LYNDALE is a story of shifting family dynamics, told through the relationship of two brothers. Shot on ten different video formats, this experimental documentary is both the story of a Chicago family, and a record of the digital revolution in the early 2000s. The piece takes place over a six-year period during which filmmakers Oli Rodriguez and Victoria Stob shared a house with Rodriguez’s brother, Jeff.

LYNDALE is a story of shifting family dynamics, told through the relationship of two brothers. Shot on ten different video formats, this experimental documentary is both the story of a Chicago family, and a record of the digital revolution in the early 2000s. The piece takes place over a six-year period during which filmmakers Oli Rodriguez and Victoria Stob shared a house with Rodriguez’s brother, Jeff.

Kipnis describes this tape as "an appropriation of the aesthetics of both late capitalism and early Soviet cinema—MTV meets Eisenstein—reconstructing Karl Marx for the video age.” She presents a postmodern lecture delivered by a chorus of drag queens on the unexpected corelations between Marx’s theories and the carbuncles that plagued the body of the rotund thinker for over thirty years. Marx’s erupting, diseased body is juxtaposed with the “body politic", and posited as a symbol of contemporary society proceeding the failed revolutions of the late 1960s.

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

The viewer is whisked through a lovely cat-house, which also includes a turtle along with the whiskered pets, and then is suddenly immersed in the painted output of my old (yet still young and vibrant looking) friend, Michelle Joyce. We follow this cheerful personage on a tour of her studio and then get transported to a high-class arts center in midtown Frisco where the work is displayed to a variety of yapping youth in yo-yo mode.

Memory Palace is a short video grounded in the personal history of the artist. A discovery of a photo album activates memories of physical spaces, which in turn open doors to reminiscences of past family life. Inspired by the classical method of loci, the film presents a woman — singer/songwriter Alice Smith — at work in Los Angeles.

The New York City summer is fueled by the sultry emanations of hot air that tumble off the tongues of potential thespians as they attempt to decipher the gastric guesswork embedded in the prose of the pre-production process. The video camera flits across the boroughs of NYC in a splash-dash sojourn of sumptuous banquets and bohemian bombast, while the down-to-earth wisdom of the seeing impaired helps to guide the protagonist into detours of wisdom befitting his putrid project.

A chance to view the upper Bronx as a mantle of whiteness cloaks its natural splendor like icing on a cake and things all blubbery bob to the surface for air and a sniff of the "good life."

Private photos of an exploitation film matron (Doris Wishman) in action highlight this collection of summer fare that features a wide range of image-makers pursuing their dreams. From the confines of Hell's Kitchen to the wide-open vistas of New Mexico, the video aims its savage eye at civilized civilians in the heat of digital desire. Take this tour of image driven locals in locales that shimmer in the heat of Hollywood halitosis: the whispered sleaze of tabloid tinsel-town.

From the fall colors of the Bronx, we travel up the Hudson River to Bard College and chew the fat with some notable faculty in the film department, who live in the shadow of the Catskill Moutains. Then it's down to Sarasota, Florida where we go to prowl the manicured jungles and opulent estates on Tampa Bay. All of the above is punctuated by a symphonic squad of melodic mannequins and cranked-up antiques that spew forth jingles that jangle in jubilation at the bounty deposited in their slots.

Another holiday season rolls into the Northern California coast along with the breakers that roil and foam in mimicry of a "white Christmas." Men, women and felines frolic and fret amid the tinkle of holiday revelers as the short days fade into a melancholy medley of digestive sounds and crackling firewood. Music to the ears and candy to the eyes makes this annual holiday tape a tradition to treasure in this world of terror and tarnish. Come splash in the buoyant pleasures of pacific vistas and sample the crummy crust of California fruitcakes. And by the way, HAPPY NEW YEAR too!

Two gardens of plenty sprout with the seeds of bitter fruit made sweeter by the touch of summer, which rushes in with the scent of floral flatulence. Made heady by the gorgeous gas, the subjects of this video open both heart and mouth to nature's bounty which is served in microwaveable platters of convenient disposability to protect the environment from caustic suds. A touch of poison does escape the purity of these proceedings, but the general mood is one of gregarious grimness amid the plentitudes of paradise."

In a version of the “teenage diary,” Benning places her feelings of confusion and depression alongside grisly tales from tabloid headlines and brutal events in her neighborhood. The difficulty of finding a positive identity for oneself in a world filled with violence is starkly revealed by Benning’s youthful but already despairing voice.

This title is also available on Sadie Benning Videoworks: Volume 1.

In Nibbles, George Kuchar crafts a mini-travelette documenting his adventures around Cape Cod. Shot primarily in Provincetown, Massachusetts, Kuchar visits friends and takes every opportunity to sample the local cuisine. After a power outage at Provincetown’s DNA Gallery, Kuchar returns to his friends’ home once more, this time to view their son’s performance film about Minnie Mouse, and no doubt to eat more of their food.

– Kyle Riley

A trip to Winnipeg introduces the viewer to moments of Canadian cuisine and to the easily digestible tidbits that make up the WNDX Film/Video Festival. Come join the movie buffs as they beef up on eye candy and tummy truffles, all the while indulging in a masticating miasma of minutia that's easy to swallow. Wash it all down with some river views and Mr. Coffee secretions and you'll get a taste of the treats that await all who head north to appease the more southerly rumblings of the human anatomy.

Kuchar makes it to the Isis Oasis resort just in time to catch the marriage vows of his friends Rebecca and Steve. Transposing the myth of Isis in their union, Kuchar tries to make sense of this recreated paradise, this gathering of God’s creatures, and the fates of Rebecca von Hettman and Charlie Sheen—in this humid, steamy, stained story of the transmigration of souls.

A nocturnal COVID-19 memoir. 

Piano assemblage and image sequencing by Bob Snyder. Images by Sara Livingston.

"Persistence was shot in 1991-92 in Berlin, and edited with films by U.S. Signal Corps cameramen in 1945-46, obtained from Department of Defense archives. Interspersed through these materials are filmic quotations from Rossellini's Germany Year Zero (1946). A meditation on the time just after a great historical event, about what is common to moments such as these—the continuous and discontinuous threads of history—and our attachment to cinematic modes of observation that, by necessity, shape our view of events.

As I rummage through a stack of photos the memories of this and that plus who’s what and where rush in helter skelter. There’s a lot to swallow on screen and off (most of it from Oriental kitchens) but there are dashes of the even more exotic as the viewer glimpses renderings of the indigestible here and there (but mostly above and beyond!).

A wide-ranging look at pictures I collect on my walls and in my head. A look at pictures I concoct with my students at the San Francisco Art Institute, and objects d’art collected by those whose picture is taken by my picture-taking machine.

A voyage through a California Christmas that begins in the turd-smeared streets of San Francisco and ends in a botanical wonder of ethnic endurance and faith. A journey that incorporates pelicans, palaces, and platters of plenty. A season of joy bloated with the ephemeral gasses of religious fermentation and the iconography of a movie-land Madonna.

George Kuchar has been invited to Francis Ford Coppola’s vineyard for a large family picnic. Walking around the property with a friend, the two look on as a team of workers picks grapes for winemaking. The visual wonder of this setting is not lost on Kuchar, who spends little time filming those in attendance. Instead, Kuchar turns his lens to all things natural, ranging from small goats and swans to the simple beauty of light reflecting off a stream.

A lavish home is visited, shutters click, bottoms are exposed, water splashes and a welcome wetness stains an area unquenched for so long. A jacuzzi bubbles to life in a bedroom community that floats to sleep on aqua-filled rubber.

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

An ex-student of mine opens up in the privacy of her home and shows me her etchings (watercolors) as we talk of art and things that slip under the fabric of daily attire. - George Kuchar

A series of vignettes, anemic in color, as the absence of light threatens the vibrancy of those depicted: a Bostonian painter and her bloated model. A brunette guitarist and her assault weapon on the ear drums, and a lady from London in makeup and mourning. A canvas of black dahlias and white noise intent on smothering life, limb and vocal chords.