In this video, the unseen narrator describes her inability to communicate to the camera what she wants to say and to whom she wants to say it. The curtain is the central metaphor for the piece, representing how Latham hides behind the video medium, as well as how the medium presents an obstacle to the artist, functioning as a cumbersome intermediary to expression.
This title is also available on Barbara Latham Videoworks: Volume 1.
This tape, Harriet, created by Videofreex member Nancy Cain, unfolds much like a short play or literary character study. With very little directed dialogue, we gain intimate entry into a day in the life of Harriet—a long-time resident of Lanesville and mother of five—over the course of one day. No stranger to the Videofreex, Harriet was a frequent guest on the collective’s television production of Lanesville Television, as both an on-screen visitor and routine hotline caller.
Throughout the video, Benglis asks "Now?" and "Do you wish to direct me?" and repeats commands like "Start the camera" and "I said start recording." As in On Screen, she makes faces and sounds in reply to the images on a monitor; at one point she appears to kiss herself. The word "now", used as both question and command, focuses attention on the deceptive "real" time of video, and reveals the structure underlying her presence in the video.
An eloquent personal narrative about the meaning of childhood and the use of children as political tools—specifically by “Right-to-Lifers” participating in the blockades of abortion clinics. Rather than merely constructing a video document of the daily drama surrounding the protests, Wrobel slows down the event and extracts the children's stories. She interlaces this with personal memories of her playful and carefree childhood, and exposes how she too was susceptible when young.
I moved three thousand miles from the east coast to join the feminist art program at CAL ARTS in 1973. I had only been in LA three weeks when Judy Chicago took us to a "Menstruation" art exhibition at Womanspace Gallery. The exhibit included every conceivable medium about menstruation - paintings, weavings, sculpture. I was amazed - nothing was taboo. Being outrageous was normal in this LA feminist art environment. Around the same time I read "Female Eunuch" by Germaine Greer. She wrote, and I paraphrase, "If you taste your blood when you scratch your fin
“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
Part bio, part memoir, Mom’s Move is an intergenerational film about mothers and daughters, women and photography, remembering and forgetting, and the tension between women’s private and public selves.
Rhoda Mogul, housewife and mother of six, was a lifelong avid amateur photographer. Her creative drive – though confined to the home – had a major influence on my public life as an artist and filmmaker.
Tales of a Future Past is a video about a giraffe and a zebra who fight over an undefined baby creature, in hopes of making it one of their own species. Using toy masks and a sparse theatricality, Cecelia Condit creates a contemporary reflection on species extinction and the lonely, silent world that will ensue from it.
Performance artist/sculptor Ana Mendieta used the raw materials of nature: water, mud, fire, rock, and grass. The consciousness of her politics and the poetics of her expression fill her work with an emotionally charged vision that is powerfully conveyed in this posthumous video profile. Drawing upon the raw spiritual power of Afro-Cuban religion, Mendieta used her art as a ritualistic and symbolic activity to celebrate the forces of life and the continuum of change.
Caught by video on a mountainside, Swiss cows compose and orchestrate a bell sonata.
This title is also available on Sympathetic Vibrations: The Videoworks of Paul Kos.
Combining Rubnitz’s skillful manipulation of the familiar “look” of TV shows with an extraordinary range of characters, performer Ann Magnuson convincingly impersonates the array of female types seen on TV in a typical broadcast day. From glitzy to drab, from friendly housewife to desperate evangelist, Magnuson is a one-woman universe appearing on every channel, the star of every program—giving her all as the chameleon woman who is always on display.
You Were an Amazement on the Day You Were Born is a visually stunning work that follows a woman through a life characterized by damage and loss, but in which she finds humor, love, and joy. With a score that follows the span of Lenore’s life, from her birth in the early 70s to her death in the 2040s, the film takes us from moments of harrowing loss to those of poignancy and dark humor.
“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.
The "dazzling, delightful, and delicious" messages of broadcast television get scrutinzed in Social Studies, Part II: The Academy. Stripped of its glitzy animation and played out against the frozen backdrop of a single spectacular image, the standard Academy Award Ceremony fare of introductions, applause, film-clips, commentary, self promotion, and professional banter shifts the banal mise-en-scene into proto-fascist theater.
Through her performances and videotapes, Eleanor Antin (b. 1935) creates characters (King, Ballerina, Black Movie Star, and Nurse) while spinning tales that blur fiction and history. She avoids good taste and flaunts concealed intentions, forcing one to stretch all possible associations to the breaking point.
“I believe interesting art has always been conceptual... that it appeals to the mind. That does not mean that it cannot seduce and attract through the eye,” Antin says in this interview with Nancy Bowen.
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.
An exploration of cruising glory holes, feminism, and general queer frustration.
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.
Strapped for time due to her busy schedule of personal appearances, Anderson creates a rather clumsy looking clone to take over and keep up her artistic production. Anderson plays both parts, pitting the chain-smoking, productive male half against the laid-back female half. In the end, one highly successful clone begets another clone, a situation spoofing the rise and fall of the '80s art star.
"Relating a tale told by a girl on a swing, Beneath the Skin explores the contrast between the impersonal horror of a news story heard on television and the involvement of the storyteller in a nightmare, which gradually becomes more familiar and commonplace as the tale unfolds. The straightforward approach of the teller is humorously or frighteningly contrasted by a bombardment of visual images which mock or intensify the macabre flavor of the work."
—Cecelia Condit
The "cross-over" in Olympic Women Speed Skating is juxtaposed against General Hospital's whites in reverse angle shots. A couple tries disparagingly to reach an understanding. Skaters continuously return to the starting line. Frustration and exertion combine with originally scored soundtracks of disco, rock, and jazz.
In conversation with Carol Vontobel (behind the camera) and Nancy Cain, Curtis (Mary Curtis) Ratcliff describes getting her first legal abortion, soon after the state of New York legalized the procedure in 1970. Curtis supplies details of the cost of abortions at the Women’s Medical Center in New York City versus clinics such as Planned Parenthood, as well as a play-by-play account of her experience at the Center, describing the efforts of a counselor, the doctor’s demeanor, and demographics of the women using the Center’s services.
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!
A classic example of feminist performance videos of the 1970s, which often incorporated autobiography, expansion of self through personae, and assertions of a new identity for women. In Nun and Deviant the performers come to happier terms with their identities both as women and as artists.
