Lines of Force opens with footage of a dramatic explosion. For most of the piece, the screen is divided, into a triptych at first, and slowly into horizontal and vertical bars.

Peggy and Fred, sole inhabitants of post-apocalyptic Earth, weather a prairie twister and scavenge for sense and sustenance amid the ruined devices of a ghosted culture.

This single channel tape was created from a 4-channel live mix of 4 VCRs, an A/V mixer, and a sampler.

A lighting psalmody by the current Mexican conflagration. Light through the veins.

Gravity is a long passionate film kiss in which kissing scenes from different films are woven in each-other by switching every three frames between two scenes. Deep passion becomes a stranglehold as cinematographic high points pile up.

Military Road is a project of visual mapping of the suburban realities of the city of Lisbon in connection to the migrant fluxes to Europe conected to de-colonization and the end of the Portuguese Empire in Africa.

This tape includes footage of one of the first broadcasts of Lanesville TV, as it appears on the television set of Lanesville local, Todd Benjamin, and a television set installed in a public bar.

Benglis uses the video format as a metaphor for other types of limiting conditions or limited realities.

Acconci again confronts both the viewer’s and his own expectations of his performance, saying, "I've waited for the perfect time, for the perfect piece, I'm tired of waiting...

Carole S. Vance is an anthropologist and writer and Associate Research Scientist of Public Health and Director of the Program for the Study of Sexuality, Gender, Health and Human Rights at Columbia University.

Babeldom is a city so massive and growing at such a speed that soon, it is said, light itself will not escape its gravitational pull. How can two lovers communicate, one from inside the city and one outside?

Statement

A last stand for the silent guardians of the old order. Take It Down is a filmic day of reckoning for the Old Confederate South. What is up must come down, like the Confederate soldier monuments standing in court house squares across the South. At long last, a grand inversion! Solarized film makes positives bleed into negatives. The South is renewed.

This film looks to North Carolina to describe the cultural fissure that runs through the South, a legacy of the Civil War. In the context of the divisive Trump presidency and the increasing visibility of white supremacist activism, these Confederate memorials have become sites of conflicting politics and historical narratives. 

Historians agree that a majority of Confederate statues were erected as propaganda tools legitimizing racism in the era of Jim Crow laws. For example, “Silent Sam”, a statue depicted in the film, was erected on the quad of the University of North Carolina campus. In an act of civil disobedience in Fall 2018, students and protestors tore down the statue in a statement against white supremacist oppression.

Using a pulsing rock soundtrack and music video-style editing, X-PRZ combines archival footage of Malcolm X, advertisements, and corporate logos in No Sell Out to provide a scathing commentary on commodity culture.

Yvonne Jacquette (b.1934)is an American painter and printmaker known in particular for her depictions of aerial landscapes, especially her low-altitude and oblique aerial views of cities or towns, often painted using a distinctive, pointillistic techniq

Video Data Bank is proud to present a compilation of celebrated titles by the artist Elisabeth Subrin, featuring four award-winning video works: Swallow (1995), Shulie (1997), The Fancy (2000), and Well, Well, We

Using performance as a means of personal transformation and catharsis, Mitchell’s Death mourns the death of Montano’s ex-husband.

"Presented in seven parts, Beauty Plus Pity considers the potential for goodness amidst the troubled relations between God, humanity, animals, parents and children...

Taking its title from a sound design maxim and using it as a conceit to grasp the desire for connection, See A Dog, Hear A Dog probes the limits and possibilities of communication.

This short piece introduces the visual artist German Bobe. A narrator explains Bobe’s background in various media, stressing that his work—the media he chooses and the themes he revisits—presents a synthesis of the concerns of his generation.

Sing, O Barren Woman, part documentary part music video, satirizes and celebrates a taboo subject--voluntary childlessness.

When I look for the lightning, it never strikes. When I look away, it does. Filmed inside a car, this tape focuses on observation of natural phenomena, presenting the obverse of the, "If a tree falls in the woods..." conundrum. Does observation change the course of events? Can you believe in things you don't see? In this experiment, the camera occupies a privileged position — showing the woman and what she sees, as well as what she cannot see.

This video presents a history of alternative spaces in New York City during the late 1960s and early 1970s, focusing on two galleries that no longer exist.

Polycephaly in D is a densely collaged exploration of the existential drift, collective trauma, and psychological free-fall of the contemporary moment.

Based on Emanuel Admassu's essay Menged Merkato, an architectural analysis and historical journey of the largest open-air market in Africa, located in Addis Ababa, Ethiopia.

A portrait of the American artist Ray Johnson (1927-95), driving force behind the New York Correspondence School of the early 1960s.

Three basic compositions are played and recombined in Collage: a hockey game; arms swinging across the screen; and a hand holding one, two, then three oranges.

A man learns his daughter has been brutally murdered by her husband.

Video from the 2nd Interactive Electronic Visualization Event (IEVE), a collaboration event with SAIC's Video Department and the University of Illinois Circle Campus.

As a foulness shall ye know Them. Their hand is at your throats, yet ye see Them not; and Their habitation is even one with your guarded threshold. The wind gibbers with Their voices, and the earth mutters with Their consciousness.

Created with Caleb Craig.

We hear a female voice with a subtle Jamaican accent speak about her life.

Covert Action is a stunning melange of rapid-fire retro imagery accomplishing Child’s proclaimed goal to “disarm my movies.” “I wanted to examine the erotic behind the social, and remake those gestures into a dance that would confront their co

The “greca”, the meander, is the main symbol weaved in the textiles made by the Navarro sisters, from Santo Tomás Jalieza, México.

Berlin-based Danish artist Olafur Eliasson complicates and simulates perception through his installations, sculptures, and photographs.

A Memory of Astoria, commissioned for Museum of the Moving Image, is an impressionistic portrait of the blocks surrounding the Museum in Astoria, New York.

A woman raises her voice and gives a painful and endless speech that with time becomes even more overwhelming, because her words are heartbreaking and permanent impressions in the collective memory, stabbing with words an old Mexican film, a celluloid t

Polish-American arist Ed Paschke (1939-2004) received his BFA from the School of the Art Institute of Chicago in 1961 and his MFA in 1970. Paschke was known as a member of the late-1960s Chicago Imagist movement, a group of artists who called themselves The Hairy Who, whose expressive style of figurative painting was rooted in outsider art, popular culture, and Surrealism. Paschke's fascination with the print media of popular culture led to a portrait-based art of cultural icons. Paschke used the celebrity figure, real or imagined, as a vehicle for explorations of personal and public identity with social and political implications. 

This 12-minute video by Tom Palazzolo and Chicago writer Jack Helbig tells the story of the recently discovered Chicago street photographer Vivian Maier.

Letting go of realist constraints, and going back to the mirror-images of some of Provost’s famous previous works, we are diving into a cosmic ocean of ever metamorphosing baroque circumvolutions in which our minds try to capture reassuring forms before

Segalove gives us another series of true incidents involving the powerful influence of television on life, relationships, and attitudes. Among them is the tale of a family in serious dialogue about their decision to censor the tube.

Lighthouse is about the labor system and the factory town in Southern China and how individualism is influenced by the social and political infrastructure.

In the spell of one of the most exquisite pop songs I know, with the most rudimentary of animation skills, I sought to produce a smooth and rapid transition from innocuous kindergarten silliness to faux-Lynchian horror.

Part of paraconsistent sequence series and the hauntology series.

Palestine, April 15th-16th 2007

Flowers for LH reflects on the last play written by Lorraine Hansberry entitled What Use Are Flowers?

Dance: Joey Kipp
Cinematography: Steve Cossman, Cynthia Madansky
Music: Zeena Parkins

Dexter and Sinister, forever stuck on the official New York City Seal, engage in an animated dialogue on noble savagery and the chronomorphic persistence of the practice of ‘playing indian’. 

"An eye-opening piece of guerilla counter-surveillance, Untitled documents Dinçel’s time working as a tech assistant at a film festival where they managed to record the headset chatter between themselves and the two male projectionists working

With an all-female cast, featuring Suzie Bright as John Lennon, Cecilia Dougherty's Grapefruit plays with the romanticized history of the iconic Fab Four, gently mocking John and Yoko’s banal squabbles and obsessive rituals of self-display. Based obliquely on Yoko Ono’s book, the piece works on many levels to reposition this mythic tale of the Beatles by casting '80s women in mod drag—effectively mapping the lesbian sub-culture onto heterosexual mass culture.

That Which Is Possible is a portrait of a community of painters, sculptors, musicians and writers making work at the Living Museum, an art-space on the grounds of a large state-run psychiatric facility in Queens, New York.

“We are hoping that in presenting this story in such a minimal way it would become evident that this Freudian logic is a conceptual and visual cliché. We want our audience to have an emotional response to the work, but at the same time realize that they’re being manipulated.” —Bruce and Norman Yonemoto