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.

The Telling (1994-98) shows Anne McGuire telling two acquaintances a secret from her past using a three-camera set-up in the Desi Arnez style. The commodification of intimacy is not the strangest thing about this work. The fractured editing, silences, and lapses in continuity suggest vast narratives far more evocative than anything revealed on screen. McGuire uses television vernacular ambiguously to provoke discomfort, two things that television strives to avoid at all costs.

After an all-night session of editing Free Society, Garrin headed home with video-8 camera in-hand, only to happen upon the Tompkins Square riots.

A Spy is a gender-bending and thought-provoking mixture of pure visual pleasure with disturbing undercurrents. As Reeve lip-syncs to a Doors song (“I am a spy in the house of love.

In this video, MICA-TV interprets the dark spaces of architect Peter Eisenman’s Wexner Center for the Visual Arts at Ohio State University through a fractured narrative of psychological perspectives.

Baby Bush meets Tubby-land. Completed in August 2001, this project was initially just a simple comic skewering of George W. Bush and his defense policies—but after September 11th, it took on a whole new meaning.

A three-day teleplay done at CalArts takes a sordid behind-the-scenes look at an art school professor’s life.

"In this antiqued period piece, the morbid star, Lupe Velez, travels to Hollywood, Guanajuato, and Barcelona, seeking her own death."

—Berkeley Art Museum, Pacific Film Archives, April 1998

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

Using selected details of TV’s Hollywood Squares, Birnbaum constructs an analysis of the coded gestures and “looks” of the actors, including Eileen Brennen and Melissa Gilbert.

"The head of a Berlin advertising agency explains his proposed strategy to his potential client, a Danish optical company.

Q: What was the Cubists’ greatest contribution to modernity? A: The invention of camouflage. The Art of Protective Coloration asks us to consider the less-than-innocent connections between the making of art and the making of war.

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

Sequences of landscapes shot in an area of 60 km make up mosaics of places and reference axes constantly changing that do not exist in our surroundings. In this video bodies are not near or far. They are large or small.

Made with Ian Bourn.

A depiction of the forced development of a hothouse flower. Organic growth is progressively overtaken by a more sinister mechanical process.

In The Jungle playfully and sorrowfully tells the tale of an unreliable narrator in a self-imposed exile.

Looking for "Mr. Right" in all the wrong places makes for a tragic comedy.

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

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.

This program presents different approaches to looking at war, and to using images of war.

The pages of books that deal with nostalgia and the vanishing vistas of America's past are infiltrated by the appreciative presence of two hulks from today, who go their own ways through the by-ways and highways of an illustrated yesteryear.

A video essay set in the Mexican-U.S. border town of Ciudad Juarez, where U.S. multinational corporations assemble electronic and digital equipment just across from El Paso, Texas.

The PSA Project No. 1-15 is a series of fifteen videos that speak out against the U.S. occupation of Iraq and the act of war.

This crime drama made with my students at the San Francisco Art Institute is a mixed bag of colorful misadventures featuring a wayward member of the clergy and a corrupting, femme fatale with bangs.

Based on a tale by Charles Perrault, Tom Rubnitz's The Fairies comes complete with frogs, princes, kind fairies, and evil stepsisters—all costumed à la Rubnitz. Featuring Sister Dimension as the fairy godmother, Michael Clark, and others, the tape playfully illustrates a familiar fairytale moral, as each person gets what they deserve. The evil girl spits up toads, while flowers and jewels emerge from the mouth of Matilda the Good, and a dancing prince carries her away. 

Videofreex documentation from October 9th, 1971 of a crowd celebrating the opening of the Yoko Ono retrospective exhibition, This Is Not Here, at the Everson Musem of Art in Syracuse, NY.

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

Sponsored by Kodak and Chicago Filmmakers, I was given a film roll to shoot. All editing was done in-camera.

This weather diary finds me not quite alone on the prairie as Pepe and Poncho pay a visit. They dangle about the motel room and peer into blue tinged moods of explosive angst and laid back lumpiness.

On the outer limits of an Oklahoma town both eyes scan the skies for the terror being foretold by the volatile vapors that pulse with urgent radio frequencies.

Blending live action staged as if in a dollhouse with rarely seen archival footage from the National Archives, the fantastically true story of how America entered WWI is told.

Thinking of herself as a spy assigned by the female sex, Green reinterprets baseball’s symbolism—its womblike landscape, its cycles and rituals—and constructs an iconography that pays homage to the female.

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.

The post-Platonic cave in whose interior the nuclear catastrophe to come is disseminated.

In the second installment of George Kuchar’s Alumni Series, he begins with news coverage of the mudslides the month before that had resulted from the flooding documented in his Alumni Series #1.

The "dazzling, delightful, and delicious" messages of broadcast television get scrutinzed in Social Studies, Part II: The Academy.

A California Christmas season ushers in an array of holiday visuals designed to feed the hunger of soiled souls in search of truffle filled delights.

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.

Ephraim Asili’s five-part series The Diaspora Suite is both a personal and global study of the African diaspora.

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.

Part of paraconsistent sequence series.

Pop-Pop Video: Kojak/Wang takes a shootout from Kojak and extends the shot and counter-shot into a potentially endless battle.

Here You Are Before the Trees is a three-channel synchronized video installation. A composite of the three channels presented side by side in one video is available from Video Data Bank for educational use only.

In Takeover of the Empire State Building, Brenda and Glennda visit the top of the Empire State Building as it is lit up in lavender for Gay Pride.

"Living on the slopes of the volcano Vesuvius is a strange contradiction: always in stress and yet also sleepy, waiting for what might happen.

The Sun Quartet is a solar composition in four movements, a political composition in four natural elements, an audiovisual composition in four bodily mutations: a sun stone where youth blooms in protest, a river overflowing the streets, the bur

Part 2 of Two Movies by Mike Kuchar.

In this episode of The Brenda and Glennda Show, Glennda meets up with guest co-host Joan Jett Blakk to discuss Blakk’s 1992 presidential run. The pair interview people on the street outside of the 1992 Democratic Convention.

In the words of activist Dhoruba Bin Wahad, “Historical and social events are subject to almost instant censorship by those who have better access and control over the medium of communication.

Shifted From the Side is conceptually identical to To And Fro..., and was probably made the same afternoon.