Looking is better than feeling you

Curated by Astria Suparak
For Ladyfest
2002. Tour and exhibitions through 2003.

Video and audio by:
Dara Greenwald, Jacqueline Goss, Colleen Hennessey, Kathy High, Miranda July, Eliete Mejorado, KJ Mohr + Kelly Hayes, Shannon Plumb, Jenny Stark, Kirsten Stoltmann, Jennifer Sullivan, Ann Weathersby, Karen Yasinsky

“Shake ya ass, but watch ya self- Show me what you workin with” – Mystikal

With an irreverence for punk rockers, adults like parents and politicians, non-adults like breasts and babies, and people we generally approve of like artists and scientists, these works reveal that posers are sometimes better than the real thing. We’re all staging our rebellions, even against ourselves, and wind up aloof but completely aware of how we look. Baby got back.



1. Dancing Girls, Jennifer Sullivan, 2002, Super-8 film to video, as intro installation,  8:50 min. Premiere.
A glittery blur of deer-legged, magenta-stained girls dancing; some ecstatically improvising for daddy’s Super-8 camera, some stunned, presenting rote routines at talent shows.
“A document of girls (including myself) performing in the mid-1980s, the time when I was growing up. They are expressing themselves instinctually, exuberantly, self consciously, hysterically. Their dancing seems abstract to me. It is both authentic and completely theatrical at the same time.” – J.S.

2. Film Sketches, Shannon Plumb, 1999-2002, film to video, as intro installation, 2:20 min.
“Each film is silent, black and white, propped, staged, and performed with a Vaudevillesque style of grace, simplicity and innovation. I am the performer, the director, stylist and choreographer. The camera is merely a tool to capture the interactions and discoveries between character and props, actor and spontaneity, routine and the possibility of breaking the routine.” – S.P.

3. You Think You’re Punk Rock But You’re Not, Kirsten Stoltmann, 2000, video, 3 min. World premiere.
“Punk Rock is a send up to all the posers out there, me being the finest of them all – so fuck off!!!” – K.S.

4. Thea, Miranda July, 2002, Audio. 1:05 min.
From “The Drifters,” an audio installation commissioned by the Whitney Museum for the elevators at the 2002 Whitney Biennial.

5. Self-Reflecting, Kirsten Stoltmann, 1999, video. 1:05.
A brooding one-liner accompanied by the kitchen sink and a bikini. “Possibly, this is a self-portrait of the artist, but she’s not sure.” – K.S.

6. Drop That Baby Again, Karen Yasinsky, 1998, film to video, 5 min.
Absent-minded women, curiously forgiving husbands, and plastic babies. Based on a true story.

7. Bouncing in the Corner,#36DDD, Dara Greenwald, 1999, video. 2:35 min.
A late-’90s feminist looks back on the seminal work of performance artist, sculptor and filmmaker Bruce Nauman. A take off on “Bouncing in the Corner” where everything is taken off.

8. The Phone Call #1 (from The Drifters), Miranda July, 2002, audio. 00:45 seconds.

9. Humane Restraint, Ann Weathersby, 2002, video, approx. 7 min. World Premiere.
“Humane Restraint” engages elements of video, sculpture and performance, using the body to provoke a physical, psychological and emotional experience. A man with a video camera encounters a woman’s head on the beach and engages it in dialogue. The camera shakes and mercilessly zooms in and around the head’s features. The body is fully buried for long periods of time, so there is a complete relinquishing of control. Tensions concerning vulnerability versus security, repression versus outcry, intellect versus emotion and private versus public space are explored. The scrutiny of the woman’s physiognomy also reflects the intensity of the gaze, and the dialogue challenges ideas of trust and intimacy. – A.W.

10. The Phone Call #2 (from The Drifters), Miranda July, 2002, Audio, 00:59 seconds.

11. Slapstickers or Digit + Dian, Jacqueline Goss, 1999, video, 6:10 min.
“What if Dian Fossy and her favorite mountain gorilla Digit had survived and moved to Generica, USA? Slapstickers takes their story to new terrain in order to look for what’s at the heart of the Anthropomorphizing human. Here, one finds language, deceit, and humor are front and center.” – J.G.

12. Domestic Vigilancia

13. Death Poses (from Everyday Problems of the Living – a serial…), Kathy High, 2000-02, video, 10:10 min.
A year long project about anxieties surrounding living and dying — or a meditation on mortality. High, thinking that she might die at 45 in the year 2000, decided to “perform her death,” creating a tape around the topic each month. Her own pets, Oscar (cat), Ernie (cat), Push (cat) and Lily (dog) also play a major role in the events that occur each month, as she projects her own fears and anxieties onto them. The animals humorously embody and thwart her attempts to die.

14. Negative Ten, Jenny Stark, 2001, video. 4:11 min
Edited from a found VHS tape, news footage is mixed with re-cropped fragments of the Twin Peaks television series and various war-torn skies including the Gulf War. “Within the context of videotape from a specific time in history links can be made between historic events and pop culture.” – J.S.

15. Fear, Karen Yasinsky, 2001, film to video, 5:26 min.
“In the lovely outdoors a man rolls around with a girl on one screen while on the other he cries. Is he distressed over a horrid memory or is it an unwanted forbidden desire? Is that a little girl that he’s fondling? It’s just a doll, isn’t it? The girls are all in school. Airplanes, tears and a loving flight attendant doing her best to make it all better.” – K.Y.

16. For Home Project, Colleen Hennessey, 2002, video, 00:30 sec. Premiere.
Objects in a relationship made in conjunction with the Home Video Project: artists contributing 30 seconds on the concept of home.

17. Meu Nome e Gal (My name is Gal), KJ Mohr and Kelly Hayes (Brazil/USA), 2001, video, 5:30 min.
“A high camp drag performance inspired by Brazilian ‘Tropicália’ and its muse, singer Gal Costa. Set against a lush Rio backdrop our star-struck tourist does the town, and in her search for ‘The South American Way’ things start bustin’ out all over…” – K.M.

Total running time: 70 minutes

Previous screenings have included:

Learning To Relax 2, Eliete Mejorado, 2001, video. 5:04 min.
Real-time (one shot documentation) performance on cunt power.

8. Universal Shark, Jacqueline Goss, 1994-96, video, 4 min.
Four dreams about fear of pregnancy and parenting in public places

9. Eels, Patty Chang, 2001, video, 4 min. San Francisco Premiere
“Fear-Factor-meets-Chris-Burden performance tape” – Ed Halter, Indiewire.com

12. Shaved (at a loss), Patty Chang, 1998, video, 5:25 min.

Special Pre-Show by Ms. Dominica K. from Boston, Baton Twirler Extraordinaire




This irreverent, rebellious, and self-parodying film program takes on punk rockers, politicians, parents, and posers who fake it like they mean it. With curator Astria Suparak in person, the evening features the world premiere of Kirsten Stoltmann’s You Think You’re Punk Rock but You’re Not and the S.F. premiere of Miranda July’s new audio series The Drifters.
– Alissa Chadburn, “Ladies nights, and days: Highlights from the Ladyfest program


Looking is Better than Feeling You
 is the real crowd pleaser, grounded in emotionally expressive narrative and gutsy performance art. Ladyfest Bay Area, part of the growing international movement of feminist political art festivals, asked Suparak to curate a program of short videos by women artists. Next to performances by she-rockers like The Gossip and Sleater-Kinney, Astria showed works by veteran feminist filmmakers like Kathy High and gallery regulars Karen Yasinsky and Shannon Plumb, including also lesser-known emerging artist and student videos. The program re-imagines feminist art history with Dara Greenwald’s smart revision of Bruce Nauman’s video performance, but also treads through new terrain in Jacqueline Goss’ anthropomorphic adventure theory. Suparak’s curatorial choices indicate a personal video art aesthetic that is accessible, immediate, and purposefully absurd.
– Matt Wolf, “Astria Suparak: Experimental media curator as rock star


Brooklyn-based curator Astria Suparak travels the world showing experimental media, and this week she returns to L.A. with a collection of work by women. Highlights in the eclectic, often ecstatically funny show include

Dara Greenwald’s Bouncing in the Corner, #36DDD (1999), which revises conceptual video artist Bruce Nauman’s sundry ‘Bouncing’ videos from the 1960s. Here, a naked woman, shot from above in low-res black and white, bounces up and down in the corner of a room, her stupendous, triple-D breasts rebounding with wild abandon; subsequent segments include rubber balls, pieces of fruit and even videotapes, all cleverly placed beneath the loudly slapping orbs of flesh.

In Ann Weathersby’s Humane Restraint (2002), a woman is buried neck-deep in the sand on a beach while a male cameraman questions her. Their interplay is at once amusing and spot-on, capturing the always politicized relationship between the viewer and the viewed.

Selections from Kathy High’s Everyday Problems of the Living (2000­02) juxtapose the artist’s musings on morbidity with shots of her puking, defecating cats enduring the everyday horrors of expulsion. Hyperbolic and hilarious, the tape still manages to suggest real angst.

Interspersed throughout the films and videos are selections from Miranda July’s The Drifters (2002), a series of sound recordings made for the elevator of the Whitney Museum during last year’s Biennial. The conversations, like much of July’s work, involve uncanny moments of self-exposure and confusion, and find their edgy, almost painful humor in replicating shared experiences of embarrassment and vulnerability.

Suparak’s terrific show will set straight anyone who thinks that women’s media is on the wane.
– Holly Willis,”Signal to Noise


A zaftig pink-haired tourist shakes her rear end for passers-by. A blindfolded woman hikes up her voluminous skirt and begins to shave herself. A clay housewife absent-mindedly drops her baby. Again.

Some of the biggest names in contemporary performance and video art celebrate women acting up and acting out in Looking Is Better Than Feeling You, a program of 16 short works selected by New York-based curator Astria Suparak.

Whether they’re washing dishes while wearing a revealing bikini, as in Kirsten Stoltmann’s Self-Reflecting, or enacting sitcom-inspired scenarios with a gorilla, as in Jacqueline Goss’ Slapstickers or Digit + Dian, the women command our attention.

Intercut among the visual pieces are Miranda July’s audio excerpts from a series titled The Drifters, which originally played in the elevator of New York’s Whitney Museum. These eerie voice-overs about parenting and other anxieties reverberate on the soundtrack while the screen remains black.

Suparak wants viewers to work for their entertainment. ‘I like making people sit down and use just one sense, either just their eyes or just their ears.’

Culled from hundreds of films and videos, Looking is Better Than Feeling You was inspired by Suparak’s everyday experiences. ‘I’ve been interested in this idea of looking, of the pleasures and intimidating powers of the gaze. I live in New York and can’t even get my mail without confronting a hundred random people on the subway and in the streets. I can’t go anywhere without feeling hugely self-conscious about how I look, sharpened by the verbal aggression and unveiled intent of strangers in the city.

‘But,’ she admits, ‘I also partake in this power, this brazen lack of coquettish suburban etiquette.’
– Alison Macor, “Looking Is Better Than Feeling You


Kicking off the Ladyfest Bay Area Film Festival 2002, Looking Is Better Than Feeling You was introduced by New York-based curator Astria Suparak at San Francisco’s Victoria Theater.

As a filmmaker, I applaud curator Astria Suparak for returning short filmmakers their rights. Often thrown together by the sole characteristic of clocking in under five minutes, short films in festivals are not given enough consideration and denied their rights to proper presentation. Under the simple onomatopoeia of ‘jiggle,’ every piece in Looking is Better Than Feeling You compliments the other. By juggling elements of the jiggle, an obvious consistency emerges from every piece – instability, dread and delight. Suparak showcases these female-produced films with audio punctuation provided by Miranda July’s The Drifters.

Among the 14 pieces is Karen Yasinsky’s Fear, which stages miniature wood/clay-like human figures against the backdrop of an airplane cabin. Although there is no jiggly flesh present in the piece, the film-image itself seems to jitter due to its stop-action construction. The figures sit dazed inside the airplane, facing one another’s backs and emit glue-like teardrops. My connection to these characters lies in their instability: the shaky image as well as unmalleable facial expressions that seem to house secret eruptions of anger and alienation.

A film that did present the viewer with jiggly flesh is Patty Chang’s Eels. In Chang’s piece, it is the flesh of the eel which astounds. An unknown man stuffs three eels into a woman’s buttoned-up shirt. Her whooping laughs and cries kept me in a state of dreadful anticipation. At the most climactic shove of the eels into her shirt, averting my eyes to the outer edges of the screen was my only tactic of escaping an intense feeling of guilt and dread. Eels is a piece which also tests our obsession with scopophilic behavior. I was mesmerized and unable to let my eyes disobey my brain’s desire to look at this spectacle. So although everyone in the audience “ughed” every time the man approached her with another eel, we all knew we wanted to see it happen again . . . and again . . . and again.

The jiggliness of Kristin J Mohr and Kelly Hayes’ Me Nome e Gal is not only in the last shot of Gal’s buttocks shaking on a sandy beach. The video follows a Gal Costa (Brazilian singer) imposter in modern-day Rio. She sings, dances and jiggles her way through the tourist hotspots of the city. The jiggliness I found most invaluable to the piece was in its unpredictability – not in Gal, but in the bystanders. The video was unstaged; to see the uneasy reactions of these tourists was half the hilarity. The unstable, jiggly behavior of the bystanders was apparent in their tendencies to act shifty, ignorant or mostly delighted, with giggles.

Every piece in Looking is Better Than Feeling You had a fresh visual style that tested the format of short filmmaking. Suparak not only held the artists together by genre (contemporary lady short film), but also gave each artist a unique context by considering them as an element of the ‘jiggle. Thanks to Looking…, my standards for short film festivals have skyrocketed.”
– Yoko Kumano. © 2002 withitgirl. All rights reserved.


Programmed to Stun: Astria Suparak

Seduction is just one of the weapons in the packed arsenal of globetrotting curator Astria Suparak, who’s cut a six-year, mile-wide swathe through the minds of unsuspecting audiences the world over. She started innocently enough, at Brooklyn’s Pratt Institute, where she studied drawing and sculpture. ‘I wanted to supplement my education and influence others,’ she says of her early film and video programming, barely hinting that what she really wanted to do was blow the minds of viewers with unctuous erotica, politically motivated old school avant-garde retorts, hyperbolic tales, and, well, all the great stuff that hardly anybody shows anymore, much less puts together with loving attention to aesthetic nuance and fertile, thematic collision. Noting that part of her project entails seducing viewers to witness unconventional works, she also helps foment a network of artists and like-minded exhibitors. ‘I’m basically meeting the most enthusiastic, proactive, forward-thinking people,’ she says, ‘people who are sacrificing their time and money to bring experimental works into their town, out of sheer love and a desire to share and learn with others.’

Recent Suparak shows include Looking is better than feeling you, a program of work by women, including Dara Greenwald’s Bouncing in the Corner, #36DDD, which pointedly revises conceptual video artist Bruce Nauman’s sundry Bouncing videos from the 1960s; Greenwald’s hilarious take shows a naked woman, shot from above in low-res black-and-white, bouncing up and down in the corner of a room, her triple D breasts rebounding with wild abandon. Adolescent boys, and Living rooms screened recently at Outfest, with work about men; both shows triumphantly tout a teeming, vibrant experimental media scene. And if Suparak has her way, the shows will be coming to your town soon.
– Holly Willis, “Monitor / Focus


Astria Suparak, a 24-year-old NYC-based curator, is coming to Squeaky Wheel this Friday with Looking is better than feeling you, a program of contemporary video, audio, and animation by women. The show features work byKathy High, a former Hallwalls video curator, Miranda July, Kirsten Stoltmann, and Shannon Plumb, among others.

The work chosen by Suparak for Looking… is far from the collection of angst-ridden, hysterical, screaming, fainting rants one might, unfortunately, expect when ‘feminism’ is invoked. These works address ideas of looking – of the pleasures and intimidating powers of The Gaze – in subtle ways. These artists are asking questions that cannot and will not be answered by manifestos; they are forcing the viewer to look, and to look at them and their lives.

Suparak culls curatorial inspiration from her everyday life… ‘Many of the artists in this program are placing themselves in front of the camera, creating their own identity for consumption. These works ring familiar to me, of growing up so intensely aware of my body and how others create my identity based on it. What becomes my identity is filtered through others.’

Suparak takes this notion of manufactured identity one step further: ‘I’m interested in the idea of authenticity- how it is considered a virtue, but faking it can be just as reassuring. The intent can stand in for the actuality. Everyone wants to be “genuinely” loved, for who they “really are”, or at least something close to that, right?’

Confronted with ‘preaching to the choir,’ by presenting this type of work to young, hip art crowds at alternative spaces, Suparak responds, ‘Unfortunately, feminism isn’t fully established. I wish it was obsolete. But feminism needs to be introduced into every generation, because patriarchy is still the norm. The audiences [at the screenings of Looking…] are not always hip or an art audience. Some have never seen these forms or ideas, and they get really excited and want to try making their own videos that night. Maybe some of the aesthetics and concepts are simple, but that is just a different set of aesthetics and politics which still deserves to be shown, which still delights and riles up a crowd.’ [One Boston viewer interpreted the program as] promoting negativity toward women, but Suparak cites her very mission as a positive role: ‘I think it’s really important that I’m traveling across the world as a solo young female without a companion/protector, creating and solidifying a network for artistic endeavors which includes, but also veers far from, academia and high-art realms. I avoided Hollywood and independent cinema for years because I couldn’t bear to see one more flat image of a woman created to fulfill male fantasy…’

Says Suparak, “This program was created for adolescent girls who aren’t involved in arts programs or film scenes, who haven’t made their own work, and only have access to mainstream films. I am interested in women taking over their means of production, exhibition, and distribution, and women controlling their self-representation. The aesthetic is raw so girls can figure out how they can make their own work, and realize that “movies” don’t need an impossibly expensive and unobtainable level of production.’

Suparak describes her editorial practice: ‘I try to create a rollercoaster of emotions and tension, without undermining the gravity or poignancy of some works or wash out the upbeat tone of others. I try to maintain the individual works’ distinctiveness. The works all link back to one another and several sets of ideas…’

Buffalo is Suparak’s final date in an eleven-week tour across America and Mexico, which includes other film and sound art programming.
– Jan Nagle, “Looking is better than feeling you


For visual stimulation, renowned New York film curator Astria Suparak delivers Looking Is Better Than Feeling You, a compendium of the latest cool underground shorts.
– Dan Strachota, “There’s a Riot Goin’ On: Ladyfest goes grrl crazy


With a workshop on animation, a panel on making porn and a shorts program called Sisters Are Doin’ It for Themselves, the film/video portion of Ladyfest emphasizes a do-it-yourself ethos. Ladyfest organizers showed cinematic ingenuity in fund-raising efforts as well…

[Laurie Koh, a Ladyfest organizer] said programmers wanted to highlight the region’s status as a hub for female filmmakers. ‘As well as show their work, we want to help them meet each other and network with each other,’ she said. In the inclusive spirit of the event, organizers have invited every filmmaker who submitted work, not just those who got in, to a private reception accompanying Thursday’s night’s opening program, Looking Is Better Than Feeling You.

Looking…, curated by New York’s Astria Suparak, features shorts about self-image and includes audio recordings by multimedia artist Miranda July, whose work has shown at the Guggenheim and Whitney museums. The program also includes a riotously funny girl-gorilla short called Digit + Dian [by Jacqueline Goss], which imagines naturalist Dian Fossey and a super-intelligent primate arguing over the correct use of the word ‘nonplussed.’
– Carla Meyer, “Femme flicks – Festival tries to create community, identity for women in film” 


Film & Video Festival Highlights

With rock star glamour and grit, 23-year old roving curator Astria Suparak comes to Ladyfest Bay Area to present video art, experimental film, and audio works. This lady-made program features: film excerpts of Miranda July’s audio piece The Drifters, Kirsten Stoltmann’s You think you’re punk rock but you’re not and Self-Reflecting, and much more performance and video art. Astria Suparak has curated programs for the New York Underground Film Festival, the historical avant-garde film showcase Anthology Film Archives, multimedia performance space and record label The Knitting Factory, and the underground distribution network Joanie 4 Jackie (formerly Big Miss Moviola).


Astria Suparak, the prolific young curator from New York, presents a collection of selections from her recent programs in Ladies and Boys and Touching, originally created for the Chicago Cultural Center. The title is perhaps the best way to describe this collection of self-conscious performances. Ladies, boys, and tactile movement run through these works, which celebrate the artifice of art, relationships, and actions: …A woman discusses death with phone psychics [Kathy High’s Domestic Vigilancia]. The program, which includes audio works by Miranda July, also features Jennifer Sullivan’s Dancing Girls, an electronica tribute to girls in ’80s talent shows. Those who saw Suparak’s summer program at Ladyfest Bay Area will recognize Karen Yasinsky’s stop-motion Fear and Jaqueline Goss’s Digit and Dian.
– Laurie Koh


New York curator Astria Suparak describes the creation of these shorts as ‘practicing our (dance) moves until perfection is reached,’ and most of these 11 videos (and two audio works) focus on the body as an instrument. Among the best are Alex Villar’s Upward Mobility and Jennifer Sullivan’s Dancing Girls, both from 2002: in the first a man climbs brick walls and building facades just as a skateboarder might interact with urban spaces, exploring locales with minimal means, and the second shows young girls dancing in the 80s. The opening dancer does a mechanical routine whose rote movements and facial expressions betray her unease, and some later ones look unhappy too, as if dancing for pushy parents… Humane Restraint (2002), in which video maker Ann Weathersby buries a woman up to her neck in sand; the neosurrealist conceit recalls 1960s art films…
– Fred Camper, “Ladies and boys and touching”


Screen Gems: Avant garde gets its due at Video Mundi

Except for an occasional program at Chicago Filmmakers, a one-night stand at Siskel Film Center, or the rare show at a local art museum, experimental film screenings are hard to come by in Chicago. But avant-garde aficionados have something to cheer about this week with ‘Video Mundi,’ an ambitious four-day, eight-program mini-fest that reminds us just how challenging (and disturbing) non-narrative film and videomaking can be.

…At the Chicago Cultural Center, ‘Video Mundi’ is a pastiche of formats and visual styles that seeks to open audiences to alternative ways of seeing through the lens of avant garde. Festival organizers asked eight international curators to pull together a separate thematic program of films and tapes, then invited those curators to Chicago to introduce the works they gathered and discuss the content and meaning. Included on the list of invitees are: Ximena Cuevas, Astria Suparak, Elena de la Vara, Andrea Grover, Jan Schuijren, Alex MacKenzie, Ulrich Wegenast and Abina Manning. These may not be household names, but in the esoteric world of experimental film, they have earned their props…

Ladies and boys and touching, zeroes in on issues of love and art, featuring a dialogue between a man and a woman buried up to her neck in the sand [Ann Weathersby’s Humane Restraint], and a faux logger who speaks with rehearsed passion about ex-president Ronald Reagan [Seth Price’s Triumf].

…Though I was not able to preview all of the programs, of the six I saw, each had a high batting average. Even some of those I didn’t care for stayed with me for hours and even days afterward. Isn’t that what alternative art is supposed to do?” – John Petrakis

See also:
San Francisco Chronicle‘s feature: Doin’ it for themselves: Feminist arts and activism infuse Bay Area Ladyfest by Neva Chonin
San Francisco Weekly‘s feature: There’s a Riot Goin’ On: Ladyfest goes grrl crazy by Dan Strachota
San Francisco Bay Guardian‘s cover story: Revolution lady style now: Ladyfest Bay Area gets busy by Alissa Chadburn
With It Girl’Living Room Revolution by Bridie Lee

KFJC RADIO Interview with Thurston Hunger and Astria Suparak



July 25, 2002, 8pm
Ladyfest Bay Area: Opening Night
@ The Victoria Theatre, 16th Street (between Mission + Valencia), San Francisco, CA

August 10, 2002, 6pm
Ladyfest D.C.
@ The Sacred Heart School Theatre, Mt. Pleasant, Washington, D.C.

September 20, 2002, 9:30pm
Cinematexas International Short Film/Video Festival
@ The Hideout Theatre/Cabaret, Austin, TX

October 27, 2002, 8pm
@ Berwick Research Institute, Roxbury, Boston, MA
Co-sponsored by Balagan Experimental Film and Video Series

October 28, 2002, 8pm
@ Williams College Museum of Art, Williamstown, MA

November 14, 2002, 7:30pm
One part of the 2-part video series curated by Astria Suparak for Museo Tamayo’s “Panoramica Series”
@ Museo Tamayo Arte Contemporaneo, Paseo de la Reforma y Gandhi, Bosque de Chapultepec, Mexico City.
Special version of Looking is better than Feeling you

November 21, 2002, 8pm
MIX: The 16th New York Lesbian/Gay Experimental Film/Video Festival
@ Anthology Film Archives, New York, NY
Special New York version of Looking is better than Feeling you, co-sponsored by Ladyfest East and Dyke TV.

December 4, 2002, 4pm
A Cinema On the Edge event
@ Ithaca College, Park Auditorium, Ithaca, NY

December 6, 2002, 8pm
@ Squeaky Wheel, Buffalo, NY
Co-sponsored by Central New York Programmers’ Group, Experimental Television Center, the Instructional Support Committee of the Univ. at Buffalo Dpt. of Media Study, SUNY Buffalo Dpt. of Women’s Studies, SUNY@Bflo Media Study Grad Student Assoc.

March 17, 2003, 7pm
@ The Museum of Photographic Arts, Balboa Park, San Diego, CA

March 20, 2003, 8pm
@ Echo Park Film Center, 1200 Alvarado St. at Sunset Blvd, Los Angeles, CA

April 26, 2003
@ Illinois State University, Center for Visual Arts, Normal, IL

April 27, 2003, 7:30pm
Part of splice: cutting edge film festival
@ Carnegie Mellon University, McConomy Auditorium, Pittsburgh, PA

July 25, 2003, 8:15pm + 9:45pm
Opening Night Party
@ Yerba Buena Center for the Arts, San Francisco, CA

July 26 – October 5, 2003 *
@ Yerba Buena Center for the Arts, Screening Room, San Francisco, CA
Screening continuously all day, Tue-Sun, 11am-5pm

denotes exhibition