Video Product

2016
Who Are We?, John Smith

On June 23rd, 2016 Britain voted to leave the European Union. Who Are We? is a re-working of material from a BBC television debate transmitted a few weeks earlier.

2005
Who Is Bozo Texino?

The secret history of hobo and railworker graffiti. Shot on freight trips across the western US over a period of 16 years, Who is Bozo Texino? chronicles the search for the source of a ubiquitous rail graffiti--a simple sketch of a character with an infinity-shaped hat and the scrawled moniker, "Bozo Texino"--a drawing seen on railcars for over 80 years.

1992
Who's Going to Pay for These Donuts Anyway?

This experimental documentary chronicles Janice Tanaka’s search for a father she has not seen since she was three years old. Possessing only sketchy information—that he had protested the internment of Japanese Americans citizens after the bombing of Pearl Harbor by writing letters to the President, that he had been arrested by the FBI and subsequently diagnosed as a schizophrenic with paranoid tendencies and institutionalized—Tanaka searched for her missing father for three and a half years.

2016
Sapphire and the Slave Girl, 1995, Leah Gilliam

VDB TV: Decades
1990s: The Whole World is (Still) Watching

2009
Kent Lambert "WHS VHS #1"

I made this piece within my first year of using Facebook. Dozens of people I’d thought I’d never hear from again were suddenly accessible to me in mystifyingly dynamic, flattened form. The cognitive dissonance wrought by this collision and collusion of past and present, distant and immediate, provoked me to dig out a strange artifact: a VHS compilation tape produced annually for three or four years at my high school. It was spearheaded by an A/V club teacher, produced by students, assembled via Amiga Video Toaster, and sound-tracked by corporate royalty-free music libraries.

1983
Why I Got Into TV and Other Stories

“[Segalove] pursues her self-analysis via the popular culture and TV addiction of her youth: seeing JFK shot on TV, falling in love with the TV repairman, being glued to the tube while suffering from the requisite bout of mononucleosis, and associating the memory of watching her parents kiss with the soundtrack of Dragnet.” —Marita Sturken, “Revising Romance: New Feminist Video,” Art Journal 45 (Fall 1985)

2003
Why Not A Sparrow

Why Not A Sparrow is about a girl who enters a fairy tale land where the distinction between human and other animal species is blurred. In this kingdom, survival and extinction are on the tip of every birds’ tongue.

"An Eco-Fable about a girl, a rare bird, who experiences the pleasures and perils of another animal kingdom."

— Big Muddy Film Festival, 2002

1997
A Widow's Web

A Mother and Daughter, both dressed in "shocking pink", clash over Men and Money in this schlock drama that has an ending guaranteed to "shock" even those without pink dresses!

1987
Wigstock: The Movie

Rubnitz’s tape celebrates and documents an early installment of the “storywig-in,” shot nearly a decade before the feature-length documentary. Presenting the festival during its Tompkins Square Park era, when the 1960s themes were still played up, the tape combines live performance footage with off-stage interviews and music video reverie. Featuring The “Lady” Bunny, Lypsinka, Frieda, John Sex, John Kelly, Baby Gregor, Hapi Phace, Taboo, and many others.

1979
Blumenthal/Horsfield, William T. Wiley: An Interview

William T. Wiley (b. 1937) combines a variety of materials (found objects, wood, animal hides, rope, paint) with poetry, puns, hearsay, and legends to present a very complex and enigmatic personal vision. Besides making sculpture, he also does prints, drawings, and paintings. His witty and often ironic work emphasizes both the commonality and impenetrability of everyday life and its contents. Wiley continues to live and work in the San Francisco Bay area.

1988
The Will to Provoke

Director Jonathan Reiss and cinematographer/editor Leslie Asako Gladsjo traveled to Europe with Survival Research Laboratories to produce this entertaining and challenging portrait of the innovative group of artist technicians. The tape shows their machines in action and provides insight to their inspirations, political objectives, and budgetary constraints. The tape also reveals SRL’s efforts to confound and confront their foreign audiences with an artform that is, perhaps, uniquely American.

1992
Linda Williams: An Interview

Linda Williams writes on what she calls “body genres”: melodrama, horror, and, most famously, pornography. One of the most influential feminist film scholars to emerge in the 1980s, she wrote important essays on the women’s film (melodrama) before publishing her most influential work, Hard Core: Power, Pleasure, and the Frenzy of the Visible (1989 and 1999).

1990
Pat Ward Williams: An Interview

Pat Ward Williams’s socially charged works confront issues of race, often dealing specifically with African American history and identity. Using a variety of photographic processes, video, audio tapes, assemblage and text, Williams layers meanings and images. Her subjects range from the autobiographical to the public, often combining documentary techniques with personal responses. “When I make photos about my family, I think my family is not a lot different than other peoples’ families, so that is a way people can access my work...

1998
David Wilson: An Interview

David Wilson is the founder and curator of the Museum of Jurassic Technology in Los Angeles. His collection of found and contributed objects provides an astonishing array of materials derived from craft and nature. Interview by Rachel Weiss. A historical interview originally recorded in 1998.

2010
Martha Wilson: An Interview

Feminist performance artist, Martha Wilson (b.1947), is director and founder of the alternative New York art space, Franklin Furnace Gallery, in operation since 1976. In this interview, Wilson discusses her Quaker upbringing, the impetus for her move from Nova Scotia to New York, and the founding of Franklin Furnace, as well as her involvement in the feminist punk band collective Disband.