Like a prism, celebrity seems to refract the light around it, bending it, distorting it, turning vision into a suspect faculty. What do we see when we see celebrity? Judith Yourman's Leona Descending... (1993, 5:13 mins) observes a spectacle that does not exclude the artist's participation. At Helmsley's tax-evasion trial, news ascends to pure entertainment as the mighty are brought low. Artist Etang Inyang sees her own self-image strangely mirrored by the screen presence of Pam Grier. Badass Supermama (1996, 16 mins) playfully examines the space between identity and image, using Foxy Brown as the fantasized sublime. Rita Gonzalez offers a different sublime where the pure image promises refuge to the haunted likes of Elvis Presley and Michael Jackson. Her Electronic Bodies (1996, 17:40 mins) takes us on a tour of Graceland, Neverland, and Disneyland in search of the disembodied star. Another triad, Liza Johnson's Good Sister/Bad Sister (1995, 29:45 mins) probes the private lives and public personas of three women: grunge rocker Courtney Love, sixties political fugitive Katherine Power, and Linda Carrol, mother to Courtney, therapist to Katherine. Through re-enactments and fictive talking-heads, GS/BS poignantly describes the relationship between dominant culture and female transgression. Though Love and Power never met, they did appear together on the Esquire list "Women We Don't Like."-Steve Seid