Video Product

2009
West Fingerboard Road

I could not remember anything about my childhood before the age of twelve. I made a decision to remember. West Fingerboard Road relays how I remembered my forgotten childhood memories, and references the writings of philosopher Gilles Deleuze that echo my ideas on memory and the process of remembering.

-- Susan Youssef

1989
Wet Dreams

Two young women confront careers in a world of violence, lust, and show-business. This student/teacher co-production I made at the San Francisco Art Institute is a colorful collage of digital dementia.

2003
Paul McCarthy, WGG (Wild Gone Girls)

Depicting a sailing party gone wrong, McCarthy questions the effects that violence and mutilation, both real and simulated, have on the viewer in contemporary culture.

This title is only available on Point of View: An Anthology of the Moving Image.

1996
"What are you doing with your fingers?"

"A piece about self-consciousness and the fearful noise of wind in the trees. Featuring myself as a woman who is lured into the garden by the cries of foliage, given a dinner she doesn't want by a mysterious organic being, and then turned into something else or maybe not.  My first foray into digital editing and special hand crafted frame-by-frame effects."

--Jennet Thomas

Digital video, live action, digital video effects, human pixelation and model animation. 

1998
What Farocki Taught

What Farocki Taught is literally and stubbornly a remake — that is, a perfect replica in color and in English, of Harun Farocki’s black and white, 1969 German language film, Inextinguishable Fire.

2004
What I'm Looking For

A woman sets out to photograph moments of intimacy. On an Internet dating site she writes: 'I'm looking for people who would like to be photographed in public revealing something of themselves...' What I'm Looking For, a 15-minute high definition video, documents this adventure; the connections formed at this intersection between virtual and actual public space. The video is a rumination on the nature of photography and the persistence of vision. It is a short tale of desire and control.

1982
What is Business?

Pursuing an answer to the title question, Segalove interviews kids, executives, consultants, etc., in order to educate herself as to the ins and outs of the financial world. Keen observations about wealth and success from experts are matched against Mr. Science demos and animated graphics in this somewhat mocking look at the culture of business. Segalove says, “What Is Business? is about growing up. The first building I would have blown up in '68 was the business building. Now, students are just going to college to get an MBA. That’s all you hear about.

1986
What You Mean We?

Strapped for time due to her busy schedule of personal appearances, Anderson creates a rather clumsy looking clone to take over and keep up her artistic production. Anderson plays both parts, pitting the chain-smoking, productive male half against the laid-back female half. In the end, one highly successful clone begets another clone, a situation spoofing the rise and fall of the '80s art star.

1970

This early Videofreex production exemplifies the type of imaginative approach that the collective adopted when exploring the medium of video, and how, in many ways, this balance of play and experimentation defined and unified the group's work from the very start.

2004
What's That Sound?

George Barber doffs his cap to the 20th anniversary of Scratch Video with What’s That Sound?, a mesmerizing montage of questions, answers, and the cries and screams of people caught in a disaster movie. The work uses as its starting point, the film Airport '77 where, improbably, a jumbo jet sinks to the bottom of the sea. What follows is a clever amalgamation of absurd linguistics, cries and shouts, highlighting the artist’s permanent fascination with speech, and human reaction to out-of-the-ordinary situations.

1987
What's Up?

This moving video portrait follows a group of teenage boys who attend the Masada School, a school for juvenile delinquents and social misfits. The boys worked on every phase of the video, and present a picture of themselves that challenges society’s, and their own, typecasting. The humor, philosophy, and honest retelling of the students’ stories details the Catch-22 of living on the street, how parents' problems are passed on to the boys through abuse and neglect, and the struggle each feels to keep hope for a better life.

2012
Ilene Segalove, Whatever Happened To MY Future?

Repurposing an ancient confessional video diary made about 40 years ago, this 11-minute narrative creates a poignant and humorous conversation where both ‘selves’ question, enlighten, and warn one another about things in life that really matter.

Note: This title is intended by the artist to be viewed in High Definition. While DVD format is available to enable accessibility, VDB recommends presentation on Blu-ray or HD digital file.

1987
Whatever Happened to the Future?

In this wistful tape, Segalove looks at how her childhood vision of the future holds up (or doesn't) in adulthood. Commissioned by the Los Angeles County Museum of Art.

2000
When God Visits the Village: Indians in Brazil, Part Two

Indians In Brazil is an educational series for Brazilian public schools that invites students to experience cultural diversity. Four teenagers are invited to discover a new world and participate in Indian daily life in two different communities. They show their emotions, curiosity and fears, and are surprised by their new friends. Part Two of the series, When God Visits The Village, sees the teenagers invited to visit the Kaiowá people in South Mato Grosso. Expecting something similar to the Krahô village they had earlier visited, they are, at first, shocked.

1996
When I Was a Monster

A performance about the artist’s experience in the aftermath of an accident.