317 E. Houston St., New York City, Tuesday, May 5, 7:30 PM, doors open at 7 PM.
Screening of my Writers Series of intimate video portraits. The works include Joe, 2018, with Joe Westmoreland; Kevin and Cedar, 2002, with Kevin Killian and Cedar Sigo; Eileen, 2000, with Eileen Myles; Lesie, 1998, with Leslie Scalapino; and Laurie, 1998, with Laurie Weeks. Total running time is about 45 minutes. I love these writers!
Afterwards, I’m discussing the videos with Lia Gangitano, excellent curator and gallerist at Participant Inc. in NYC, who has been showing my work since 1998, with a several-day screening event at Threadwaxing Space in lower Manhattan.
Lia Gangitano, photo by A. Steiner
Ann Stephenson, who curates the Readings at Parkside series was generous enough to ask about the Writers Series. This is the first time they will have all been screen together. Thank you, Ann!
The Parkside Lounge is a neighborhood bar with music and events venue in the back room. It has a friendly neighborhood vibe. People of all ages and stripes enjoying a pint, enjoying each other’s company, attending readings by contemporary greats, and now, there’s a video screening! I look forward to seeing you there.
Tuesday, April 15, 2025 at 7pmLight Industry, 361 Stagg Street, Suite 407, Brooklyn
German Song, Sadie Benning, 1995, digital projection, 6 mins An Epic: Falling Between the Cracks, Nancy Andrews, 1995, digital projection, 6 minsTrue Confessions of an Artist, Kirsten Stoltmann, 1994, digital projection, 5 mins The Fight, Jeanine Oleson, 1995, digital projection, 3 mins Sapphire and the Slave Girl, L. Franklin Gilliam, 1995, digital projection, 17 mins I, Bear, Hendl Helen Mirra, 1995, digital projection, 6 mins Dear Mom, Tammy Rae Carland, 1995, digital projection, 3 mins aletheia, Tran T. Kim-Trang, 1992, digital projection, 16 mins Chronicles of a Lying Spirit (by Kelly Gabron), Cauleen Smith, 1992, 16mm, 6 mins The Girl’s Nervy, Jennifer Reeves, 1995, 16mm, 5 mins My Failure to Assimilate, Cecilia Dougherty, 1995, digital projection, 20 mins
Video still from My Failure to Assimilate, by Cecilia Dougherty, 1995
The program: In 1995, after the rise of Third Wave feminism but before the social and political realignments of the internet, artistElisabeth Subrin organized a screening of films and videos entitled No More Sweets For You. The program firstshowed at the Randolph Street Gallery in Chicago, then toured to Hallwalls in Buffalo and the MIX festival in NewYork City. Though each lineup differed, many of the core offerings were by American women who, like Subrinherself, were under 30. Seen today, it reveals a rich (and still, in many ways, underappreciated) vein of feministexperimental cinema at the end of the 20th century.
The works concern thwarted connections and, as Subrin put it at the time, “the fantasies, trauma andschizophrenia of solo-ness,” but the program also suggests an intensely collaborative milieu. Its artists wereassociated in numerous ways—as colleagues or lovers or friends—and traces of these relationships can be seenin the credits: Tammy Rae Carland appears as an interviewee in Cecilia Dougherty’s video, Subrin and KirstenStoltmann worked on Franklin Gilliam’s tape; and in turn Gilliam, Stoltmann, and Sadie Benning were involvedwith the production of Subrin’s own Swallow, completed that same year and featured in the original program.
Unlike boomer feminist celebrations of community and sisterhood, the screening is haunted by the specter offailure and figures of isolation. Consider the wandering latchkey kid of Benning’s German Song, the Nauman-eque artiste depicted in Kirsten Stoltmann’s Confessions, or the mop-haired child subject of Hendl Helen Mirra’s I,Bear. Nowhere are film or video employed as simple tools of communication; both celluloid and electronic imagesare likewise approached as malleable, tactile forms, made visually complex through multiple layers ofremediation: documents collaged and animated, videos re-taped off monitors, images scratched, frozen, andpainted-over. The viewer can sense lone psyches wrestling with the crises of their day, in the cellular isolation of alate-night editing suite. Identities are metabolized by, and drift between, a range of audiovisual formats andprocesses, including Super-8, manually-edited 16mm, analog video, Pixelvision, and digital effects.
With a typically Gen-X dialectical ambivalence, these artists collectively argue that isolation can simultaneouslyfoster both mental destabilization and social resistance. “In an era of corporate grunge, queer commodification,empowerment politics and right-wing cyborgs,” Subrin asks in her original program notes, “how do theunassimilated survive without being smashed, named or forced to participate?” The answer provided by No MoreSweets for You: it’s personal, it’s deep, and it’s complicated.
