In the relatively homogeneous world of video game designers, Anna Anthropy stands out as a proud, outspoken, S&M-loving lesbian trans woman. Her games include Lesbian Spider Queens of Mars and Mighty Jill Off, which both integrate lesbian bondage imagery into the visuals and the game design. Her work will be featured in SUPER TETRICIDE, an art show that opens at Home Room on June 23rd. This interview by Charles Mallison.

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There’s been a trend in portrait and fine art photography over the past several years that values digital manipulation over anything else in the image. So it was a welcome relief to walk into Sancho Gallery and spend some time with Samuel Partal’s new exhibition, Ars Lumina. Partal creates dramatic macro landscapes of small objects [...]

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Night Moves was two events in one: in the center was a dance party hosted by artist and filmmaker Nao Bustamante, with performer Drew Droege in drag as Chloë Sevigny and DJ Automaton and DJ Kim Anh spinning beats. On the fringes was a performance art show featuring work inspired by queer cinema past and present.

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When Genesis first met Lady Jaye, Genesis had just spent the night sleeping in a friend’s S&M dungeon. S/he woke up to see a beautiful young woman wearing an exquisitely-coordinated 1960s Mod outfit walk into the dungeon, and then take off her clothes and change into an equally remarkable set of fetish gear. This episode would foreshadow the rest of their story, where love at first sight, romance, and nostalgia would blossom simultaneously with explorations into radical sexuality, gender nonconformity, and transhumanism.

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Blong is a powerful on-stage presence. On stage, decked out in one floofy-but-revealing costume after another, she looks somewhere between a little boy and a grown woman, moving like a sexually active android and singing like a child. She also dances, plays keys, reads poetry, and screams (or pretends to scream) at her cast mates.

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Photos by Charles Mallison L.A. RECORD‘s Arts Editor Drew Denny staged a multi-media memorial on the eve of Father’s Day, describing the experience of caring for her dad as he died by combining video projection, pre-recorded score, live performed music, sculpture, and a participatory narrative. Critiquing the cancer experience, the hospice industry, and war while [...]

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On Saturday, April 23rd, Cinefamily and Cinespia in conjuction with MOCA’s Art in the Streets project presented at the Natural History Museum an advance screening of Werner Herzog’s new film shot in 3-D, Cave of Forgotten Dreams. Herzog himself was in attendance to answer audience questions about the film. Dublab and Mastodon Mesa were on [...]

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Peter Handke’s 1966 play/anti-play Offending the Audience is a dreadfully cerebral work, a 45-minute lecture with no plot, no characters and no lighting cues, equipped with a self-deconstruct mechanism that disassembles itself into a neat little pile of postmodern bromides directed towards the audience (“This is not a play”; “You are the subject matter”). On [...]

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Music fans dressed for a funeral stand silently and unmoving like right-side-up bats in the main room at Show Cave, and I silently curse myself for going to this show without wearing a stitch of black denim.

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After checking out their most recent curatorial venture, “Man, Such As We Know Him, Is A Computer,” I caught up with Chris Gere and Katie Vonderheide, co-curators of Synchronicity, an independent gallery that doubled as a music venue and ran from late 2008 through the Summer of 2010 in East Hollywood. Their current exhibit, focusing on digitally based artwork, is now on view at Mastodon Mesa in the Pacific Design Center. This interview by Walt Gorecki.

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