Body

The Blindness Series consists of eight short videos that investigate blindness and metaphors. Topics of individual tites include cosmetic surgery of the eyelids, vision and sexuality, video surveillance, hysterical blindness, alexia or word-blindness, and physical blindness. The series examines instrumental vision while offering a different kind of visuality, a haptic visuality. Stylistically, Tran's critical approach to video art is essayistic, theoretical, and politically engaged.

As if trapped inside a nightmare, the main protagonist of Poster Girl is haunted by disturbing visions, thoughts and fantasies, which the viewer is privy to. She is joined at various points in the video by another woman, whose role in the narrative remains unclear – is she meant to function as a guardian or a demon? The video further complicates the matter by representing both women as simultaneously wounded and wounding, inviting and threatening, vulnerable and menacing.

A woman is standing barefoot on a tile floor.  In slow motion, the investigative camera circles around her.  Her breasts are bared and liquid runs down her legs.  Bit by bit, every part of her body is shown, except her face, which remains hidden behind her hair.  The camera besets the woman, who remains silent.

This title is also available on Hester Scheurwater Videoworks: Volume 1.

Known for his fast-paced and hilarious videos exploring Hapa identity and Asian American media portrayal, artist Kip Fulbeck has been featured on CNN, MTV and PBS. A professor of Art at UCSB, he exhibits and performs throughout the world and is the author of several books.

Volume 2 includes: Some Questions for 28 Kisses, Asian Studs Nightmare, Sweet or Spicy?, Sex, Love & Kung Fu, L.A. Christmas, Nine Fish, Vicki in 3:30 and Special Features.

Woman, monster, animal? A portrait of a woman's face, the movement slowed down and reversed, the grotesquely made-up face examined in close-up.

This three-DVD collection features 18 titles, 10 years of videography, and over six hours of material by Donigan Cumming.

"Cumming has said that it is his intention to question, "the myth of the innocent, invisible photographic witness." Borrowing from what he calls, "experimental ethnography," Cumming consciously positions himself not only as investigator, but also participant, caretaker and friend. Thus his examinations of human frailty are always tempered by a compassion that stems from his own involvement in the situations he records."

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