplates a desire to have children and its relation to preserving Indigenous culture.

2 Spirit Dreamcatcher Dot Com queers and indigenizes traditional dating site advertisements. Using a Butch NDN 'lavalife" lady (performed by director TJ Cuthand), 2 Spirit Dreamcatcher Dot Com seduces the viewer into 2 Spirit "snagging and shacking up" with suggestions of nearby pipeline protests to take your date to, and helpful elders who will matchmake you and tell off disrespectful suitors. It's the culturally appropriate website all single 2 Spirit people wish existed.

New to the 2 Spirit lifestyle? `Want to talk to someone in the Spirit and the Flesh instead of reading The Spirit and the Flesh? We have just the service for you! Call now and for only 19.99 a month you can get instant unlimited telephone access to traditional knowledge and support. We also provide monthly gifts for subscribers, call now and we can hook you up with this beaded whisk! Perfect for DIY spankings and pancakes the morning after your first snag!

"Renwick recounts a sad time in her life, when a friend was dying and she suddenly became aware of the presence of crows... [Renwick] craft[s] a lyrical and moving essay that works its magic through poetic accretion rather than narrative logic."
— Holly Willis, L.A. Weekly

In A Case for the Closet, Glennda Orgasm and Judy LaBruce host an episode of Closet Talk. They discuss why they are for people staying in the closet, and attribute coming out of the closet to the mediocrity, and thus downfall, of gay culture. Glennda and Judy establish their new movement, XXX Gay (replacing the postqueer movement), and explain its philosphies and values.

An artist looses faith in the world his brush depicts... A "Romeo’s" wounded heart causes him to shun intimate connections with others, and a "poets" struggle with domestic situations hinder his ability to create words of beauty... See and hear it all for yourself.

This title comprises Indigo Moods (2018), Fallen Angels (2013), and The Alphabet Garden (2018) which were compiled into this form by Mike Kuchar in 2022.

An animation developed from the collective experiences of a diverse group of LGBTQIA+ people to create a narrative. The result is a queer valentine having a fever dream.

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.

The “a-ha experience” is the moment when a child first recognizes its own image in a mirror; it is critical to the development of intelligence and identity. It is also the moment when the “self” is surrendered to the control of an external influence. The child accepts the power of the mother to confer or withhold love; it is the mother’s power to fulfill desire that shapes a child’s sense of identity. Similarly, a camera controls love by directing or not directing its attention to the desiring subject.

"I'm not going to go to the Anne Frank House—I don't think I could take it—being a tourist is bad enough—though I'm not really a tourist—I'm here working—my camera's the one on vacation—taking holiday sounds and images—it's having a nice change of pace—for me it's still the same old thing—talking and talking.

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. 

"Ever on the lookout for learning opportunities, Reinke envisions an art institute where you don’t have to make anything, and with a library full of books glued together. All the information’s there—you just don’t have to bother reading it!"
—New York Video Festival (2002)

Ángel Reparador (The Healing Angel) was shot in Buenos Aires, where the artist Sergio De Loof films Bobe in different places along the route that goes from the house of his parents, in the south of the suburbs, to the city center. The piece thus reflected the practice of “yire”, common among the community gay and dissident in a city that, at that time, did not offer spaces anywhere possible to freely express homosexual love.

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

As the AIDS epidemic took hold in the early 1980s, self-help guru Louise Hay created a space for healing called the Hayride. Drawing hundreds of gay men confronting a deadly and stigmatized disease, Louise promised that they could overcome AIDS through self-love. Some said this early new age wellness movement was unscientific and harmful. Others who were suffering said that Louise healed them. In the face of a deadly pandemic and government neglect, resilience takes unusual forms, and for Louise Hay’s circle, intimate forms of reckoning were transformative.

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.

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. 

In the late 1970s, Walter Naegle was walking to Times Square to buy a newspaper when he ran into a striking older African American man on the corner. Walter says that “lightning struck” and his life changed forever at that moment. The man on the corner was Bayard Rustin.

Glenn Belverio is an independent filmmaker and drag artist who lives and works in New York City. In 1990, he began producing and co-hosting the popular Manhattan Cable series The Brenda and Glennda Show, a talk show that mixed activism with comedy as it took drag out of the clubs and onto the street. In 1993, the show became Glennda and Friends, a post-queer task show featuring provocative co-starts such as gay pornographer Bruce LaBruce and guerrilla scholar Camille Paglia.

Largely focused on the critical use of language both archaic and contemporary, poet Caroline Bergvall’s work asks questions about cultural identity and feminism and explores challenging or unknown historical and political events. She works across multiple media practices including audio texts, plurilingual poetry, installation and Performance Writing.

From an isolated wooded cabin a trans man star gazes, scruff chats with guys, watches YouTube tutorials, takes drugs, and lies about taking drugs - feeling his way through a cosmology of embodiment. Relative to the immensity of longing, the bodily insides become both portal and lens through which to probe the porousness between interior and exterior, the micro and macro. Nudes and landscapes are equally erotic, as Eros is an issue of boundaries: When i desire you, a part of me is gone.

Brokenhearted, a young lesbian considers doubling her dating possibilities.

Black Body is a harsh and compelling meditation on the contradictory values assigned to black bodies in American culture: they exist as both desired and feared, abject and powerful. The “black body” is a body whose surface reflects projected fears and repressed desires; as such, it exists as a site of ideological struggle, a surface which is simultaneously eroticized and denegrated.

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.

Small-town friends watch fuzzy TV, play music, and venture to the video store. Mom bakes a cobbler. The filmmaker fucks his boyfriend in the bedroom above the kitchen.

After a long period in life identifying as a Butch Lesbian, Cuthand considers transitioning to male. This experience involved a six month period of his life during which he went by the name Sarain, which he would have been called had he been born a boy, and asking to be called by male pronouns. Complicated by mental health crises, Cuthand found themselves in a mental health group home for women, having to hide their gender dysphoria. After a considerable amount of thought and discussion, Cuthand changed his mind and decided to remain a Butch Lesbian.

Through a stack of personal journals, this video reconstructs a biography of the South Dakota-born, New York City-enlightened artist James Wentzy. Tracing his days starting out as a struggling artist and later involved as an AIDS activist, the video provides an intimate portrait of a neglected hero. Wentzy reads from journals and shares old family snapshots and notebook sketches. “I hope I don’t die of sainthood,” Wentzy jokes in an entry from 1990—the pivotal time when he was becoming involved with ACT-UP and beginning to live healthier after the revelation of his HIV-positive status.

Gregg Bordowitz is a writer, AIDS activist, and film and videomaker. His work, including Fast Trip, Long Drop (1993) and Habit (2001), documents his personal experiences of testing positive and living with HIV within the context of a personal and global crisis. His writings are collected in The AIDS Crisis is Ridiculous and Other Writings:1986-2003. 

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.

Blood percolates beneath the hot skin of sweat soaked men as they wrestle with primal urges that rip open hearts, tie the gut in knots and turn emotions inside out. With tortured mind the men must choose a future of "anger", or the warm "sweetness" that hides within their injured souls.

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.

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 self-help speaker encourages self-reflection. Friends in Chicago hang out.

This title is also available on Chicago Sex Change: 2002-2008, A collection of Minax's early videos that together create a punk-documentary tapestry of young queer life in Chicago in the early 2000s.

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.

This title is also available on Tom Rubnitz Videoworks: Sexy, Wiggy, Desserty.

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!

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.

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.

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!

This title is only available on Tom Rubnitz Videoworks: Sexy, Wiggy, Desserty.

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."

An experiment in placing lesbian sexuality in its most common environment, daily life. Dougherty's initial intention was to represent lesbian sexuality with an objective camera by getting rid of all expressive aspects of camerawork — no close-ups, no zooms, no interesting angles or changes in subject-object dynamic, just straight-ahead shots. In this video, Dougherty studies whether sexuality can be separated from erotica, and whether all depictions of sexual acts are pornographic.

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 video 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.

“The second in a planned trilogy of films about desire and domesticity that began with Strangely Ordinary This Devotion (2017), Come Coyote examines issues around queer reproduction, intimacy, and motherhood. Collaborators and partners Dani and Sheilah ReStack capture in fleeting, diaristic images the tender and terrifying feelings they have around ushering new life into the world, conveyed with both humor and a powerful immediacy."

— Projections at NYFF, 2019 catalogue

“The second in a planned trilogy of films about desire and domesticity that began with Strangely Ordinary This Devotion (2017), Come Coyote examines issues around queer reproduction, intimacy, and motherhood. Collaborators and partners Dani and Sheilah ReStack capture in fleeting, diaristic images the tender and terrifying feelings they have around ushering new life into the world, conveyed with both humor and a powerful immediacy."

— Projections at NYFF, 2019 catalogue

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.

Song by Chu.

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.

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.

Compromise is Episode 1 of the video art trilogy, This is More Than Love I Feel Inside, in which Jillian Peña traces a queer relationship from inception to demise.

“Criminality may present itself as a kind of saintly self-mastery, an absolute rejection of hypocrisy.”

—Angela Carter, The Sadeian Woman and the Ideology of Pornography (New York: Pantheon Books, 1978)

"Conspiracy Of Lies speaks of the alienation of minorities, of consumer culture, urban isolation and the fine balance between mental order and chaos. The video begins with a voice (my own) recounting the story of the discovery of a series of diary entries and lists written by an anonymous author. When I found the texts, I assumed the author to be a white, gay man, like myself. Through the use of twelve narrators of different race, gender, religion, and sexual orientation, I attempted to destabilize my own subjectivity and challenge my pre-existing assumptions regarding difference.

From 1970 to 1972, Arthur Ginsberg and Video Free America recorded the private life of a not-so-average American couple-Carel Row and Ferd Eggan. She is a porn actress and filmmaker; he is a bisexual junkie. The video verite camera captures the desires and frustrations of their evolving relationship and their responses to the ongoing videotaping exercise. The tape, a study in "the effect of living too close to an electronic medium," reveals attitudes and discussions that also render it a fascinating social document of the west coast counterculture.

Stephen Varble (1946-1984) staged gender-confounding costume performances on the streets of 1970s Manhattan, and he became infamous for his anti-commercial disruptions of galleries, banks, and boutiques. In 1978, he retreated from this public work to focus on the making of an epic, unfinished piece of video art, Journey to the Sun, until his death in the first days of 1984. Lush, ribald, and unorthodox, the video mixed non-narrative costume performances with a surrealist fable of a messianic martyr, the Warbler.

From the point of view of the psychoananlyst's chair, we witness images that place us implicitly within the scene. The images depict two embracing men, and suggest a complex and ambiguous web of associations. The embrace is both erotic and tender, and invites questions about power relationships. The pain of love and possible rejection is exposed through the flash of a naked leg, or the vulnerability of a fleeting expression.

Covert Action is a stunning melange of rapid-fire retro imagery accomplishing Child’s proclaimed goal to “disarm my movies.” “I wanted to examine the erotic behind the social, and remake those gestures into a dance that would confront their conditioning and, as well, relay the multiple fictions the footage suggests (the ‘facts’ forever obscured in the fragments left us). The result is a narrative developed by its periphery, a story like rumor: impossible to trace, disturbing, explosive.”

Ann Cvetkovich is the Ellen Clayton Garwood Centennial Professor of English and Professor of Women’s and Gender Studies at the University of Texas at Austin.  She is the author of a number of books and works also with documentary film, memoirs, music and dance performances, and visual art. Her work focuses on feminist and queer theory, affect and feeling, trauma, theories of the archive and oral history.

Teramana spends time with drag performer Dainty Adore O’Hara (Mitchell Allan Marco) in Dainty’s apartment in New York City. Dainty, her friend, and Teramana exchange friendly, humorous banter as they flip through Dainty’s collection of photographs and artworks, and Dainty shows off her dress collection, many of which she made herself. The production date for this title is unknown, but presumed to have been recorded after 1991.

This video is a moving personal documentary about Danny, a friend of Kybartas who died of an AIDS-related illness in 1986. This powerful work explores the reason for Danny’s return home and his attempts to reconcile his relationship with his family members who had difficulty facing his homosexuality and his imminent death. Retracing Danny’s memory of his once-high lifestyle in the clubs and gyms of Miami, Danny avoids sentimentalizing its subject as it juxtaposes images, text, and voice-over to build a sense of the psychological struggle brought on by Danny’s impending, premature death.

“But we are alone, darling child, terribly, isolated each from the other; so fierce is the world’s ridicule we cannot speak or show our tenderness; for us death is stronger than life, it pulls like a wind through the dark, all our cries burlesqued in joyless laughter; and with the garbage of loneliness stuffed down us until our guts burst bleeding green, we go screaming round the world, dying in our rented rooms, nightmare hotels, eternal homes of the transient heart.”

—Truman Capote, Other Voices, Other Rooms (New York: Random House, 1948)

This title is only available on Kip Fulbeck Selected Videos: Volume One.

Cool sheets and warm male bodies ignite the screen with antics that go from hot pink to black and blue as they romp, stomp, spit and strut their "goods" before your eyes.

… Watch out – things get rough!

This title comprises Peek-A-Boo (2008), Litany of the Seven Kisses (2011), and Boy Toys (2000) which were compiled into this form by Mike Kuchar in 2022.

Recognizing the extreme inadequacy of information on AIDS prevention, cosmetologist DiAna DiAna, with her partner Dr. Bambi Sumpter, took on the task of educating the black community (which makes up the majority of local AIDS cases) in Columbia, South Carolina. This video documents the growth of the South Carolina AIDS Education Network, which originated and operates in DiAna’s Hair Ego, DiAna’s beauty salon.

1933. Berlin. The last year of the Wiemar Republic. Through the lense of her personal "home movies", Leni Riefenstahl records a day in her life with a young Eva Braun.

Die Neue Frau is the third film in the The Surface Tension Trilogy, a three-part short film trilogy looking at queer artists living in Berlin during the 1920s. Shot on hand-processed 16mm film.

Dirty Laundry speculates upon the buried narratives of gender and sexuality in Chinese-Canadian history of the 19th Century, when Chinese communities were almost exclusively male. A story about a chance late-night encounter between a steward and a passenger on a train interweaves with documentary interviews with historians and writers and historical documents brought to life. The video poses nagging questions about the personal and political stakes in the writing of history and in our interpretations of the past.

Distracted Blueberry follows a performance art band through a series of poetic encounters. Masculine tropes are undone to form a relationship between male sexuality and the human death drive. The body, violence and humour are positioned in the larger context of nothingness and somethingness, bridging a tension between externalized anxieties and the terrors of nature. Evocative of inner emotional states, strange landscapes exist as reflections of our shared dreams and nightmares.

Viewer discretion advised 

Blumenthal constructs a loose narrative around the sexual evolution of a woman (played by Yvonne Rainer) through a stunning collage of images appropriated from TV and film. Certain images come to dominate this effusive stream—tall buildings, sex scenes, an Elvis movie, the courtroom, fireworks. Doublecross pits the indeterminate, disruptive power of the erotic against the rigid, normalizing structures of family, law, marriage, popular culture, movies, and music—societal institutions that codify sexual relations.

In this interview Cecilia Dougherty describes her work and her explorations into family interactions, outsider psychology, role-playing, lesbian sexuality, and popular culture. Her videos Grapefruit (1989) and Coal Miner’s Granddaughter (1991) work from within mass culture norms to create a lesbian dialogue within the “normal”—what Dougherty calls “the life of the ordinary lesbian and her working-class family.” Her more recent vides explore lesbian identity within a separate social sphere.

"This movie was collected for four years before being sprayed scattershot over 28 minutes of psychic mayhem. The line between living and dead is a frontier crossed and re-crossed here. The living are dead while the dead are animated, breathing, swimming, giving birth. Consumed by the animal life of the city, the artist undertakes a first person journey, producing diary notes from one of the most skilled lens masters of the new generation. The camera is her company in this duet of death, the instrument that permits her to see the impossible, the unbearable, the invisible."

A dragumentary about a day in the life of a score of drag queens on the lookout for photo opportunities at Lincoln Center, the Guggenheim Museum, Tiffany’s, and in SoHo. A tripped-out Hapi Phace shares her haiku, and The “Lady” Bunny pouts about the concept of unisex clothes. Also featuring Sister Dimension and Dagmar Onassis.

This title is only available on Tom Rubnitz Videoworks: Sexy, Wiggy, Desserty.

In this video, Brenda Sexual, Glennda Orgasm, and friends act out a drag queen murder mystery that takes place on their talk show. Later, they attend the Queer Fashion Army Invasion, a sit in of openly queer public fashion performance outside the Fashion Institute of Technology in Manhattan. Then, the pair arrives at a video store to discuss queer undertones of Hollywood films, like Grease, Rocky II, and Yentil.

In this episode of The Brenda and Glennda Show, Brenda and Glennda create a satire of 1990's infomercials. The video includes interviews and performances by Vaginal Davis, Bruce LaBruce, and Chris Teen.

An episode of The Brenda and Glennda Show, hosted by Brenda Sexual and Glennda Orgasm.

In this episode of The Brenda and Glennda Show, Brenda and Glennda comically debate changing the name of their show to Drag Queens for Jesus, in order to convert all the secular homosexuals to Christianity. They discuss topics like abortion and censorship from a drag queen perspective, exploring the hypocrisy and inherent bias of Christian ideals. Later, Brenda gets her nipple pierced in homage to Sandy Daley's Robert Having His Nipple Pierced (1971).

Lips that issue forth melodious vows. Warm skin on bedsheets stained with dreams. Faces crowned with halos that light a path to temples of the soul…..You will find it here in DREAMS and OMENS!

This title comprises Wishful Thinking (2015), Testimony (2013), and New Beginnings (2014) which were compiled into this form by Mike Kuchar in 2022.

​From below ground, a man named Eddie describes flood lines, levees and trivial histories of the crumbling infrastructure of Memphis, TN. In this same city, the filmmaker, a recent transsexual transplant, watches military propaganda and contemplates masculine connectivity as he attempts to integrate into the American South. He posts a Craigslist ad asking men to masturbate on-camera with their firearms. He receives a single response from a man whose name is also Eddie.

This high octane drama that I made with my students at the San Francisco Art Institute chronicles the moral decline of it's heroine, as the love of a man she obsesses over drives her over something else: a cliff into hell.  It's a free fall all the way to the bottom destination, and there's a heck of a lot of nice looking, young people along for the ride.

Encounters I May Or May Not Have Had With Peter Berlin deals primarily with monumentality, narcissism and the ways in which our heroes are embedded into our identities, and manifested through the body. Through a variety of gestures, the pervasiveness of this practice is highlighted alongside its ultimate, inevitable failure. The viewer moves through various stages of anxiety, idolization and actual touchdown with 1970s gay sex icon Peter Berlin himself, capturing both the apparent and the hidden.

This video was made as the end-credit sequence for a film version of Ron Vawter's performance piece, Roy Cohen/Jack Smith, by Jill Godmilow. Ron was an extraordinary actor and extraordinary man. The two characters he portrays were gay men at radically opposite ends of the political, social, artistic and human spectrum.

Equal Rights for Unborn Drag Queens is a satirical short video in which Brenda and Glennda critique anti-abortion politics, homophobia, and religious fanaticism in the media. Interspersed between clips of right-wing news broadcasts is footage of Brenda having her nipple pierced, in an homage to Sandy Daley's Robert Having His Nipple Pierced (1971).

An episode of The Brenda and Glennda Show hosted by Brenda Sexual and Glennda Orgasm.

The search for one’s true identity, the need to create, to find a proper place in the universe – this is the pursuit of the individuals portrayed in this narrative meditation… It is that quest to find meaning in existence… The ability to think outside of the "self".

This title comprises Saints and Sinners (2015), Soul Searchers (2014), and His Soul to Give (2019) which were compiled into this form by Mike Kuchar in 2022.

"Like any other great city, this one offered its populace more than merely every evening freedom. It offered a variety of slaveries to which the freedom might be put. This was necessary, Goliath knew, because he who has given away his soul between nine and five cannot usually bear to face it (or does not know where to find it) between five and nine. The city offered distractions, glorious dreams.

Every Wandering Cloud is the first installment in a series of experimental videos inspired by the writings of Oscar Wilde. Interweaving text from Wilde's "The Ballad of Reading Gaol" with hand-drawn animation derived from Eadweard Muybridge's Human and Animal Location, Every Wandering Cloud is a meditation on themes of freedom and imprisonment. The video juxtaposes an eclectic array of archival and contemporary imagery, including documentary footage and original Super-8 and digital video.

An homage to the death of the soap opera, The Evil Eyes is a 1960's era story of a grandmother faced with her mortality, a mother in mid-life crisis, and a son realizing his sexuality - a dysfunctional family whose unspoken angst manifests in the latest episode of their beloved supernatural soap opera, Before Dawn.

Facial Weaponization Communiqué: Fag Face protests against biometric facial recognition — and the inequalities these technologies propagate — by proposing the creation of “collective masks” that are modeled from the aggregated facial data of many faces, resulting in amorphous masks that cannot be detected as human faces by biometric facial recognition technologies.

In Fagtasia Solstice, Brenda and Glennda attend a Radical Faerie event in New York City to commemorate the Summer Solstice. Through interviews with Faeries and footage of their walk across the Brooklyn Bridge, the group proposes to reclaim the city as a safe space for queer people, and discuss reorienting queer consciousness toward spirituality.

An episode of The Brenda and Glennda Show, hosted by Brenda Sexual and Glennda Orgasm. Featuring the Radical Faeries. Thanks to Julie Clark and Dana Nasrallah.

" order to take the next step (not forward or backwards, but only: to go on) it is often necessary (for me) to lean on a picture made by someone else; sometimes a word will do, a gesture, the look on a stranger's face. Colin Campbell made the next step possible for me, so I took up a video camera (his pictures were my company, and my camera accompanied his pictures). Between his images of the past and mine, Colin Campbell emerged as a Cold Warrior, as an artist who would fight the Cold War with stereo.

In the spring of 1988, video-maker/activist Gregg Bordowitz tested HIV-antibody positive. He then quit drinking and taking drugs and came out to his parents as a gay man. This imaginative autobiographical documentary began as an inquiry into these events and the cultural climate surrounding them. While writing the film, a close friend was diagnosed with breast cancer and his grandparents were killed in a car accident. The cumulative impact of these events challenged his sense of identity, the way he understood his own diagnosis, and the relationships between Illness and history.

Two potential saints struggle against the Moon’s pull on their libidos. In this battle, the midnight "sinners" confess secrets that reveal a truth that justifies their bodies and unites their souls.

This title comprises Moon-Tide (2015) and Soul Catcher (2017) which were compiled into this form by Mike Kuchar in 2022.

The temperature in your eyes will rise when you contract ‘FEVER DREAMS’ and experience the haunted mayhem contained therein.

This title comprises The Stone Boy (2011), Nonsensical (2014), and Coffee, Tea, and Wizardry (2015) which were compiled into this form by Mike Kuchar in 2022.

A detective is hired to find the original copy of a lost ancient book. The book recounts the tale of a plague. A form of radiation, unknown at the present time, activates a virus. The virus affects the sexual and fear centers in the brain and nervous system; fear is converted into sexual frenzies which are reconverted back into fear, the feedback leading in many cases to a fatal conclusion.

Fighting Chance is a continuation of Richard Fung’s previous documentary Orientations, which told of the personal challenges and struggles of Asian-Canadian gays and lesbians to express their sexual identities. When Fung produced Orientations in 1984, AIDS had not yet fully manifested itself (particularly among Asians), but by 1991, as we see in Fighting Chance, the epidemic has become threateningly widespread. Individuals and couples candidly discuss the various hurdles and challenges that AIDS has presented.

A music-filled tour of Christmas good cheer overtakes this gastronomically oriented excursion through the winter season of discontent and yuletime yearnings craving ignition.

“But these meetings, these partings, finally destroy us.”

—Virginia Woolf, The Waves (New York: Harcourt, 1978)

Cheang has taken her camera to the streets for a candid glimpse of lesbian public sexuality. If Asian women and lesbians share a certain amount of invisibility in the culture, Fingers and Kisses offers not only a bold representation of both, but a challenge to the question “What do lesbians do?” Tokyo’s own out-and-loud music by Chu punctuates the narrative as what begins in the streets continues under the sheets.

Script and performance by Izumo Marou and Claire Maree.

With Superdyke Inc. Japan.

Music by Chu.

Frances, a young Gay Indian (2 Spirit), played by Lacey Hill, is struggling with the aftermath of a gay basing. Through her friendship with her ex Jean, she gathers the strength to go out in public again. This video is a salute to the 70s and to Gay Indian movements which became 2Spirit/Indigiqueer communities.

Song performed by Lacy Hill.

See a boy turn into a tiger. See the lad vomit colors of the rainbow. Watch him toss marbles onto wet bathroom tiles while holding up a green skull. See him squirm on warm bedsheets, wearing only soiled socks on his feet…… This kid has a mouthful of flowery words to spit out to you !

This title comprises Witchery (2008), The Tiger (2009), Swan Song (2009), Medusa's Gaze (2010) and Opal Essence (2010) which were compiled into this form by Mike Kuchar in 2022.

Flat is Beautiful is an experimental live-action cartoon using masks, animation, subtitles, drawings, and dramatic scenes to investigate the psychic life of an androgynous eleven-year-old girl. Growing up in a working class neighborhood with her single mother and gay roommate, Taylor confronts the loneliness of living between masculine and feminine in a culture obsessed with defining gender difference. Shifting between black and white film and grainy pixelvision video, Flat is Beautiful explores the internal and external worlds of sad people.

This is an over-the-top Video bouquet audaciously delivered by flamboyant "Pan" – like poets determined to paint the world pink.

A photographer comes to my home to take pictures and gets a lensful. His mouth and his shutter snap away as I aim my finest attributes at his cold and hard equipment.

Twilight deepens, Night descends and moods sink into madness. But the mind refuses to exist in dark places, and struggles to resurface so that the soul can breathe-in spiritual enlightenment.

Silver directs and performs all the roles in this raucous and hilarious music video rendition of Lynyrd Skynyrd’s "Freebird", the infamous Southern rock anthem for an entire generation of 1970s male youth. In this spoof of straight mass culture, Silver flips ironically between roles; from a lesbian proudly proclaiming her sexuality at the Academy Awards, to an in-concert Coors-drinking Ronnie Van Zant, and, finally, to a black-lace lesbian lounge swinger celebrating the wild, colorful world of “out” visibility.

Shot in the style of a silent film from the 1920s, Frida & Anita is a political fantasy, intersecting the lives of two queer radicals — Frida Kahlo and Anita Berber — who happen to meet one fateful Berlin night in 1924 at the infamous La Garcon Cabaret.

This first "Frieda" collaboration between performance artists Barbara Lipp and Tom Koden and video artist Tom Rubnitz chronicles Frieda's rise from assembly-line worker in a box factory to singing superstar. Featuring rock-bottom production values and a sound track which includes the Brady Bunch kids' tune "Gonna Find a Rainbow".

This first "Frieda" collaboration between performance artists Barbara Lipp and Tom Koden and video artist Tom Rubnitz chronicles Frieda's rise from assembly-line worker in a box factory to singing superstar. Featuring rock-bottom production values and a sound track which includes the Brady Bunch kids' tune "Gonna Find a Rainbow".

This first "Frieda" collaboration between performance artists Barbara Lipp and Tom Koden and video artist Tom Rubnitz chronicles Frieda's rise from assembly-line worker in a box factory to singing superstar. Featuring rock-bottom production values and a sound track which includes the Brady Bunch kids' tune "Gonna Find a Rainbow".

In From Fagtasia to Frisco, Brenda and Glennda report from Fagtasia, an event honoring the Summer Solstice in New York organized by the Radical Faeries. Through interviews with Faeries and footage of their walk across the Brooklyn Bridge, the group proposes to reclaim the city as a safe space for queer people, and discuss reorienting queer consciousness toward spirituality.

From The Files of the Pyramid Cocktail Lounge is a series of video clips taken at the Pyramid Club, a seminal location for the East Village drag scene in the midst of the club's most influential years. While rummaging through a file cabinet full of event fliers from the Pyramid Club, an office worker in drag guides the viewer through video documentation of past performances at the club.

Future From Inside is the last in the trilogy begun in 2016, by Dani and Sheilah ReStack (also including Strangely Ordinary this Devotion and Come Coyote.) The work traces the ReStack collaboration, as it manifests in life and in work.

Future From Inside is the last in the trilogy begun in 2016, by Dani and Sheilah ReStack (also including Strangely Ordinary this Devotion and Come Coyote.) The work traces the ReStack collaboration, as it manifests in life and in work.

Gay Tape: Butch and Femme is Cecilia Dougherty's first video work. She was immersed in two things at the time: making artwork, and being a part of the Oakland, California lesbian bar scene. The tape is the child of those two activities. Dougherty asked her friends, Ann and Joanne, and her girlfriend at the time, Rosa, to speak on camera about dating and the emergence of butch-femme relationships, which alluded to not so much a regression to old-time lesbian subculture, as to a quotation of those times, and an appreciation of that kind of lesbian eroticism.

This two-part video Gender Cruise on the Circle Line involves Brenda and Glennda leading a group of drag queens, drag kings, and other gender nonconforming people on a three-hour ride on the Circle Line boat around Manhattan.

The two-part video Gender Cruise on the Circle Line involves Brenda and Glennda leading a group of drag queens, drag kings, and other gender nonconforming people on a three-hour ride on the Circle Line boat around Manhattan.

Shot in black and white Super 8, this lyrical short follows a wandering, disengaged youth through grey afternoons. German Song features the hard-edged music of Come, an alternative band from Boston.

Set to music by Bikini Kill (an all-girl band from Washington), Sadie Benning's Girl Power is a raucous vision of what it means to be a radical girl in the 1990s. Benning relates her personal rebellion against school, family, and female stereotypes as a story of personal freedom, telling how she used to model like Matt Dillon and skip school to have adventures alone. Informed by the underground “riot grrrl” movement, this tape transforms the image politics of female youth, rejecting traditional passivity and polite compliance in favor of radical independence and a self-determined sexual identity.

In The Girls at the Dock, Teramana features performers at The Dock, a popular LGBTQ+ bar and nightclub in Cincinnati, Ohio. Teramana engages in backstage banter with the performers before a Tuesday night show, especially with Sirrocco, who was a friend and neighbor of Teramana's, and whom Teramana interviewed for an earlier video piece (Sirrocco). The Dock closed in 2018. 

"I never knew Tuesday night could be so much fun... but it sure didn't do much for Wednesday." –Diane Teramana

In Glennda and Bruce Do Times Square, Glennda is taken on a night tour of Times Square by author Bruce Benderson. They observe the dynamic between forms of culture that would typically be identified as “underclass” in “suburbanite” culture within the economic and spatial landscape of New York City. Glennda and Bruce visit the apartment of performer Consuela Cosmetic, who was prolific within New York’s ball scene. She maps out the ways in which she believes gender can be expressed, and discusses the implications of ‘passing’.

In this video, Glennda Orgasm and social critic Camille Paglia walk the streets of downtown Manhattan and discuss the status of mainstream feminism in the early 1990s. They visit the Stonewall Inn, Washington Square Park, and a gay bookstore, and confront a group of anti-pornography protesters. 

An episode of Glennda and Friends, hosted by Glennda Orgasm and Camille Paglia. Featuring The Centaurians, Brian Roach, and Rennard Snowden.

In this video, Glennda is joined by social critic and feminist scholar Camille Paglia in New York's fashion district. The pair visit designers studios to discuss their respective styles and creative processes. Additionally, Glennda and Camille explore fashion's relationship to gender and feminism, ultimately recreating an iconic scene from Breakfast at Tiffany's.

An episode of Glennda and Friends, hosted by Glennda Orgasm and Camille Paglia.

In this video, Glennda and sex activist Chris Teen attend the opening of Dress Codes at Boston's Institute of Contemporary Art. They interview museum staff, artists, and other attendees to explore how an exhibition centered upon gender nonconformity will be received by both queer communities and the general public. Glennda and Chris Teen discuss the importance of visibility for marginalized communities, and tap into gender discourses as they existed in the early 1990s.

In this video, Glennda Orgasm and Chris Teen travel to Washington, DC to attend a feminist art exhibition titled Walk the Goddess Walk at the District of Columbia Arts Center. The pair talk to the owner of the gallery, artists included in the show, and attendees, including Francy Caprino, Teena Cromwell, Andrew Melon, Camille Paglia, and Joseph Virgilio.

An episode of Glennda and Friends, hosted by Glennda Orgasm and Chris Teen.

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.

A film titled Dance Movie (or, alternatively, Rollerskate) appears in many Warhol filmographies, but no work with this title has been found in the archive. The lost film, starring dancer Fred Herko, was shot in 1963. A year later, Herko leaped out of an open window while dancing to Mozart’s Coronation Mass in C Major. Inspired by descriptions of the missing film and the memoir of Herko’s best friend, the poet Diane Di Prima, Goddess of Speed poetically reimagines the last days of the young performer.

Gone is a two-channel installation based on the second episode of An American Family — the landmark PBS verité documentary about the Loud Family of Santa Barbara, California. Dougherty has created a free-form variation on the theme of parental visits to wayward queer children by mapping the dialogue and plot onto a contemporary community of artists and writers in New York today, paying homage to the art underground and the city itself.

With an all-female cast, featuring Suzie Bright as John Lennon, Cecilia Dougherty's Grapefruit plays with the romanticized history of the iconic Fab Four, gently mocking John and Yoko’s banal squabbles and obsessive rituals of self-display. Based obliquely on Yoko Ono’s book, the piece works on many levels to reposition this mythic tale of the Beatles by casting '80s women in mod drag—effectively mapping the lesbian sub-culture onto heterosexual mass culture.

Spiro traveled for one year on the backroads of the southern United States gathering footage for this mobile video project. Accompanied by her dog Sam and a video camera, she travels from Virginia to Texas and back. Her van (which breaks down frequently) serves as office, apartment, editing suite, and runabout.

A Hand in Two Ways (Fisted) is a looping meditation on night as space of mysterious energetic transmissions. Animals, human bodies, children, ritual, and performance are investigated as zones of conflict, desire, and a visceral movement that is more felt than seen.

A Hand in Two Ways (Fisted) is a looping meditation on night as space of mysterious energetic transmissions. Animals, human bodies, children, ritual, and performance are investigated as zones of conflict, desire, and a visceral movement that is more felt than seen.

Handy Man examines the window as a site of voyeurism and surveillance. With his Hi-8 camera, Henricks documents two workers in his interior courtyard. The camerawork has a secretive and furtive feel, treating the male body as an erotic object. This footage forms the basis of a video which attempts to implicate the viewer in processes of exhibitionism and image fetishization. Handy Man is part of a trilogy of works exploring one of the principle metaphors of video: the window.

By using clips of evil queens/witches this video plays off the sadomasochistic lesboerotic subtexts commonly found in children's entertainment. A helpless maiden is tiring of her consensual s/m relationship with her lover, and "evil" queen. She wants to break up. An impassioned monologue in a dungeon with our heroine in wrist cuffs quickly becomes an emotionally messy ending in flames. This video was inspired by the artist's own childhood "kiddie porn", Disney movies which turned her on to no end and kicked off many a prepubescent masturbation session.

Hey Bud revolves around the suicide of Bud Dwyer, a government official who killed himself before a television audience. Zando compares the suicide to a kind of pornographic sex act that plays upon the tension created between exhibitionist and voyeur. It forces viewers to take either an empathetic position vis-a-vis the exhibitionist, or to act as voyeur through release of the repressed desire to see the forbidden face of Death. The piece attempts to understand the power gained through exhibitionism, and how that power is lost through death.

Hokey Sapp Does SPEW features Kate Schechter performing her invented media personality Hokey Sapp interviewing some of the luminaries at SPEW: The Homographic Convergence, a queer zine convention hosted by Randolph Street Gallery in Chicago in May, 1991. SPEW brought together artists, writers, editors of zines, performers, video-makers, activists, and bands from throughout the US and Canada, and marked the explosion of queercore subcultures through unabashed fashion, outrageous politics, humor, and joy.

Klaus Nomi (born Klaus Sperber) was an underground superstar in the East Village arts scene in the 1970s and early 1980s. Known for his dramatic attire and make-up, and his theatrical stage presence, Nomi was a countertenor and could achieve a wide vocal range, allowing him to include operatic embellishments to his musical numbers. He died in 1983 and was one of the earliest artists to die from AIDS.

An allegory recycling images from the past, still relevant to the present moment.

“Horses are lucky, they’re stuck with the war same as us, but nobody expects them to be in favor of it, to pretend to believe in it.”

— Louis-Ferdinand Céline, Journey to the End of the Night, 1932

Land locked souls seek the key to a spiritual doorway that transcends earthly existence.

You, along with them will unlock and enter the "HOUSE OF THE HOLY GHOST", and when inside; be eternally blessed and forever haunted!

How I Love You is an exploration of sexuality among gay men in Lebanon. A couple and three individuals talk about their sex lives, about commitments and failures, about their relationships to their bodies, about their passions and love in a society where homosexuality is still punished by imprisonment. The video uses light to produce a white veil that obstructs seeing, hence rendering character identification almost impossible. Through this obstruction, the video locates itself within a specific social context. 

The Hundred Videos is a project undertaken by prolific video artist Steve Reinke, including 100 video works made from 1989-1996. Discussing death, sex, the body, philosophy, and contemporary art, The Hundred Videos defines a unique style of video-essay for the end of the 20th Century. 

"Each disquieting image breaks down into a pixel, each pithy phrase into a word, and Reinke's stream of video-thought continues apace. The corpse won't stop talking."

— Jon Davies, Images Festival: Spotlight Essay, April 2018

The Hundred Videos is a project undertaken by prolific video artist Steve Reinke, including 100 video works made from 1989-1996. Discussing death, sex, the body, philosophy, and contemporary art, The Hundred Videos defines a unique style of video-essay for the end of the 20th Century. 

"Each disquieting image breaks down into a pixel, each pithy phrase into a word, and Reinke's stream of video-thought continues apace. The corpse won't stop talking."

— Jon Davies, Images Festival: Spotlight Essay, April 2018

The Hundred Videos is a project undertaken by prolific video artist Steve Reinke, including 100 video works made from 1989-1996. Discussing death, sex, the body, philosophy, and contemporary art, The Hundred Videos defines a unique style of video-essay for the end of the 20th Century. 

"Each disquieting image breaks down into a pixel, each pithy phrase into a word, and Reinke's stream of video-thought continues apace. The corpse won't stop talking."

— Jon Davies, Images Festival: Spotlight Essay, April 2018

The Hundred Videos is a project undertaken by prolific video artist Steve Reinke, including 100 video works made from 1989-1996. Discussing death, sex, the body, philosophy, and contemporary art, The Hundred Videos defines a unique style of video-essay for the end of the 20th Century. 

"Each disquieting image breaks down into a pixel, each pithy phrase into a word, and Reinke's stream of video-thought continues apace. The corpse won't stop talking."

— Jon Davies, Images Festival: Spotlight Essay, April 2018

The Hundred Videos is a project undertaken by prolific video artist Steve Reinke, including 100 video works made from 1989-1996. Discussing death, sex, the body, philosophy, and contemporary art, The Hundred Videos defines a unique style of video-essay for the end of the 20th Century. 

"Each disquieting image breaks down into a pixel, each pithy phrase into a word, and Reinke's stream of video-thought continues apace. The corpse won't stop talking."

— Jon Davies, Images Festival: Spotlight Essay, April 2018

This rapid-montage music video for John Sex’s song “Hustle with My Muscle” portrays the singer as a ladies’ man with ample endowment to share. “Can you handle all the man below my belt?” he provocatively asks.

This title is only available on Tom Rubnitz Videoworks: Sexy, Wiggy, Desserty.

Juliana Huxtable was born in Texas and studied at Bard College, NY. An artist working across video, photography, poetry, and music, her practice demands a reexamination of the canon of art history in order to break the cycle of misrepresentation and under-representation in the contemporary art world.

This video is about seduction. The audience is seduced by the female narrator, while at the same time repelled by the seductress' desperate need for love and approval. The title is ironic: although the narrator "likes girls for friends better than boys," the attraction is masochistic and destructive.

Matt Wolf returns to Joe Brainard's iconic poem I Remember (1970) in this videowork. His archival montage combines audio recordings of Brainard reading from the poem, as well as an interview with his lifelong friend and collaborator, the poet Ron Padgett. The result is an inventive biography of Joe Brainard, and an elliptical dialog about friendship, nostalgia, and the strange wonders of memory.

Setting her pixelvision camera on herself and her room, Benning searches for a sense of identity and respect as a woman and a lesbian. Acting alternately as confessor and accuser, the camera captures Benning’s anger and frustration at feeling trapped by social prejudices.

This title is also available on Sadie Benning Videoworks: Volume 1.

Do walls have ‘tales’ to tell? Are ghosts the only ’friend’ one has on sleepless nights when the mind whispers to the soul and a beating heart drums its deeply felt message out into the darkness?

- See what the drum discovers, and you will know why.

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.

This experimental video breaks many the silences surrounding lesbians and AIDS. Interweaving the voices of two friends—an HIV+ Latina lesbian and an HIV- Jewish lesbian—the video juxtaposes two very different yet overlapping experiences. The piece points to the often unspoken tensions occurring within this epidemic—survival and power, mourning and loss.

This experimental video breaks many the silences surrounding lesbians and AIDS. Interweaving the voices of two friends—an HIV+ Latina lesbian and an HIV- Jewish lesbian—the video juxtaposes two very different yet overlapping experiences. The piece points to the often unspoken tensions occurring within this epidemic—survival and power, mourning and loss.

Benning illustrates a lustful encounter with a “bad girl,” through the gender posturing and genre interplay of Hollywood stereotypes: posing for the camera as the rebel, the platinum blonde, the gangster, the '50s crooner, and the heavy-lidded vamp. Cigarette poses, romantic slow dancing, and fast-action heavy metal street shots propel the viewer through the story of the love affair. Benning’s video goes farther than romantic fantasy, describing other facets of physical attraction including fear, violence, lust, guilt and total excitement.

Dykes and trans guys take over the Jackhammer for a punk show.

This title is also available on Chicago Sex Change: 2002-2008, A collection of Minax's early videos that together create a punk-documentary tapestry of young queer life in Chicago in the early 2000s.

A queer rewriting of the events surrounding the 1968 National Democratic Convention in Chicago from the point of view of French writer Jean Genet. Along the way Genet will meet, amongst others, Allen Ginsberg, William S. Burroughs, the Yippies, the Black Panther Party and the Chicago police force... Ultimately, the video is about the difficulty of aligning political and sexual desires.

Born out of an "objective hazard" (a 16mm roll where two different subjects were imprinted by mistake), jeny303 is a composite work intertwining two portraits. On the one hand there is jeny, the feminine alter ego of a transgender millennial dealing with a heroine addiction. On the other hand there is the 303 building, an iconic modernist architecture in a public university in Bogota (Colombia). The images of the body and the edifice interlace and depict jeny303, a character on the threshold of a transformation to come.

A portrait of New York author Joe Westmoreland. Joe is reading from his short story Sweet Baby Joe. This video was shot in 2014 in Joe's Chelsea loft, and the reading was recorded in 2016. 

Taking queer artistic license, Dougherty and Leslie Singer together portray a gay male playwright who took 1960s London by storm. The result is a witty play on narcissism and split personality that captures the banality of stardom while paying tribute to promiscuity and transgression. Filmed in black and white pixelvision and color video, this tape continues Dougherty’s exploration of counter-culture identity through lesbian portrayal, the same ingenious bait-and-switch device seen at work in the lesbian portrayal of the Beatles in her earlier tape, Grapefruit.

A rockumentary about East Village club Pyramid star John Sex. The blonde, coifed performer exposes his penchant for padding his package with socks and explains that his last name is the result of his ancestors’ “Americanization” of his native name Sexton. Featuring Miss Maggie, Katy K, Tom Rubnitz, Kenny Scharf, and Kestutis Nakas.

This title is also available on Tom Rubnitz Videoworks: Sexy, Wiggy, Desserty.

Benning gives a chronology of her crushes and kisses, tracing the development of her nascent sexuality. Addressing the camera with an air of seduction and romance, giving the viewer a sense of her anxiety and special delight as she came to realize her lesbian identity.

This title is also available on Sadie Benning Videoworks: Volume 1.

Stephen Varble began Journey to the Sun as a series of performances with projected slides in 1978. After becoming notorious for unauthorized costume performances on Soho streets in the mid 1970s, Varble receded from his public persona at this time. Deriving from his identification with his idol, the reclusive actress Greta Garbo, and informed by the spiritual practice of Subud, Varble began writing an allegorical epic about a musician, the Grey Crowned Warbler, who undergoes tribulation and metamorphosis on a journey to transcendence.

These five short videos introduce Judy, a paper maché puppet who ruminates on her position in society. Like Judy, of the famous Punch and Judy puppet duo, Benning’s Judy seems to experience the world from the outside, letting things happen to her rather than making things happen around her.

This title is also available on Sadie Benning Videoworks: Volume 3.

Invited to speak at an Indigenous Revolutionary Meeting, the narrator describes an intimate encounter with an Evil Colonizing Queen which leads to Turtle Island's contraction of an invasive European flora.

This title is also available on the compilation What Was Always Yours and Never Lost.

Rosie Cutler, a middle school lunch lady, and TJ Fortune, a outcast student, have an unusual relationship. Mystically-minded and gender ambiguous, TJ recoils into an abandoned warehouse where he builds a massive sculptural shrine from discarded objects and trash. Through a dream Rosie makes intimate contact with a trans-worldly being who she hopes will bridge the gap between real and imagined to reveal truths about our world.

Tom Kalin is a screenwriter, film director, producer, and educator. As a key figure in New Queer Cinema, his work focuses on the portrayal of gay sexuality both in the age of AIDS and historically. Informed by his work with two AIDS activist collectives, ACT UP and Gran Fury, Kalin’s video work is characterized by appropriated images, original portraits, and performances.

He peels away layers of secrets to you for what you are, and he likes scars because they tell stories.

Kiss The Boys And Make Them Die explores how memory, sexuality, and the self are created and enforced through the family story. The video chronicles how the social act of loving women becomes channeled into narratives of incest, desire for the mother, loss of the father, separation from the family, death and self-destruction. In this work, sexuality, difference and language are paralleled with haunting memories of a childhood ghost that both desires and hates women.

Part of a campaign initiated in 1989, this video is a component of Gran Fury’s plan to raise consciousness and advance medical and federal reform on AIDS policy. These ads ran on TV as a counterpart to controversial bus posters, which generated some intensely negative reactions. Using Benneton’s "United Colors" ad campaign to a decidedly different end, simple but powerful images and modern text deliver an enlighteningly direct message.

Part of a campaign initiated in 1989, this video is a component of Gran Fury’s plan to raise consciousness and advance medical and federal reform on AIDS policy. These ads ran on TV as a counterpart to controversial bus posters, which generated some intensely negative reactions. Using Benneton’s "United Colors" ad campaign to a decidedly different end, simple but powerful images and modern text deliver an enlighteningly direct message.

La Mesa explores the intersections of memory, identity and queer desire. It recreates fragmented and romanticized stories of a childhood in rural Mexico as told by the artist’s father. These disjointed vignettes are interwoven with queered reenactments of scenes from popular culture. The artist casts himself in the old Mexican films and American Westerns he grew up watching with his family in California. He appears as the romantic lead opposite the male actors, including Pedro Infante, Mexican national hero and the filmmaker’s childhood crush.

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.

The performance artist Stephen Varble spent the last five years of his life working on an epic, unfinished performance-turned-video titled Journey to the Sun (1978-1983). Only partially complete and under constant revision, this complex work combined Varble’s history of making costumes for performances with his fantastic stories involving metamorphosis and martyrdom. In 1982, Varble decided to make a “prelude” to Journey to the Sun, combining existing footage with new video taken in Riverside Park in New York City.

The Baroness Elsa von Freytag-Loringhoven né Plotz, was an unsung member of the Dada Movement. A poet, artist, runaway, and all around public provocateur; she actively did not fit into her historical moment, and like most misfits, suffered for it. As with many women artists throughout history, her cultural legacy has been obscured and in some instances appropriated into the oeuvres of better known male peers.

During the winter of 1994, actor Ron Vawter was in Brussels working on a theater production about the mythical Greek warrior, Philoketes. Philoketes was abandoned by Odysseus on the island of Lemnos after he had been bitten by a snake while on route to Troy. He was betrayed by Odysseus because his wound would not heal, provoking mournful cries and a stench that distressed the other soldiers.

Laurie was inspired by Laurie Weeks’ uncanny ability to simultaneously embody her characters and write them from a clear distance. The text in question is just a few paragraphs from a draft of the novel Zipper Mouth, more than ten years in the making, and published by the Feminist Press.

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. 

In 1995 when TJ Cuthand was 16 they felt like the only lesbian at their Saskatoon high school. This turned out to be untrue, but the lack of visibility in their high school coupled with the lack of representation of Queer teenagers in the 90's made their video, a comedic short about teenage lesbian loneliness and trying to bribe classmates to come out with the promise of candy.

A haunting look at the hidden issues of erotic power relationships between women, told through the reconstructed story of two girlhood friends. In Zando’s tape, the origins of desire and domination are traced to the early stages of the childhood relation between mother and daughter, as revealed in the often fearful and cruel framework of childhood play. In the paradigm of need and dependency versus power and control, the submissive impulse is linked to the transcendent yearning to reunite with the pre-natal mother.

Listen To This is a fragment of collective memory that finds critical relevance in contemporary Queer discourse.  Tom Rubnitz weaves narration, image, and a form of temporality, dislocated from ‘real time’, into a video where artist and AIDS activist David Wojnarowicz’s loss and anger is palpable.

When she was 16, Benning stopped going to high school for three weeks and stayed inside with her camera, her TV set, and a pile of dirty laundry. This tape mirrors her psyche during this time. With the image breaking up between edits, the rough quality of this early tape captures Benning’s sense of isolation and sadness, her retreat from the world. As such, Living Inside is the confession of a chronic outsider.

This title is also available on Sadie Benning Videoworks: Volume 1.

Martí arrives in Bilbao for an artistic residency. His clothes take up only a small part of the huge wardrobe in his new room. When he meets someone, the wardrobe gradually begins to fill up. But where did the emptiness go, the free space, the little corner of his own? Did the wardrobe swallow it all, or was it love?

In Spanish and Catalan with English subtitles.

An exploration of cruising glory holes, feminism, and general queer frustration.

Increasingly invasive questions are asked of a series of lesbians, both couples and a single lesbian, to complete the Longform Lesbian Census. From "big boxes of dildos," and "political lesbianism," to only being able to have six cats at a time, this playful video looks at the current state of lesbian lives. Is the Government of Canada finally interested in Lesbian citizens? Or are these interviewers just trying to find girlfriends?

The Look of Love: A Gothic Romance is an experimental video/audio collage in four acts. Performing in various guises, Suzie Silver embarks on a quest for the magnificence—and horror—of desire and pleasure. Her female characters are caught up in a cascade of subtle and spectacular cinematic images of sexual desire between women.

Take a trip into and out of the body to ponder Time’s endless depths where Earth spirits roam and inner Demons lurk, and find secrets that hide behind the "self". Its here for you to see.

This title comprises Moon Lit Vows (2017), Boy in the Mirror (2015), Celestial Horizons (2019), Book of the Angel (2017) and Floating on the Currents of Consciousness (2019) which were compiled into this form by Mike Kuchar in 2022.

In The Lost Art of the Future, Cuthand talks about artists he has known who have passed while living with HIV/AIDS, and the art he wishes he had been able to see them make if their lifetimes had been longer.

LYNDALE is a story of shifting family dynamics, told through the relationship of two brothers. Shot on ten different video formats, this experimental documentary is both the story of a Chicago family, and a record of the digital revolution in the early 2000s. The piece takes place over a six-year period during which filmmakers Oli Rodriguez and Victoria Stob shared a house with Rodriguez’s brother, Jeff.

LYNDALE is a story of shifting family dynamics, told through the relationship of two brothers. Shot on ten different video formats, this experimental documentary is both the story of a Chicago family, and a record of the digital revolution in the early 2000s. The piece takes place over a six-year period during which filmmakers Oli Rodriguez and Victoria Stob shared a house with Rodriguez’s brother, Jeff.

This experimental Pixelvision piece explores the tenuous boundaries of gender through a series of mini-sequences, among them a group of anecdotes told by women who have been mistaken for men and a must-see synchronized barbershop scene.

This experimental Pixelvision piece explores the tenuous boundaries of gender through a series of mini-sequences, among them a group of anecdotes told by women who have been mistaken for men and a must-see synchronized barbershop scene.

Originally constructed using a Super 8 camera and a walkman, Manipulation/Dictation investigates processes of lesbian seduction, betrayal, and the expectation that both parties can still be friends later.

Through a catalogue of looks, movements, and gestures, Mayhem presents a social order run amok in a libidinous retracing of film noir conventions. Sexuality flows in an atmosphere of sexual tension, danger, violence, and glamour; antagonism between the sexes is symbolized in the costuming of women in polka dots and men in stripes. Censored in Tokyo for its use of Japanese lesbian erotica, this tape creates an image bank of what signifies the sexual and the seductive in the history of imagemaking, pointing to the way we learn about our bodies, and how to use them from images.

Based on a novel by Rita Mae Brown, Me and Rubyfruit chronicles the enchantment of teenage lesbian love against a backdrop of pornographic images and phone sex ads. Benning portrays the innocence of female romance and the taboo prospect of female marriage.

This title is also available on Sadie Benning Videoworks: Volume 1.

Child masterfully composes a rhythmic collage of symmetries and asymmetries in a fluid essay that forefronts the treatment of the body as a mechanized instrument — placing the body in relation to the man-made landscape of factories, amusement parks and urban office complexes. Vocals performed by Shelley Hirsch.

Revelers at a masquerade ball enter an UnderWorld of guilt, vice, pain, chaos and redemption.

-- Mike Kuchar

In this reinterpretation of the mikveh — a purifying ritual bath performed by Jewish brides about to marry — the filmmaker and his husband’s immersions are disrupted by a government who refuses to recognize their marriage. While the couple is required, again and again, to prove their relationship legally exists, the mikveh they share helps them overcome unforgiving bureaucracies and return to what truly matters.

A young man of the "Modern Age" ponders sits alone to ponder "prehistoric life" and discovers that he has fine-tuned those primitive instincts in the Times he now lives. This is "food for thought", heated, stirred and serve

In Mondo Toronto, Glennda travels to Toronto to visit Liza LaBruce (Bruce LaBruce). Liza gives Glennda a tour of the city's public parks, with specific reference to their role in gay culture. Following this, Glennda attends a party that LaBruce is hosting and interviews partygoers, including Scott Thompson from The Kids in the Hall and Amy Nitrate. 

In a fragrant garden warmed by the sun, a young man inhales the atoms of the world and exhales thoughts that probe the very essence of his existence. 

Embraced by a gentle breeze in that tranquil place kissed by the sun, he embarks on a journey inward to that spiritual and sensual state best described as the "cosmic consciousness", - the "quest" to "understand" and "accept".....to have "peace of mind".

A mirror reflects voiceless eyes with stories to tell, ‘stories’ about feet attempting to climb steps to "perfection"....."stories" about canvasses that are traps for a caged artist who’s paint brush needs colors that will be at peace with itself.

This title comprises Angels We (2015), Feathered Hearts (2015), and Flesh and the Stars (2018) which were compiled into this form by Mike Kuchar in 2022.

In the case of Carlos Motta’s career, the impetus has always been on, not adhering to particular medium or a particular style, but rather using media as it becomes appropriate tell a story that has heretofore been stifled by dominant power structures. The technical variability of his work is only matched by its potential to generate conversation and discourse in the arenas of sexuality, gender, democracy and colonialism – usually as a conflux of all four through historical excavation.

Commissioned by Visual AIDS for STILL BEGINNING: The 30th Annual Day With(out) Art 

Mutiny employs a panoply of expression, gesture, and repeated movement. Its central images are of women: at home, on the street, at the workplace, at school, talking, singing, jumping on trampolines, playing the violin. The syntax of the film reflects the possibilities and limitations of speech, while “politically, physically, and realistically” flirting with the language of opposition.

My Failure to Assimilate muses on the profound sense of melancholy that sets in after the end of a relationship. The tape uses poetry, songs, collage, interviews, and narrative elements to construct a complex picture of the resulting loss of direction and loss of identity. The tape is organized into three sections: Part 1: 'Schizophrenia'; Part II: 'Alienation'; and Part III: 'True Self'. Central to the question of identity is the interplay between imaginary and symbolic identification.

—Maria Troy and Thompson Owen

An unseen narrator weaves a textual “map of moral acupuncture” as two BDSM scenarios unfold between queer sex workers and their partners. Archive, architecture, land, sky, and touch bind the historical to the present. Where/what are the slippages between subversion and re-inscription? Liberation and retention? Real and fantasy? How do BDSM practices thicken historical narratives around bodies, sex, and power?

In this interview, American writer, artist, performer Eileen Myles (b.1949) discusses the various philosophies that motivate her work, including the language of film, embodied performance, and the alienation evoked by bodily vulgarity. Myles links her wide range of artistic and literary practice with notions of abstraction, improvisation, and the mythology of gender, which she explores in relation to her own identity as a working, middle-class lesbian woman. She reflects on the significance of geographical locations, both New York City and San Diego, on her art, and shares how her past struggles with addiction have shaped her life and practice.

There is no future in reproduction. I have no concern with any species extending itself through time. You think you have given birth to a baby, when really you have given birth to a bus driver, or tax collector. Instead I'm interested in the placenta, the real mother of us all, forgotten discarded. The softest machine, all lipids and blood, that blooms and rots like any vegetal/floral martyr. That umbilical cord did not connect you to your mother. It connected you to that most partial of objects — the placenta — part you, part mom, all martyr and garbage.

In 1973 Joan Nestle co-founded the Lesbian Herstory Archives, an essential collection of documents, writings, and artifacts of lesbian cultural history. In 1979 she began writing erotic stories and has published two collections of writings: A Restricted Country (1987) and A Fragile Union (1998). She took a controversial stance in opposition to the 1980s feminist anti-pornography movement, thus becoming a fervent pro-sex activist in the “Sex Wars.” Interview by Nina Levitt.

Theo Cuthand and his mother Ruth Cuthand have a candid conversation about Theo's last hospitalization for Bipolar Disorder in 2007. While Theo only knew his manic episode from the inside, Ruth had to deal with caregiving decisions and trying to find help. While they reminisce they also have to reckon with the feelings of animosity that arose between them during these events.

Co-directed with Ruth Cuthand. 

In New Report, Wynne Greenwood and K8 Hardy are reporters at WKRH - the feminist news station that is "pregnant with information." As Henry Irigaray (Hardy) and Henry Stein-Acker-Hill (Greenwood), these two lesbian feminist artists stage reports on and with their friends, their social herstories, their nerves, and their bodies. It is urgently broadcast live to the newsroom and out to their studio audience.

In New Report, Wynne Greenwood and K8 Hardy are reporters at WKRH - the feminist news station that is "pregnant with information." As Henry Irigaray (Hardy) and Henry Stein-Acker-Hill (Greenwood), these two lesbian feminist artists stage reports on and with their friends, their social herstories, their nerves, and their bodies. It is urgently broadcast live to the newsroom and out to their studio audience.

The second installment of the collaborative project New Report, an ongoing series of performances and videos, Artist Unknown features K8 Hardy (founder of the queer feminist art collective LTTR) and Wynne Greenwood (of Tracy and the Plastics) playing Henry Irigaray and Henry Stein-Acker-Hill, and anchor and roving correspondent for WKRH, a feminist TV news station whose tagline is "pregnant with information." Based on documentation of a live, digital communication in real time between Greenwood at Foxy Production Gallery and Hardy on the street in New York.

The second installment of the collaborative project New Report, an ongoing series of performances and videos, Artist Unknown features K8 Hardy (founder of the queer feminist art collective LTTR) and Wynne Greenwood (of Tracy and the Plastics) playing Henry Irigaray and Henry Stein-Acker-Hill, and anchor and roving correspondent for WKRH, a feminist TV news station whose tagline is "pregnant with information." Based on documentation of a live, digital communication in real time between Greenwood at Foxy Production Gallery and Hardy on the street in New York.

In a version of the “teenage diary,” Benning places her feelings of confusion and depression alongside grisly tales from tabloid headlines and brutal events in her neighborhood. The difficulty of finding a positive identity for oneself in a world filled with violence is starkly revealed by Benning’s youthful but already despairing voice.

This title is also available on Sadie Benning Videoworks: Volume 1.

In this episode of Glennda and Friends, Glennda Orgasm and Mark Allen drink at Marie's Crisis Café, a piano bar in Manhattan. They interview other bar patrons and discuss topics including politics, Judy Garland, and the idea of mid-life crisis.

An episode of Glennda and Friends, hosted by Glennda Orgasm and Mark Allen.

“I fear nomads. I am afraid of them and afraid for them too.”

—Jane Bowles, “Camp Cataract” in My Sister’s Hand in Mine (New York: Ecco Press, 1978)

‘ODDS AND ENDS’ is a dazzling patchwork of moods, lost and found, for the eye to savor.

In this episode of The Brenda and Glennda Show, Glennda meets up with guest co-host Joan Jett Blakk to discuss Blakk’s 1992 presidential run. The pair interview people on the street outside of the 1992 Democratic Convention. They discuss topics including the police state, weaknesses of the two-party political system, feminism, and political elitism.

“We each have only one single life which is our real life, starting at the cradle and ending at the grave. I warn Dorothy every time I see her that if she doesn’t watch out, her life is going to be left aching and starving on the side of the road and she’s going to get to her grave without it. The farther a man follows the rainbow, the harder it is for him to get back to the life which he left starving like an old dog.”

—Jane Bowles, “Plain Pleasures” in My Sister’s Hand in Mine (New York: Ecco Press, 1978)

In One Man Ladies, Glennda Orgasm is joined by Vaginal Davis as they meet women on the streets of New York City to discuss Laura Schlessinger's book Ten Stupid Things Women Do to Mess Up Their Lives. The pair humorously explore the best ways modern women can find and secure a husband. 

An episode of Glennda and Friends, hosted by Glennda Orgasm and Vaginal Davis.

Take a joyride through comfortable suburbia—a landscape molded by seductive television and corporate America (and keep in mind: disaster is another logo for your consumption...). This is the age of the "culture jammed" consumer preened with Friends hair, Survivor courage, and CNN awareness. A generation emptying their wallets for the most important corporate product of all: lifestyle. The psychological road trip across a slightly battered America travels at One Mile per Minute.

"Gregg Bordowitz’s 2017 performance lecture Only Idiots Smile features the artist on a stool in the New Museum’s top-floor sky room, riffing on the formation of his identity. At one point, he explains his 'Jewish identity is the template thru which I understand all my other identities… how to appear to others, how we’d like to seem to others,' how others might frame themselves to be seen by us.

Cupid’s arrow pierces the heart of five individuals. You will see the arrow’s effect fleshed out before your eyes, and you will feel the searing heat that radiates from virile bodies infected by Cupid’s bow.

This title comprises The Season of Shadows and Flames (2018), Chromatic Effusion (2014), NightWars (2018), Testament (2012) and Street Meat (2018) which were compiled into this form by Mike Kuchar in 2022.

Are gender outlaws considered the new biological terrorists seeking weapons of mass bodily destruction? OPERATION INVERT compares the different regulations mediating botox-related plastic surgery and gender reassignment "sex change." Historical medical assessments of the invert (homosexual and transsexual) "condition" reveal seemingly outdated absurdities about outsider deviance. Nonetheless, current institutional loopholes governing gender re-assignment surgery suggest a fresh resurgence of loony pathology and diagnosis.

In response to the dominant impression that gay people are white people, Orientations aims to set the record straight on homosexual identity. More than a dozen men and women of different Asian backgrounds speak frankly, humorously, and often poignantly about their lives as members of a minority within a minority. They speak about coming out, homophobia, racism, cultural identity, sex, and the ways that being gay and Asian have shaped who they are.

Unlike other sectors of Romanian civil society who gained status after December 1989, the gay community struggled for many more years with a legal ban imposed by a conservative political class subservient to the Orthodox Church. Against this background, I planned to make a tactical video whose leitmotif was a pas de deux performed by two male dancers.

Performing artist Neil Bartlett plays a gay lecturer whose attempt to go back into the closet is betrayed by the contents of his briefcase. In reaction to Section 28, the law that forbids the “promotion” of homosexuality in schools in the U.K., Pedagogue satirizes the upstanding instructor’s dramatic influence on his students.

… A brief summery of what you’ll see : 

Perils is a homage to silent film—the clash of ambiguous innocence and unsophisticated villainy—dramatizing the theatrical postures of melodrama to confront and examine our ideas of romance, action, and drama. Child says, “I had long conceived of a film composed only of reaction shots in which all causality was erased. What would be left would be the resonant voluptuous suggestions of history and the human face.” Charles Noyes and Christian Marclay constructed the sound montage from Warner Brothers cartoons and improvisations. 

Media artist Cyrille Phipps has been involved with numerous alternative media and lesbian activist projects, including Dyke TV and the Gay and Lesbian Emergency Media Campaign. Her video projects include Respect Is Due (1991), Black Women, Sexual Politics and the Revolution (with Not Channel Zero, 1992), Our House: Gays and Lesbians in the Hood (with Not Channel Zero, 1992), Sacred Lives, Civil Truths (with Catherine Saalfield, 1993), Dreaming Ourselves...

A short, hilarious cooking mantra, featuring Sister Dimension, The "Lady" Bunny, RuPaul, David Dalrymple, Lahoma Van Zandt and Maria Ayala. "Where's the pickle? That's the surprise!"

This title is only available on Tom Rubnitz Videoworks: Sexy, Wiggy, Desserty.

Paint drips and body fluids ooze in this "tell all" and "hide nothing" documentary about two San Francisco males.

“Nicky is seven. His parents are older and meaner.” A Place Called Lovely references the types of violence individuals find in life, from actual beatings, accidents and murders, to the more insidious violence of lies, social expectations, and betrayed faith. Benning collects images of this socially-pervasive violence from a variety of sources, tracing events from childhood: movies, tabloids, children's games (like mumbledy-peg), personal experiences, and those of others.

In this early Tom Rubnitz, Barbara Lipp and Tom Koken collaboration, "Frieda" performs her rap song with a bevy of dolls as back-up singers and dancers. Features rock-bottom production values and song lyrics by Barbara Lipp and Tom Koken.

In this early Tom Rubnitz, Barbara Lipp and Tom Koken collaboration, "Frieda" performs her rap song with a bevy of dolls as back-up singers and dancers. Features rock-bottom production values and song lyrics by Barbara Lipp and Tom Koken.

In this early Tom Rubnitz, Barbara Lipp and Tom Koken collaboration, "Frieda" performs her rap song with a bevy of dolls as back-up singers and dancers. Features rock-bottom production values and song lyrics by Barbara Lipp and Tom Koken.

A lavish home is visited, shutters click, bottoms are exposed, water splashes and a welcome wetness stains an area unquenched for so long. A jacuzzi bubbles to life in a bedroom community that floats to sleep on aqua-filled rubber.

This title is also available on The World of George Kuchar.

In Post Queer Pride 93, Brenda and Glennda attend the New York City Queer Pride Parade. This video marks the return of Brenda after her relocation to Florida, and Glennda interviews her about the queer scene and gay activism in the South. At the parade, they conduct interviews with queers about the postqueer movement, the leather and SM scene, feminism, and capitalism.

Five prayers are sent skyward, and five curses get directed inward by those living in the purgatory of "modern life"... Attend this moody Mass in the church of "thoughts and feelings"... It will uplift you.

This title comprises Wrestling with Angels (2015), Hiding Places (2016), Unfinished Paradise (2018), Late Night Blues (2016) and Nightscape (2017) which were compiled into this form by Mike Kuchar in 2022.

Prefaces is composed of wild sounds constructed along entropic lines, placed tensely beside bebop rhythms, and a resurfacing narrative cut from a dialogue with poet Hannah Weiner. Child tells us, “The tracks are placed in precise and asynchronous relation to images of workers, the gestures of the marketplace, colonial Africa, and abstractions, to pose questions of social force, gender relations and subordination.” This tape serves as a pre-conscious preface to the parts that follow, whose scope and image bank are more narrowly defined.

Psykho III The Musical is an intriguing play on the tension between “authentic” and “pop” camp. This celebration of artifice was originally written, directed, and produced by Mark Oates as a stage musical parody following the release of Psycho II in 1983, and was performed at the East Village’s most notorious nightspot — The Pyramid Club. In 1985, after a wildly successful run, Oates reached out to longtime friend and Downtown video artist Tom Rubnitz to produce a video adaptation of the stage musical.

Psykho III The Musical is an intriguing play on the tension between “authentic” and “pop” camp. This celebration of artifice was originally written, directed, and produced by Mark Oates as a stage musical parody following the release of Psycho II in 1983, and was performed at the East Village’s most notorious nightspot — The Pyramid Club. In 1985, after a wildly successful run, Oates reached out to longtime friend and Downtown video artist Tom Rubnitz to produce a video adaptation of the stage musical.

Putting the Balls Away is a reenactment of the historic September 21, 1973, tennis match between Billie Jean King and Bobby Riggs, created for broadcast on the 35th anniversary of the original event. The Battle of the Sexes was the most-watched live sporting event at that time, and pitted chauvinist against feminist, when women tennis players demanded equal pay to that of their male counterparts. Both players are performed by Mateik, whose work wages strategic operations to overthrow institutions of compulsory gender. After each game the competitors "switch sides".

In Queens on the Media Scene, East Village drag queen Linda Simpson (of My Comrade zine) joins Glennda to discuss the explosion of drag in the mainstream media, and the pair interview passers-by on the streets of Midtown Manhattan. They discuss the rising acceptance of drag in the mainstream, in part due to the media presence of RuPaul; the potential taming of drag or its normalization; and an ambition to preserve the more taboo aspects of drag expression in the face of increasing popularization.

Budlong Memorial Middle School is heating up. Queer Teen Romance is a charmingly perverse homage to the after-school special that tackles bullying in a hormone-fueled flurry of forbidden sexual fantasy. When Bryce, the school bully, picks on outcast Kevin, a group of tough (and brightly accessorized) girls decide to teach Bryce a lesson. But maybe Kevin doesn’t want the pain to stop? 

Steve Reinke has long been lauded for his irreverent, philosophical, and often acerbic works, which typically adopt the form of personal essays to wryly bend and reread wide-ranging topics, from pop culture, to sex, to theories of visual perception and beyond. Reinke’s video, included in the 2014 Biennial, Rib Gets in the Way, is narrated in the first person by Reinke, and addresses mortality, the body, the archive, and the embodiment of a life’s work.

Representing the complex lives of transgender and gender variant musicians in the US and Canada, Riot Acts offers a first-hand perspective of the intersections between gender performance and stage performance. The featured performers are talented, inspiring, sexy, critical and three-dimensional in a manner that purposefully counters mainstream media. Discussions range from songwriting, performance, voice presentation and voice changes, passing/not passing, audience, to the idea of the spectacle, drag, and media representation - the personal is always political.

“The video is an extension of Derrick’s project for Headmaster No. 8. The issue is thematically structured around the Village People, and he was given a cop-themed assignment. More specifically, he was asked to consider the importance of the uniform in relation to authority. At the time, the editors had no idea that Derrick would soon be involved in a late-night altercation with the Chicago PD after leaving a gay bar, or that he would reconnect with a boyhood friend, now a police officer, that he hadn’t seen in many years.

Inventing freedom as they roam, videomaker Ellen Spiro and her dog Sam go west in a vintage Airstream trailer in search of elderly dropouts and their dogs who have pulled out of society and into by-the-side-of-the-road trailer communities. Our mutt narrator tells his tale, sharing his thoughts on America’s smells, the foibles of humans, and his view of aging as another journey. In unplanned meetings with gray nomads, psychic misfits, and free spirits, Roam Sweet Home takes the myths of growing older and turns them on their head.

"Sodom — for those of you who haven’t been there — is an island about ten miles in length by about two miles in width. There is no depth to it at all. It was built by men as a memorial to God, much the same reasons that I am writing this…  to praise and fulfill Him because they had heard He was dead and because His work had apparently come to nothing. The great buildings of Sodom are shaped like tombstones, and the island is populated almost entirely by robots. Man created the robots in his own image, and he created the island in the image of a cemetery.

A trip to a barren landscape of jagged peaks and deep crevasses becomes a playground for an over-dressed hiker and his beefcake buddy as they secrete and imbibe fluids from various containers.

This title is also available on The World of George Kuchar.

“Living in Los Angeles is like being on vacation, or in a coma. I don’t really like it, but it’s so pleasant I don’t want to leave. I’ve only had one idea since I’ve been here and that was to video a cake in the rain in MacArthur Park. But it’s only rained once, briefly in the night, and I was asleep, and dreaming of snow.” —Steve Reinke

This interview depicts American writer, activist, and AIDS historian Sarah Schulman (b. 1958), discussing becoming a writer, her novels, and her long-term collaboration with filmmaker James Hubbard on projects devoted to gay liberation and AIDS activism. Born in New York to a Holocaust-surviving family, Schulman grew up in an era where women were not considered important.

A fast-talking and fabulous teen recounts his experiences as an out and loud Toronto queer. With catty wit, he recalls his confrontations with straight students at school and his gay prom at a Toronto gay youth community center, told with a flair for drama and punctuated with enactments of his Wonder Woman fantasies. Fung keeps the format simple, giving voice to his subject.

In this episode of The Brenda and Glennda Show, Brenda and Glennda lead a group of drag queens on a trip to Donald Trump’s Taj Mahal Hotel & Casino in Atlantic City. Intended to be a drag queen gambling getaway and a public stage for drag visibilty, the trip turns into a moment of protest and reflection incited by homophobic discrimination. The group is kicked out of the gambling area for supposedly wearing excessive makeup and inapprorpiate, flashy attire — somehow unlike and worse than that of the casino's showgirls and other heavily powdered female patrons.

All forms of human sport become sites for sexual play and celebratory eroticism.

“The tape’s images are quick, suggestive, and sexy: fingers moving into bowling balls, shoe-smelling and toe-sucking, a dog wearing chain jewelry, fish being wrapped at the market, young naked couples having sex.... Edited like a music video, the image track is a constant flow of fetishes that lure us into the promiscuous pace of girls who keep lists of their sexual encounters.”

An erotic lesbian video involving swimming upstream, female power, and fish love. Made as a collaboration under the name E.T. (Ela Troyano) Baby (Jane Castle) Maniac (Cheang).

A pro-domme gives her friend a freshly shaved head. In return she gets a buzz cut. A client gets to be a (bound) fly on the wall.

This title is also available on Chicago Sex Change: 2002-2008, A collection of Minax's early videos that together create a punk-documentary tapestry of young queer life in Chicago in the early 2000s.

Shifting Positions is a semi-autobiographical/fictional trilogy exploring becoming queer later in life, my father's dementia, and our mid- and end-of-life crises. The selling of our family home of forty years prompted the making of the first section, entitled 'Last Home', which investigates the ways memories and spirits inhabit a house. In the remaining two sections— 'Napping' and 'Behavior Of Fascination'—the relationship between father and daugther is looked at through 'home movies' and documented intimate moments of private life. —Kathy High

“The moon, the sometimes dark street, trees, it's warm […] at last, a certain eroticism possible (that of the warm night).” When Roland Barthes visited China in 1973, he jotted down some notes that would become part of his Travels in China (Carnets du voyage en Chine), an underplot of desire in his imagination of the country.

Sirrocco was a drag performer and club icon in Cincinnati, Ohio during the 1980s and 1990s, and was also a close neighbor and friend of Teramana’s. In a series of short interviews, Sirrocco talks about visiting her hometown in Kentucky, hormone therapy, and dating as a transgender woman. 

This latest work from the ReStack’s pulls the experience of becoming mother (both through fostering and bio) through the lens of personal lives that are always, also, steeped in a world where systemic racism, classism and heteronormativity influence and shape.

This latest work from the ReStack’s pulls the experience of becoming mother (both through fostering and bio) through the lens of personal lives that are always, also, steeped in a world where systemic racism, classism and heteronormativity influence and shape.

I was fourteen when I put on my first wig. It was, I believe, my sister’s idea. So she and my mother and I went – I forget where…Simmons and Co.? – some elegantish salon with gold lame drapes where they did not do such splendid work. I sat and accepted the wig. It was like having an ax driven straight down the middle of my body. Beginning at the head. Whack! Hacked in two with one blow like a dry little tree. Like a sad little New York tree.

EMR has created a sigil, a magic sex symbol abstracted from the words TRUST ME (NOT) TO HURT YOU that is spread across rituals of the beast.

Sphinxes Without Secrets is an energetic and transgressive acount of outstanding female performance artists, and an invaluable document of feminist avant-garde work of the 70s and 80s. No Mona Lisa smiles here, as performance artists spill their guts about what outrages and delights them. Performers, curators, and critics unravel the mysteries of a new art form and ponder the world women confront today. Since its inception, performance art has provided a forum for artists who create work that challenges the dominant aesthetic and cultural status quo.

A fable-like tale, Splash explores the interplay between identity, fantasy, and homosexual desire in pre-adolescence within the narrow confines of black masculinity. The tape is an exploration of the filmmaker’s psycho-social and sexual development within a society that encourages the consumption of whiteness and heterosexuality. Splash reveals how the family becomes the agency through which sexual repression and gender conformity are carried out.

A Spy is a gender-bending and thought-provoking mixture of pure visual pleasure with disturbing undercurrents. As Reeve lip-syncs to a Doors song (“I am a spy in the house of love. I know the dream that you’re dreaming of, I know your deepest secret fear...”), we see a new manifestation of Jesus walking in a video field of pulsing rainbows, amoebic forms, and B-movie girls in black panties — suggesting the desires we try to hide from ourselves and others.

A Gay Men’s Health Crisis sex re-education PSA in which an interracial gay male couple hooks up at a bath house, having steamy sex safely. 

Told through the voices of three elderly South Carolinian's who reside in the homes in which they were born, Steven Go Get Me A Switch is an oral history mapping dichotomies of gender, familial mythologies, sexuality, and belief. A heavy use of symbolism comingles with suggestions of narrative proof. The desire to be good and the impossibility of such desire becomes a sharp inaudible pitch, like a dog whistles call to violence.

Set in a campy western mining town, Stinkhorn tells the tale of a lady blacksmith named Dusty and her naughty trickster paramour, Blaze. At night Blaze turns Dusty’s apprentices into horses and rides them all night long, Finally, Cassidy, the clever apprentice hatches a plan. A psychedelic trip wrapped in a queer western, Stinkhorn is a magical who-rides-who tale with a twist. Combining live action, drawings, miniatures and animation, Stinkhorn is the second story in, Fairy Fantastic!, a gender diverse folk and fairy tale series.

Set in a campy western mining town, Stinkhorn tells the tale of a lady blacksmith named Dusty and her naughty trickster paramour, Blaze. At night Blaze turns Dusty’s apprentices into horses and rides them all night long, Finally, Cassidy, the clever apprentice hatches a plan. A psychedelic trip wrapped in a queer western, Stinkhorn is a magical who-rides-who tale with a twist. Combining live action, drawings, miniatures and animation, Stinkhorn is the second story in, Fairy Fantastic!, a gender diverse folk and fairy tale series.

Strangely Ordinary This Devotion is a visceral exploration of feral domesticity, queer desire, and fantasy in a world under the threat of climate change. Utilizing and exploding archetypes, the film offers a radical approach to collaboration and the conception of family. Dani and Sheilah collect and arrange images and moments that are at once peculiar and banal, precious and disturbing, creating resonance and contrast through experimental modes of storytelling.

Strangely Ordinary This Devotion is a visceral exploration of feral domesticity, queer desire, and fantasy in a world under the threat of climate change. Utilizing and exploding archetypes, the film offers a radical approach to collaboration and the conception of family. Dani and Sheilah collect and arrange images and moments that are at once peculiar and banal, precious and disturbing, creating resonance and contrast through experimental modes of storytelling.

Having a party and in a fix for a dessert? The “Lady” Bunny has just the recipe: combine a doughnut, Cherry 7-Up, jelly, strawberries, and whipped topping.

This title is only available on Tom Rubnitz Videoworks: Sexy, Wiggy, Desserty.

Produced in collaboration with MICA-TV, Summer of Love is a public service announcement produced for the American Foundation for AIDS Research. Featuring The B-52’s, David Byrne, Allen Ginsburg, Quentin Crisp, John Kelly, and others.

This title is only available on Tom Rubnitz Videoworks: Sexy, Wiggy, Desserty.

... There is a garden in the dark hunger of his psyche where forbidden fruit grows.

— Mike Kuchar

This sun-drenched meditation contemplates on a youth's journey towards self discovery and his role in a new age.

Audacious romanticism displays gardens fueled by the human heart where feelings blossom amid leaf and brick.

Child uses the soap opera format to play with the structure and expectations of the family melodrama. Following the melodramatic format that “if it can happen, it will happen,” coincidence and unlikely events abound in Swamp’s gleeful send-up of lurid intrigue, threatened morality, and endless double-crosses. With looped and repeated edits, fast-paced action, and aggressively funky video effects, Child layers on artifice and excess in an overdone remake of the TV serial.

Taste the delicious colors of "SWEET NOTHINGS" and observe the dice of desire being tossed on a gambler’s bed like yesterday’s candy. See tomorrow’s chocolate bunny melt into a brown puddle and feel a sticky, rainbow colored lolly-pop thats stuck to six feet of skin that secrets pent up passions... It’s all here for you to eat and is guaranteed to fatten your eyes!!

Sylvia is a portrait of the civil rights pioneer Sylvia Rivera for her memorial service in 2002, as told by her chosen family immediately following her death. "A veteran of the 1969 Stonewall uprising, Sylvia was a tireless advocate for all those who have been marginalized as the 'gay rights' movement has mainstreamed. Sylvia fought hard against the exclusion of transgender people from the Sexual Orientation Non-Discrimination Act in New York, and was a loud and persistant voice for the rights of people of color and low-income queers and trans people." --SRLP.org

In Takeover of the Empire State Building, Brenda and Glennda visit the top of the Empire State Building as it is lit up in lavender for Gay Pride. They interview both tourists visiting the building, and activists who have come to see the lights. Ultimately, they question whether this gesture is adequate, or if there is still a way to go until equality is achieved.

This two-part episode features Glenn Belverio and Duncan Elliott participating in an ACT UP demonstration at President George Bush’s summer house in Kennebunkport, Maine, interviewing activists and documenting this historic event. In addition to this, Brenda Sexual and Glennda Orgasm attend Wigstock, an annual outdoor drag festival in Manhattan's East Village. At the festival, they rally for National Healthcare and discuss other issues such as violence against LGBTQ+ people. 

This two-part episode features Glenn Belverio and Duncan Elliott participating in an ACT UP demonstration at President George Bush’s summer house in Kennebunkport, Maine, interviewing activists and documenting this historic event. In addition to this, Brenda Sexual and Glennda Orgasm attend Wigstock, an annual outdoor drag festival in Manhattan's East Village. At the festival, they rally for National Healthcare and discuss other issues such as violence against LGBTQ+ people. 

(tell me why): The Epistemology of Disco is an often humorous, at times sarcastic and poignant look at the role that disco music has played in the formation of gay male identity.

Part 1 of Two Movies by Mike Kuchar.

People black and blue with life’s bruises, People who glow red with hot passions, or turn deep purple with spiritual purpose are here, boldly rendered in the widescreen format. Sit back and witness the event… See the faces, observe their bodies and hear them speak with their own colors.

Based on a tale by Charles Perrault, Tom Rubnitz's The Fairies comes complete with frogs, princes, kind fairies, and evil stepsisters—all costumed à la Rubnitz. Featuring Sister Dimension as the fairy godmother, Michael Clark, and others, the tape playfully illustrates a familiar fairytale moral, as each person gets what they deserve. The evil girl spits up toads, while flowers and jewels emerge from the mouth of Matilda the Good, and a dancing prince carries her away. 

Part 2 of Two Movies by Mike Kuchar.

The Magic Hedge explores a bird sanctuary located on a former Cold War Nike missile site on the Northside of Chicago. Left to wander and observe, the viewer becomes aware of the park's open secret: men looking for fleeting sexual contacts within the trees and shrubberies. The video highlights the many contradictions of a site historically devoted to military surveillance and now designed to preserve and control the "wildlife".

Produced by Tom Rubnitz in collaboration with Tom Koken and Barbara Lipp, The Mother Show is a tribute to mothers everywhere, starring Frieda, the “living” doll. Frieda asks her mother a series of questions, such as “Mom, are there days when you feel not-so-fresh?” and spells out the meaning of the word “mother.” The tape ends with her endearing pronouncement, “Mom, you’re like a mother to me.”

Produced by Tom Rubnitz in collaboration with Tom Koken and Barbara Lipp, The Mother Show is a tribute to mothers everywhere, starring Frieda, the “living” doll. Frieda asks her mother a series of questions, such as “Mom, are there days when you feel not-so-fresh?” and spells out the meaning of the word “mother.” The tape ends with her endearing pronouncement, “Mom, you’re like a mother to me.”

Produced by Tom Rubnitz in collaboration with Tom Koken and Barbara Lipp, The Mother Show is a tribute to mothers everywhere, starring Frieda, the “living” doll. Frieda asks her mother a series of questions, such as “Mom, are there days when you feel not-so-fresh?” and spells out the meaning of the word “mother.” The tape ends with her endearing pronouncement, “Mom, you’re like a mother to me.”

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.

Based on a Swedish folk tale, The Sausage tells the humorous story of two sisters, three wishes, and a calamitous obsession with a sausage. The Sausage is the first completed episode of Fairy Fantastic!, a fairy and folk tale series presenting gender fluid adaptations of classic tales.

Based on a Swedish folk tale, The Sausage tells the humorous story of two sisters, three wishes, and a calamitous obsession with a sausage. The Sausage is the first completed episode of Fairy Fantastic!, a fairy and folk tale series presenting gender fluid adaptations of classic tales.

The disparate chronicles of a high school wrestling team, a flooded town of aliens, and the love affair between two young men. Performers responded to individual drawings and prompts to collectively generate improvisational dialog during the Pilot Conference: Experimental Media for Feminist Trespass, in Chicago, 2004.

With Becca Taylor

This tape was originally an installation at the Whitney Museum of American Art, part of which included the video collaboration Channels of Desire. Recreating coin-operated porno booths, Channels aired one photo image on seven TVs, interrupted only by the viewer inserting a coin and choosing a segment. The concept behind it was the construction of desire in categorical ways, the form of the piece speaking to sexual desire as something that is constantly evading the viewer. The images present women’s experiences with interracial, lesbian, and heterosexual encounters.

This video was originally an installation at the Whitney Museum of American Art, part of which included the video collaboration Channels of Desire. Recreating coin-operated porno booths, Channels aired one photo image on seven TVs, interrupted only by the viewer inserting a coin and choosing a segment. The concept behind it was the construction of desire in categorical ways, the form of the piece speaking to sexual desire as something that is constantly evading the viewer. The images present women’s experiences with interracial, lesbian, and heterosexual encounters.

“I am a mannish / Muff-diving / Size queen / With bad attitude / An arse-licking / Psychofag / Molesting the flies of privacy / Balling lesbian boys / A perverted heterodemon / Crossing purpose with death / I am a cock-sucking / Straight-acting / Lesbian man / With ball-crushing bad manners / Laddish nymphomaniac politics / Spunky sexist desires / Of incestuous inversion and / Incorrect terminology / I am a Not Gay”

—Derek Jarman, Blue: Text of a Film (Woodstock, N.Y.: Overlook Press, 1994)

A cinematic firestorm of found footage and pilfered Hollywood images, Mike Hoolboom’s hallucinatory Tom – described by the filmmaker as, "Cinema as déjà vu, or déjà voodoo" – pays mesmerizing experimental tribute to the life and work of friend and fellow avant-gardist Tom Chomont, and was selected by a national panel of film critics as one of Canada’s Top Ten of 2002.

A series of intimate video-8 vignettes depicting the fierce love between Malverna and Sandi, 88 and 22, grandmother and grandson. The two playmates dress up drag-esque for this moving portrait of a woman’s lifetime struggle with gender and sexuality. Since Malverna's death, Tomboychik has become a living memorial to the intensity of her spirit.

A man returns, after fifty years, to Chinatown to care for his dying mother. He is a librarian, a re-cataloguer, a gay man, a watcher, an impersonator. He passes his time collecting images that he puts before us – his witnesses and collaborators. Sitting in the dark, we share his cloak of invisibility, both a benefit and a curse.

Transexual Menace takes its title from the name of "the most exciting political action group in the USA"—transgendered people who are defining themselves, demanding their legal rights, and fighting for medical care and against job discrimination. Considered by von Praunheim to be the “most fascinating [project] in my long life as a filmmaker,” Transexual Menace is a sensitive and carefully crafted portrait that deals with issues openly and honestly. “I was able to earn the trust of many who are often reluctant to be interviewed.

In this interview, Los Angeles-based artist and filmmaker Ryan Trecartin (b. 1981) discusses his personal interests and motivations, as well as the larger cultural and philosophical concerns that shape his videos and their reception. Trecartin is known for his construction of non-linear narratives, campy costumes, and excessively visceral characters and environments. One of the most compelling aspects of this interview is his insistence that language and its verbal articulation, rather than the visual, anchor his process. Trecartin identifies the influences of 1990s retro-rave culture, hip-hop videos, and editing software tools on his work. He notes that the accelerated disintegration of high and low culture has played a major part in his growth as an artist.

TREYF “unkosher” in Yiddish— is an unorthodox documentary by and about two Jewish lesbians who met and fell in love at a Passover “seder”. With personal narration, real and imagined educational films, and haunting imagery, filmmakers Alisa Lebow and Cynthia Madansky examine the Jewish identity of their upbringings and its impact on their lives.

TREYF “unkosher” in Yiddish— is an unorthodox documentary by and about two Jewish lesbians who met and fell in love at a Passover “seder”. With personal narration, real and imagined educational films, and haunting imagery, filmmakers Alisa Lebow and Cynthia Madansky examine the Jewish identity of their upbringings and its impact on their lives.

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. 

Uh-Oh! is a love story that revolves around the classic text, The Story of O. Not an adaptation, but rather a critical analysis of masochism that investigates the relationship between love, risk-taking, spirituality, power, and sex. An all-female cast plays cowboys who stage sado-masochistic rituals in the basement of a diner. A waitress named Oh (Emanuela Villorini) falls in love with a cowboy (New York poet Eileen Myles).

A movie trailer for a non-existent Bond-style spy thriller "coming soon to a mini-mall cineplex near you!" Featuring John Sex, Hapi Phace, Laura Levine, Dany Johnson and The French Twist.

This title is also available on Tom Rubnitz Videoworks: Sexy, Wiggy, Desserty.

A girl with a bad habit of falling for older women befriends a boy lover. This video is an examination of relationships between adults and teenagers. It involves ice cream trucks and bowie knives.

A hug/punch eulogy for all things impossible now. Vague Images is a sketch book of images and sounds from the year wrapped around a trip out to Loomis, South Dakota to find the abandoned farm where my grandfather grew up. At the same time the film is a travelogue of my frustrations and understandings of gay sexuality. The two are connected.

Carole S. Vance is an anthropologist and writer and Associate Research Scientist of Public Health and Director of the Program for the Study of Sexuality, Gender, Health and Human Rights at Columbia University. She has written extensively on sexuality and public policy, as well as issues of gender, health, and medical anthropology. Her books include Pleasure and Danger: Exploring Female Sexuality (1984 and 1993) and Caught Looking: Feminism, Pornography, and Censorship (1988). Interview by Carole Tormollan. A historical interview originally recorded in 1989. 

The comings and goings of the late underground filmmaker, Curt McDowell—and the people and activities that came and went along with him—are the themes that run through this existential diary of daily life. McDowell was dying from AIDS-related illnesses during the production of the diary.

“An elegy for McDowell, the videowork captures Kuchar’s mournful remembrances of his long-lasting friendship with the young filmmaker. But it also has the inquisitive charm, perverse humor, and quirky candor that places Kuchar’s visual expressions in a gritty niche all their own.”

PASSIONS run deep and LOVE flies high on Cupid’s arrow when ‘Boys’ are the desired target.

George goes to Oklahoma, but there's a lull in storm activity. It's spring, and though there's romance in the air, the lightning just doesn’t strike; so George makes his own rain—of sorts. Despite the drought, the videos must go on.

This title is also available on The World of George Kuchar.

Welcome to David Wojnarowicz Week is the follow up to A Boy Needs a Friend. Reinke proposes a new holiday with the motto MORE RAGE LESS DISGUST: David Wojnarowicz Week and takes us through his seven days of celebration.

This experimental documentary meditates on the space between two bodies and explores three key bodies in transition: the erotic "cruising" body, the transgender body, and the pregnant body.

This sumptuous Valentine sent by Miss Philly unfolds with the lavish lushness of love for HIM whom she adores.

This video was originally part of an installation at the Whitney Museum of American Art, part of which included the video collaboration Channels of Desire. Recreating coin-operated porno booths, Channels aired one photo image on seven TVs, interrupted only by the viewer inserting a coin and choosing a segment. The concept behind it was the construction of desire in categorical ways, the form of the piece speaking to sexual desire as something that is constantly evading the viewer. The images presented women’s experiences with interracial, lesbian, and heterosexual encounters.

In Wigstock ’94, Glennda and her friend Bobra attend Lady Bunny’s Wigstock festival. Following the event’s move from the East to the West Village, they explore the changing dynamics and configurations of queer culture in New York. The pair interview other drag queens, members of the local community, and passersby to get a sense of how an event like Wigstock is received by the city.

An episode of Glennda and Friends, hosted by Glennda Orgasm and Bobra. Featuring Jackie Beat, Joan Crawford, Jackie O., Sherry Vine, Nona Vulva, Wendy Wild, and Yumi.

Rubnitz’s tape celebrates and documents an early installment of the “storywig-in,” shot nearly a decade before the feature-length documentary. Presenting the festival during its Tompkins Square Park era, when the 1960s themes were still played up, the tape combines live performance footage with off-stage interviews and music video reverie. Featuring The “Lady” Bunny, Lypsinka, Frieda, John Sex, John Kelly, Baby Gregor, Hapi Phace, Taboo, and many others.

Millie Wilson is an installation artist whose work proposes a relationship between modernist art practices and modernity’s production of deviance, particularly regarding lesbian stereotypes. She uses humor, parody, and beauty as disruptive strategies to insist on a dyke presence in postmodern revisionism. Wilson has exhibited her work internationally and is on faculty at CalArts. Interview by Robert Blanchon.

A historical interview originally recorded in 1998.

Made for Madrid Pride 2017, Wonders Wander is a location based mobi-web-serial with four fictional episodes set in Madrid.

Ming Wong creates videos that explore performance and issues of race and gender. Born in Singapore of Chinese heritage, and now based in Berlin, his work examines cross-cultural experiences by appropriating scenes of iconic world cinema. Wong casts himself anachronistically as the star, critically exposing the otherness of the relationship of media and world history.

A young man recovering from emotional wounds, defiantly re-enters the outside world that welcomes his return with all its abundant miracles.

A teenage lesbian's attempts to form friendships with older lesbians leads her on a disturbing ride through the ageist terrain of the dyke community.

Set in a post-industrial ‘Neverland’ of worn down row houses, looming factories, and desolate seashores, a rabble of deprived gender and age ambiguous youths explore their own vulnerabilities and put pressure on what it means to grow up. Misadventures that include impromptu races, nighttime spooning, cheating at card games, attempts at hypnotism, pocket knife haircuts, and sexual fantasies all function as means for the characters to attempt knowing one another.

Year of the Spawn is an archival collage inspired by the synonymous song by the “gay church folk” band The Hidden Cameras. Wolf interpreted the song as an anthem for doomed youth. Having recently finished the historical film Teenage, Wolf collected over 100 hours of archival footage, featuring early 20th Century adolescents. Much of these historical newsreels feature bizarre and mysterious outtakes. These forgotten scraps became the fabric for this foreboding and melancholic music film.

In the dark night of a prairie city, a vampire considers her future with a fetching mortal. But requiring blood for sustenance brings a host of problems to the relationship.

Based on the filmmaker's autobiography, You Are Here examines the search for home within our era of transnational displacement. As the son of Italian immigrants, the filmmaker examines notions of home and belonging within the context of his ethnic origins, but also extends this in relation to his identity as a gay man. The film chronicles his trajectory from his familial home in Italy, to his native Canada and beyond, and weaves a compelling portrait shaped by memory and the realities of the present.

You will never be a woman. You must live the rest of your days entirely as a man and you will only grow more masculine with every passing year. There is no way out.

You will never be a woman. You must live the rest of your days entirely as a man and you will only grow more masculine with every passing year. There is no way out.

You will never be a woman. You must live the rest of your days entirely as a man and you will only grow more masculine with every passing year. There is no way out.