A tone-poem in blue and red.

Archives recovers the formal community that mobilizes the diagrammatic experience of archives, a formal community that claims the sensory nucleus where hypertrophic rhythms, abstract machines, monuments and memorials, digital servers, corporate

The death that happens to others, the death that is in you already, the life that is in this death.

In Final Exit, an aged one is confronted with his options in blunt terms. Does he want to drag out his existence, increasingly infirm and a burden to his caretakers, or go quietly before resentment overwhelms sentiment?

A collection of videos made at Miami-Dade Community College Mitchell Wolfson New World Center as part of Miami Waves Film Festival. The videos are part of Wendy Clarke's ongoing project, Love Tapes.

"The content of the rogue computer animation Boy/Analysis is perfectly illustrated by the integral title, namely, a drastic abbreviation of Melanie Klein's 1961 key study on child psychology.

In a fictional conduit space, language and function are recontextualized as the HalfLifers struggle to re-assess the nature of their mission while engaged in an eternal cycle of maintenance and communication routines.

Bezuna explores the complexities of fleeing a war-zone through the analysis of peripheral details.

Shot in December 1969, this video documents a live performance by the Incredible String Band at the Fillmore East, NYC.

e-[d]entity: Female Perspectives on Identity in Digital Environments is a two-part collection of videoworks created from 1982-2000 that explores the cyber environment and how it affects, expands, confuses, and involves female identity.

Private Parts is a document of a police raid on an alleged pornographic photography exhibition organized by Rhode Island School of Design students and hung in the Electron Movers* gallery at 128 North Main Street in Prov

John Killacky is Eiko's long time friend. It was in July 2018 when both of them were attending the tree planting ceremony of their mutual friend Sam Miller at the Jacob's Pillow that Eiko invited John to join her Duet Project.

Walking Off Court is the story of the nervous breakdown of a tennis fan and his rising inability to find tennis partners.

In this 2006 interview, filmmaker Jem Cohen discusses his early interest in art, his family’s welcome antipathy towards commercialization, and his unconventional, anti-mainstream film practice. In particular, Cohen discusses his film This is a History of New York, and how this piece exemplifies his interest in the “territory of sensation” rather than simple visual descriptiveness. Cohen concludes by discussing the role of archiving in his practice, and how compulsive documentation of the quotidian and unexceptional can result in the empowerment of the everyday.

1968 was the opening of the Summer Olympics in Mexico City, ten days after the massacre of students and civilians by military and police on October 2 in the "Plaza de las Tres Culturas, Tlatelolco."

“Take back the airwaves: Mexico’s video art doyenne Ximena Cuevas books herself onto the tabloid talk show Tombola (Raffle), toying at first with whimsical deconstruction until she turns the whole affair on its head by seizing the televisual flow itself.”

Two Black University of Virginia hospital employees talking about the job site in a Albemarle County speakeasy.

This episode includes: two more adverts, considerations of the future, a multiple projection spectacular in miniature, a riverine jaunt, much fog, and an ending x 2.

The title implies a relationship between the two persons in the frame of the image. The woman in the foreground appears somewhat sad, the man in the background concerned.

One of my weather diary series out in Oklahoma. The tone is wistful, the surroundings wispy (with some puffs of pungency). The TV is on and the porcelain is smeared with some residue atrocity from a previous passion.

A deliberately tasteless drama about televangelist scandals.

This title is also available on The World of George Kuchar.

A found footage film with no found footage. A study in aphorisms: The Sad Tropics, un-attributed master paintings and mis-attributed artifacts alongside the history of denim. Signs, myths and legacy are questioned and revised.

Television Delivers People is a seminal work in the now well-established critique of popular media as an instrument of social control that asserts itself subtly on the populace through “entertainments,” for the benefit of those in power—the cor

Filled to capacity, each car of a 157 car train sounds a percussive note in this homage to John Coltrane. And not one coal train, but two.

Chief Waiwai recounts for his village the story of a trip he and a small entourage made to meet the Zo’é, a recently contacted group whom the Waiãpi “know” through video.

There are approximately 30,000 Filipino guest workers living within the State of Israel. The majority are female and work as caregivers for the elderly or sick.

Lunar Pond is part of an audiovisual series about lunar cycles and rhythms in an attempt to evoke, integrate and develop the mythical presence of the Aztec lunar goddess Coyolxauhqui, thus evoking the eroded contemporary landscape of our t

A cinematic firestorm of found footage and pilfered Hollywood images, Mike Hoolboom’s hallucinatory Tom – described by the filmmaker as, "Cinema as déjà vu, or déjà voodoo" – pays mesmerizing experimental tribute to the life and work of friend

Part bio, part memoir, Mom’s Move is an intergenerational film about mothers and daughters, women and photography, remembering and forgetting, and the tension between women’s private and public selves.

Contains Videofreex tapes Buzzy and the Flute, Buzzy at the Gaslight, Buzzy at the Videofreex Loft, Buzzy Linhart at the Record Plant

"This video in two parts is a newcomer's portrait of Montréal, and focuses on two of my architectural obsessions: the Hydro Québec building and the Métro. I spent my first winter in Montréal in a cold, dark, first-floor apartment.

A video diary about Cuthand's efforts to undergo artificial insemination. Cuthand contemplates a desire to have children and its relation to preserving Indigenous culture.

Zach Blas is an artist, writer, and filmmaker whose practice spans technical investigation, research, conceptualism, performance, and science fiction.

The unusual combination of a sound like a singing saw accompanies sweet images of frolicking lambs in the meadow, galloping horses, and a strange boy, is eerily beautiful and pure.

Inspired by Tennessee Williams’ The Roman Spring of Mrs.

Nebula is a hallucinogenically immersive spectacle: a complex, long-form audio-visual composition, which pays playful homage to science fiction fantasies.

These three videos from Cecilia Dougherty deal with particular states of mind: that of a participant in a symbiotic relationship, the melancholy felt at the end of a romantic union, and the solitary non-space created by a regular commute.

Spanning 500 years of colonial destruction, Nosferasta tells the story of Oba, a Rastafarian vampire, and Christopher Columbus, Oba’s original biter, as they spread the colonial infection throughout the “new world.” Formally a vampire film and

Produced in Liege for Belgium TV, this tape considers how broadcast television functions in a multi-lingual area.

“When I moved to Hudson Valley, NY state in 1984 after being tied to Tehching Hsieh in his ART/Life: One Year Performance, I began meeting remarkable elders over 80, and sometimes 90, years old.

This extensive interview with California artist Doug Hall (b. 1944) provides unique insight into the culture and politics of experimental artistic production during the 1970s. Discussing the founding of the performance group TR Uthco, Hall offers context for his contribution to the field of video art, and shares stories of his collaborations with Ant Farm, Videofreex, and others. Ranging from his early years as an art student, to his romance with artist Diane Andrews Hall, to reflections on technology in art, this interview importantly extends the discourse surrounding topics of archive, performativity, and autobiography—subjects that have come to define the contours of video art today. 

The later 1950s and early 1960s saw the development and proliferation of radically new forms of dance driven by a desire to understand the essentiality of movement divorced from traditional, balletic and modern syntaxes.

It was 1990 and, although the iron curtain was falling, Soviet official control was still iron-fisted.

Tender Bodies is a 3-D computer animation that uses the logic of computer games to collapse and reconstruct narrative space. Narrative scenes are connected through a constantly shifting environment of bridges and tunnels.

In the early 1990s, I went to a reading by Leslie Scalapino at Intersection for the Arts in San Francisco.

Constructed from a destroyed rescan of fashion magazine ads and a video self-portrait, Suspension is a meditation on the implicitly narcissistic nature of desire within a commodified context.

In Music on Triggering Surfaces, Bode constructs an interface between audio and video systems.

Representing the complex lives of transgender and gender variant musicians in the US and Canada, Riot Acts offers a first-hand perspective of the intersections between gender performance and stage performance.

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

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’.