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On Wednesday December 6 2017, as part of "Mod New York: Fashion Takes A Trip" at the Museum of the City of New York, Claire Henry and I will be discussing Jack Smith's Flaming Creatures and Andy Warhol's Camp.  You can read more here.


Talk + Tour: Leonilson Exhibition with Tom Kalin, Gabriela Rangel, Susanna V. Temkin and Alex Fialho

AMERICAS SOCIETYYou can read more here.

Saturday, October 28, 2017 from 3:00pm–4:30pm

In the early 1990s, directors Gregg Araki (The Living End), Tom Kalin (Swoon) and producer Christine Vachon (Poison) were on the front lines of an indie subgenre that would change the face of queer movies in America. Here, they discuss what drove the movement, what it yielded, and what comes next.You can read more HERE.


Man + Beast, short video featured in Dallas Video Festival and Backyard Biennial, August & September 2017.  Watch it HERE.


Histórias da sexualidade - 2 day panel event at MASP, Museu de Arte de São Paulo, May 26/27, 2017

Amelia Jones, Cecilia Palmeiro, Christian Ingo Lenz Dunker, Djamila Ribeiro, Francesco Ventrella, Ivo Mesquita, Jean Wyllys, Juan Vicente Aliaga, Julia Bryan-Wilson, Miguel A. López, Richard Miskolci, Tom Kalin, Xabier Arakistain.

You can read more HERE.


Doveman, Craig Paull and I have made a series of short videos resisting the new president and his regime.





Check out my recent collaboration with Thomas Bartlett, aka DOVEMAN -- an act of resistance against Trump's distorting use of language.


Tom Kalin: Fictionalizing History and Reinterpreting the Past

Thursday, November 10, 2016 at 7 pm
Ray Stark Family Theatre (SCA), School of Cinematic Arts 108
900 West 34th Street, Los Angeles, CA 90089

Making Visual History
Tom Kalin: Fictionalizing History and Reinterpreting the Past


Edited at EAI: Video Interference, Activist Videos by Artists and Collectives, 1989-1995

On Tuesday August 16, 2016, EAI continues our 45th anniversary “Edited at EAI” series with an evening of activist video work from the late 1980s through the mid-1990s. Shot largely on low-end consumer equipment and edited, often off-hours, at EAI, these works use video as an activist tool, confronting urgent issues around the AIDS crisis, race, gender, and sexuality. Videos by ACT UP affinity groups DIVA TV (Damned Interfering Video Activist Television) and House of Color, as well as art collective X-PRZ, will be screened along with work by artists Robert Beck and Tom Kalin. Although rooted in the specific political and cultural contexts of that moment, these powerful activist voices continue to resonate and find relevance today. 

The urgency of the AIDS crisis and the parallel emergence of new activist movements, along with the increasing availability of relatively inexpensive video equipment, were among the factors that brought activists to editing facilities like EAI during this time. In The Feeling of Power, artist, EAI editor, and DIVA TV member Robert Beck documents a 1989 ACT UP protest at Trump Tower and offers a self-reflexive manifesto of this new video activism. Target City Hall, the first tape produced by DIVA TV, documents a massive ACT UP demonstration at New York City Hall and offers a look at the diverse groups of activists within the larger ACT UP movement, including CHER (Commie Homos Engaged in Revolution) and LAPIT (Lesbian Activists Producing Innovative Television). In I Object, House of Color (Robert Garcia, Wellington Love, Idris Mignott, Jeff Nunokawa, Pamela Sneed, Jocelyn Taylor, Julie Tolentino), an ACT UP affinity group made up of queer people of color, forcefully challenge the representation and exclusion of people of color in the media. Tom Kalin builds on the subversive, advertising-influenced work he made with ACT UP affinity group Gran Fury in Nation, which confronts nationalism and the public health crisis of AIDS, and in his later revisiting of the same material, Information Gladly Given … In No Sell Out art collective X-PRZ (Doug Anderson, Kenseth Armstead, Tony Cokes, Mark Pierson) critique the commodification of Malcolm X by the media, setting computer-manipulated imagery of Malcolm X against advertising logos, archival footage, and TV imagery.

Organized in conjunction with EAI’s 45th anniversary, the “Edited at EAI” series highlights a historically significant but less well-known area of EAI’s programs: EAI’s Editing Facility for artists, one of the first such creative workspaces for video in the United States. 


Robert Beck, The Feeling of Power, 1990, 8:48 min, color, sound

DIVA TV, Target City Hall, 1989, 26:43, color, sound

House of Color, I Object, 1990, 5:25 min, color, sound

Tom Kalin, Information Gladly Given but Safety Requires Unnecessary Conversation, 1995, 1:03 min, color, sound

Tom Kalin, Nation, 1992, 1 min, color, sound

X-PRZ, No Sell Out... or i wnt 2 b th ultimate commodity/ machine (Malcolm X Pt. 2), 1995, 5:37 min, color, sound

Tuesday, August 16th, 2016
6:30 pm

Electronic Arts Intermix (EAI)
535 West 22nd Street, 5th Floor
New York, NY 10011


Art AIDS America, The Bronx Museum of The Arts,

July 13 - September 25, 2016

The Bronx Museum Site

The New York Times


Art In America


A Political Sense of Being at Home with HIV and Video

Article by Alexandra Juhasz in DRAIN Magazine 


Queer Porto 2
October 5th - 9th, 2016
Teatro Municipal Rivoli, Maus Hábitos, malavoadora.porto and Wrong Weather

Screening at the International Queer Film Festival in Porto, Portugal


Distinguished Alumni Lecture, School o the Art Institute of Chicago

January 20, 2016

Visiting Artists Program

Radiant Visions: Media Art from SAIC, 1965 - Now

February, 2016

Gene Siskel Center Screening, Chicago