Pixelvision

Joe-Joe

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.

Sadie Benning

It Wasn't Love

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.

Michael O'Reilly

Orion Climbs

This meditation on family and friends uses, as a point of departure, the relationship between the maker and his grandparents. The piece combines colorized Pixelvision and standard Pixelvision interviews, video beamed from the space shuttle Discovery, and English language records from the 1940s, to explore this often strained but humorous relationship. O’Reilly creates a child’s world, full of curiosity, in which all questions ultimately boil down to the question of identity.

Joe Gibbons

Multiple Barbie

Shot in Pixelvision, Multiple Barbie features the artist as a smooth-talking psychoanlayst imploring the silent doll to explore her multiple personalities in order to purge their power from her psyche.

This title is also available on American Psycho(drama): Sigmund Freud vs. Henry Ford.

Sadie Benning

Me and Rubyfruit

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.

Joe Gibbons

Sabotaging Spring

“It’s spring, it’s spring, and I feel I’m giving birth myself, to something monstrous, something ugly.” Gibbons enters the woods to begin his destructive campaign against spring, snapping the buds off trees while babbling maniacally. Sabotaging Spring is an impressionistic peek at Gibbons’s paranoid fancy; he explains the facts of life, evolution, and whistling to his dog Woody.

This title is also available on Joe Gibbons Videoworks: Volume 1.

Joe Gibbons

Pretty Boy

Tension between a man and his handsome young rival (a Ken doll) erupts into violence. Their interaction devolves from a series of tussles to a spanking.

This title is also available on Joe Gibbons Videoworks: Volume 1.

Peggy Ahwesh, Margie Strosser

Strange Weather

A quartet of crack addicts, absorbed by their life of pure sensation, are holed up inside while the world outside is about to explode.

Sadie Benning

A Place Called Lovely

“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.

Sadie Benning

A New Year

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.

Joe Gibbons

Barbie's Audition

Gibbons plays the sleazy Director and lampoons the movie audition and its legendary corollary, the casting couch. Barbie is recast, not as the impossible-to-attain ideal beauty, but as the victim of sexual harrassment and exploitation.

This title is also available on Joe Gibbons Videoworks: Volume 1.

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