Rare footage of a September 1970 rally honoring the late Fred Hampton, Deputy Chairman of the Illinois chapter of the Black Panther Party. One of the speakers leads the audience in a call and response.

A girl with a bad habit of falling for older women befriends a boy lover. This video is an examination of relationships between adults and teenagers. It involves ice cream trucks and bowie knives.

Forming a loose trilogy with Rankus’s two previous works (Naked Doom and She Heard Voices), Nerve Language furthers his visual investigation into the ambiguous mingling of inner and outer worlds.

American painter, Robert Ryman (b. 1930) is associated wth the movements of monochrome painting, minimalism and conceptual art.  The artist first moved to New York City from Nashville with the intention of becoming a jazz musician.

Nathan Lyons (b.1930) has contributed to the field of photography as a critic, author, curator, educator, and photographer.

Hurricane Katrina and the ensuing aftermath destroyed Noel's community and home. He is rebuilding, and as he rebuilds, he evokes the past through the enlistment of his personal archives.

The commodification of the American presidency is examined and lampooned in Presidents and Elections, a compilation of work from the Video Data Bank collection.

“To master the one-minute time span requires considerable discipline, and few pieces, if any, had been shaped as genuine miniatures—most having the appearance of being extracts from larger works.

Eiko Otake’s I Invited Myself is a multi-volume installation which features choreography of place, movements of both performer and viewers, along with projections of selected video and film works created by Eiko over the last 40 years

The fragment contains within it an implied reference to something that was once whole. It suggests damage and violence, time and distance.

“Trolling for news we call it,” says Bart Friedman a minute into this video, as he pushes down a road the Lanesville TV News Buggy – a baby carriage filled with video equipment, spilling over with wires.

Abscam (Framed) frames the FBI sting operation known as "Abscam" by mixing FBI surveillance footage of Congressman Michael "Ozzie" Meyers with footage shot by Lord at the Motel where the original sting occurred—in the process, inserting the art

Sahara Chronicle encompasses an undefined number of short videos documenting the present sub-Saharan exodus towards Europe.

Using the Islington Gazette and local pigeons as my guides I strolled, re-strolled, and strolled some more along the Essex Road: updown, downup. Paving stones, buses. Railings railings railings. More buses.

The first video of the installation Touch Parade, which as a whole explores “plastic love” or fetish culture and the assimilation of marginalized sexuality on the int

Pat Steir is an American painter and printmaker whose work has resisted artworld currents and factions for decades, while expanding its reach and maintaining enthusiastic critical support.

Art Spiegelman was born and raised in New York, and began working as a cartoonist while still in High School. He attended the State University of New York in Binghamton, where he studied Philosophy.

A sort-of music video that focuses on and under young women and men engaged in focusing video and movie cameras on other young men and women.

An Ocean Between Us expresses the desire for a relationship that is made up of transitions, successive time shifts, and coordinated changes without an essential unity.

Home is about disappointment in northern Ohio. The scoreboard depicted is on the grounds of Mansfield Senior High. The sentiment conjures the close call.

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?

"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 this short video, the Videofreex sit in on, and record part of, a lecture given by Jesse Ritter to undergraduate students at Princeton University in 1969.

The second part of the Damnation of Faust Trilogy centers on the development of Marguerite, the female character in the Faust legend. Masterfully composing fragmentary "memory" images in elegant 19th Century Japanese compositions, Birnbaum traces the process of deception and abandonment through the heroine’s mournful description of her state of mind. Passing images are suffused with light, obscured in a blinding brightness, to suggest forgetting.

Ensconced in my urban Los Angeles bed, I recount growing up "safe" on suburban Long Island. A cameraman from KCET filmed and lit the piece. This is the only film I ever made that was not filmed by a colleague, friend, or myself.

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

The Spender House in Essex was designed in 1968 by Richard and Su Rogers (Team 4) for photographer and artist Humphrey Spender. The film is a biographical portrait of both architecture and inhabitant.

Shot in black and white Super 8, this lyrical short follows a wandering, disengaged youth through grey afternoons. German Song features the hard-edged music of Come, an alternative band from Boston.

Covid Messages is a video in six parts, based around broadcasts of Prime Minister Boris Johnson’s COVID-19 press conferences. The work focusses on the British government’s attempts to el

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

Charles Simonds (b.1945) majored in art at the University of California at Berkeley. There he discovered an area of clay pits that had once provided the raw material for some of Manhattan's older buildings.

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.

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

“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.”

This tape, shot at the YMCA in Rochester, New York on July 18th, 1971, preserves the informal and communal atmosphere of an event known as the Women’s Conference.

Video artist meets a handsome and enigmatic Marlboro Man; video artist gets a sexually transmitted disease.

Prompted by Apple’s Siri to ask questions, Magenheimer takes the AI invitation seriously and invents a long list of queries.

La Trinchera Luminosa del Presidente Gonzalo is a recreation of one day at the Canto Grande prison in Peru, following women guerrillas from the Maoist Shining Path movement, from their morning marches to their bedtime chants.

I Have Always Been A Dreamer is an essay film about globalization and urban ecology using the examples of two cities in contrasting states of development: Dubai, UAE and Detroit, U.S.A.

A high-pitched melodrama featuring the noise saturated spiritual journey of a vegetarian youth embroiled in big city shenanigans and occult extravaganzas.

Path combines striking imagery of the earth’s topography from the air, the ground, and beneath the sea.

In this interview American filmmaker, poet, and lyricist, Cecelia Condit gives shape to the contours of her work process. The artist describes the influence of her relationship with her mother, her long-term investment in the macabre, and her ongoing desire to confront death through art. While covering a broad range of topics, Condit’s discussion of her work and interests returns to several defining themes: aging, grotesqueness, and the notion of movement, both in terms of her own past as a dancer and the notion of the body in decay. With a particular emphasis on the production and context of her videos, Annie Lloyd (2008), and All About a Girl (2004), this interview offers insight into the artist’s fascination with aging, sweetness, and storytelling, while also articulating her joyful sense of discovery within the art-making process. No longer working with scripts, Condit presents herself in the interview as a scavenger–much like the crows she incorporates into her work–assembling videos which straddle the line between strange and silly. – Faye Gleisser

In the four videos on this compilation, Helen Mirra utilizes performance, repetition, and the recitation of song to evoke the natural world, the sea, and landscape.

A soft-focus close-up of mouth and lips is set to the sounds of lovemaking. A soft-porn video on how easy it is to get porn.

In EVOL (love spelled backwards), the audience is voyeur, peering into the delirious and erotic dreams of a young man (Oursler). We drift with him through anecdotes that poke fun at the disparity between the culturally accepted stereotypes of sex and love we are taught as children and the realities we discover in adult life.

Long still frames, text, language, and sound are weaved together to unfold the narrative of an anonymous group who fill their time by measuring distance.

This Was Home is comprised of three channels, which present three generations of the artist’s family.

The "exquisite corpse" named in the title of this piece refers to a favorite game of the Surrealists, played by passing a folded sheet of paper among a group; each person draws one section of a body on the folded segment without looking at the other sid

Part of paraconsistent sequence series and the hauntology series.

Laurie Anderson is perhaps best known as a performance artist who works in both the art and commercial worlds.