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Browse Items (10 total)
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Pull My Daisy
Used for teaching a class on American indie cinema.
Women with a Past
Purchased for teaching. I taught often with this collection.
Murder & Murder (first 30 mins)
Acquired as research for Women of Vision from the distributors. Yvonne was my teacher at the Whitney Independent Studio Program and a role model for a life as a feminist queer artist, as well as for her conceptual, intellectual, and experimental…
Film about A Women Who…
Acquired as research for Women of Vision from the distributors. I also used this film for classes in women's and feminist films. Yvonne was my teacher at the Whitney Program in the 1980s. She can be seen in the 4+ hours of research footage I shot for…
What You Take for Granted
Gift from filmmaker. Michelle is a friend and colleague and was one of the subjects of my documentary Women of Vision, she gave me copies of her work to use as b-roll.
Children Will Listen
Gift from filmmaker. I believe I acquired many of Charlene's films when I wrote an evaluation letter for her. I also knew her from Philly when I was making "The Watermelon Woman." She acted in some of the photos for Cheryl Dunye and Zoe Leonard's Fae…
Jarocho Elegua
Gift from artist. The band's front-woman, Martha Gonzalez, is former colleague at the Claremont Colleces, and the music video is by my friend and fellow videomaker, Fatimah Tobing Rony. We are all feminist artist/scholars.
Lucille
Gift from filmmaker. Enid was a frequent collaborator as an editor and artist, and one of my favorite video artists of the 1990s. She edited my documentaries, Dear Gabe and Video Remains. She continues making art that links to the sciences focusing…
Sing, O Barren Woman
Gift from filmmaker Susan Mogul. She was one of the subjects of my documentary, Women of Vision, and I also brought her often to Pitzer college to screen her tapes. She became a colleague and friend.
Without You, I'm Nothing
I taught this film for many years. It felt utterly cutting edge to me, primarily for its no-holds-barred attack on racism from Sandra Bernhard's debased position of whiteness. It's cheeky queerness also felt utterly new in its time.