The Badger Series has issues and attempts, each episode, to resolve them. Recasting a glove puppet show through his own present day sensibilities, Paul assumes the role of kindly uncle mentor to a household of capersome woodland creatures.

A documentary about the initiation ritual for young Xavante Indians, created during a training workshop for the Video in the Villages project.

In the aftermath of a death things may seem very quiet, but there are struggles going on so deep not even those who struggle can recognize them.  This film looks and listens for signs of those struggles.  Psychoanalytic interjections consider

Showcasing local documentaries made on 1/2" equipment, Changing Channels was a weekly alternative video magazine produced by University Community Video (UCV) and aired on public television station KCTA, Minneapolis.

This video is the result of many hours of object manipulation for the camera. Sound itself is an object here and so is language, as sound effects trigger an off-screen narrative and letters rain down in a thunderstorm.

“The video is an extension of Derrick’s project for Headmaster No. 8. The issue is thematically structured around the Village People, and he was given a cop-themed assignment.

Don’t You Like the Green of A? is based on the correspondences between letters and colors specific to Joan Mitchell’s synesthesia––a condition that Henricks happens to share with her.

This is the burial hymn for thousands of souls in anthropocentric times. The ghosts of the American way of life. Part of the Hauntology series.

Jonas intercuts scenes of the Nova Scotia countryside with images of a studio set-up reminiscent of a di Chirico painting.

A pile-up of events pertaining to cinematic expositions begins its whirlwind of activity in the south and then moves west with the sun to the “golden state” for all that glitters on a silver screen.

An interview with a group of people shot in October 1969, some of whom were involved in The Weathermen’s "Days of Rage" actions. As those present recount the significance of the actions, and the possible ramifications on the movement as a whole, some critics voice serious complaints.

This tape grew out of my fascination with Ronald Reagan and his uncanny ability to demonstrate what I called the 'Signifiers of Americanism'. Through gesture and intonation, he seemed to suggest many of the virtues that Americans hold dear.

Workers Leaving the Factory — such was the title of the first cinema film ever shown in public.

This is the state of bodies, this is the intermittence of bodies, this is the fragile reminiscence of bodies. The flashing fragility of images. The intermittent projection of the nuclear catastrophe to come. This is something on the way.

The State of Things documents the melting away of Democracy in 2006 on the third anniversary of the Iraq War. The sculpture was installed at Jim Kempner Fine Art in New York City and disappeared over a period of 26 hours.

The viewer meets a grab-bag of gabby folks from here and abroad as I drop by to see them or they come to my apartment for tea and sympathy. You also get to visit endangered film showcases and see people who are now either deceased or divorced.

The cabin is on fire! Krystle can't stop crying, Alexis won't stop drinking, and the fabric of existence hangs in the balance, again and again and again. – MR

A raunchy, explicit comic-opera ... (two years of looking out the window during a pandemic).

Raunchy /ˈrôn(t)SHē/

This experimental Pixelvision piece explores the tenuous boundaries of gender through a series of mini-sequences, among them a group of anecdotes told by women who have been mistaken for men and a must-see synchronized barbershop scene.

VDB is proud to present Linda Montano's The Death Tapes. Originally trained as a sculptor, Linda Montano began using video in the 1970s.

The Colors that Combine to Make White are Important explores the power structure within a failing Japanese glass factory.

Teramana spends time with drag performer Dainty Adore O’Hara (Mitchell Allan Marco) in Dainty’s apartment in New York City.

Drawing from Flaubert's The Temptation of Saint Anthony, his letters, travel journals, and biography, this video layers fantasy, sexual obsession, morbidity, Romanticism, and boredom alongside the ghostliness of empty hotel rooms, aural atmosph

Part of paraconsistent sequence series and the hauntology series.

Produced by Tom Rubnitz in collaboration with Tom Koken and Barbara Lipp, The Mother Show is a tribute to mothers everywhere, starring Frieda, the “living” doll.

George visits underground filmmaker Robert Nelson in Milwaukee, and they brave the cold on Lake Michigan.

A meditation on birth, silence and American cinema, sealed with a kiss.

A woman recounts her story of the mass exodus of Palestinians from Jerusalem. Beginning with the arrival and ending with the departure, the tale moves backwards in time and through various landscapes.

The passage from Germany to the United States influenced by moments lived during WWII era Germany.

Sea In The Blood is a personal documentary about living with illness, tracing the relationship of the artist to thalassemia in his sister Nan, and AIDS in his partner Tim. At the core of the piece are two trips.

Functioning as both a fake documentary and a fake advertisement, Meet the People deals with issues of desire, complicity, and identity in the age of mass media, as 14 “characters” talk about their lives, desires, and dreams.

This video diary visits two sites that exhibited my visual works this past year, culminating at the VOLTA ART SHOW in N.Y.C., where I sold some paintings and a photograph.

The two-part video Gender Cruise on the Circle Line involves Brenda and Glennda leading a group of drag queens, drag kings, and other gender nonconforming people on a three-hour ride on the Circle Line boat around Manhattan.

Marielle Nitoslawska’s Breaking the Frame is a feature–length profile of the radical New York artist Carolee Schneemann.

Forever pulsing, a severed hand bobs along a shoreline in this meditation on the atrocities of the early 1990s Rwandan civil war. The all-caps title says it all, loudly and poetically.

"This video continues the journey from the final sequence of Ask the Insects.

A re-reading/ re-construction of a Wooster Group theater production: Part I / LSD: Just the High Points, 1978

This film is a reflection on descendants and ancestors, guided by a 50 year old audio recording of my grandmother learning the Pechanga language from her mother.   After being given this tape by my mother, I interviewed her and asked abou

In this classic example of the Kuchar style, George travels to the Bronx to visit his mother and to see old classmates from art school. “We see what they have become or are becoming or already became.”

A brief visit with a graduate student in the painting department of the art college where Kuchar teaches and the discussion that follows the unveiling of his work.

Whether they inhabit the desert or are lost in it, three men are clearly confronted to the ruins of modern times. They are explorers or players or performers of times past.

I wander around empty halls of academic buildings carrying bags of Halloween atrocities for our latest class project: a horror movie that lives up to that classification on multiple levels.

From the performance by the same name, by Suzanne Lacy, Julio Morales and Unique Holland, with Kim Batiste, Raul Cabra, Patrick Toebe, David Goldberg, and Anne Maria Hardeman, Oakland, 1998-2000.

This tape examines the meaning, impact, and future of the early-1980s avant-garde through interviews with artists (Scott B., Robert Longo, Walter Robinson, Michael Smith), an art dealer (Helene Winer, Metro Pictures), a museum director (Marcia Tucker, T

The artist uses wire to suspend a block of ice in a pit-like industrial space. He swings the ice block, which is lit by a similarly swinging light bulb on a separate pendulum.

The personal odyssey recorded in The Laughing Alligator combines methods of anthropological research with diaristic essay, mixing objective and subjective vision.

A hallucinatory portrait of a man traveling from Finland to Greece in search of the utopian summit described in René Daumal's Mount Analogue (1952) - a fictional mountain floating in the sea.

The performance artist Stephen Varble spent the last five years of his life working on an epic, unfinished performance-turned-video titled Journey to the Sun (1978-1983).

Made with Stanton Kaye, and the only Lynda Benglis video with a discernible plot, The Amazing Bow-Wow follows the adventures of a talking, hermaphroditic dog given to Rexina and Babu by a carnival barker.

A prop-filled encounter with a young fantasy filmmaker eventually becomes muffled by an earwax problem I develop; but not before the viewer is dragged through Studio 8 where my class and I are concocting a sordid, high school melodrama.