Pixelvision

1990
Jollies

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.

1989
Living Inside

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.

1994
Alix Umen & Lisa Prisco, Mad About the Boy

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.

1990
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.

1998
Multiple Barbie

Shot in Pixelvision, Joe Gibbon's 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.

1989
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.

1994
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.

1991
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.

1994
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.

1991
Sabatoging 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.