Sadie Benning

Early work

Benning began creating visual works at age 15, they started filming with the "toy" video camera they received as a Christmas gift from their father, the experimental filmmaker James Benning.^[8][9] Benning used a Fisher-Price PXL-2000 camera, also known as PixelVision, which created pixelated black and white video on standard audio cassette tapes.^[7] At first, Benning was standoffish to the PixelVision camera and is quoted as saying, "I thought, 'This is a piece of shit. It's black-and-white. It's for kids. He'd told me I was getting this surprise. I was expecting a camcorder."^[6]

They made four short films and brought them to their father's film class he was teaching at Cal Arts, and they screened the films for the first time in front of a class.^[6][5] One of the students put one of the films in a film festival he was organizing.^[6] By the age of 19, they had shown their films at the Museum of Modern Art in New York City, the Sundance Institute, and at international film festivals.^[6]

Themes

The majority of Benning's shorts combined performance, experimental narrative, handwriting, and cut-up music to explore, among other subjects, gender and sexuality.^{[9][dead link]} Benning's work has been included in the Whitney Biennial twice (in 1993 and 2000), including as the youngest artist included in the well-known and controversial 1993 Whitney Biennial.^[10][11][12]

Benning's earlier videos – A New Year, Living Inside, Me and Rubyfruit, Jollies, and If Every Girl Had a Diary - used Benning's isolated surroundings and the effect this had on Benning as a focus for their theme. In Benning's earliest work, A New Year, Benning shied away from being in front of the camera, instead focusing on their surroundings – primarily the confines of their room and bedroom window – to portray their feelings of angst, confusion and alienation. "I don't talk, I'm not physically in it, it's all handwritten text, music; I wanted to substitute objects, things that were around me, to illustrate the events. I used objects in the closest proximity – the television, toys, my dog, whatever."^[13]

The themes of sexual identity and the challenges of growing up are repeated throughout the body of Benning's work, who self-identified as a lesbian in 2014.^[14] Benning's video Me and Rubyfruit is referred to as their "first video to be presented as a coming-out narrative".^[15] Benning uses pop culture, such as music, television or newspapers, to amplify their message while simultaneously parodying the same pop culture.^[16] Benning also draws inspiration from images on television or in movies, observing: "They're totally fake and constructed to entertain and oppress at the same time – they're meaningless to women, and not just to gay women. I got started partly because I needed different images and I never wanted to wait for someone to do it for me".^[10] The use of a variety of media in their work gives insight to the viewer on how Benning has been mostly interacting with the world.^[14]

As their work has progressed, Benning has increasingly used images of their own body and voice.^[14] In works such as If Every Girl Had a Diary, Benning uses the limitations of the PixelVision to get extreme closeups of their own face, eyes, fingers, and other extremities so that the focus is on sections of their face as they narrate their life and thoughts.^[14] In 1998, the English Professor Mia Carter observed: "Benning's daring autoerotic and autobiographic videos, [their] ability to make the camera seem a part of [their] self, and extension of [their] body, invite the audience to know [them]."^[17]

Later work

Benning received their M.F.A from Milton Avery Graduate School of the Arts at Bard College in 1997.^[18]

Their work is in various public museum collections including the Museum of Modern Art (MoMA),^[19] the Whitney Museum,^[11] the Smithsonian American Art Museum,^[20] and Albright-Knox Art Gallery,^[21] among others.