A video in two parts about two states (being asleep and being awake) and the absurdity, or even impossibility, of bridging between them. The camera becomes a microscope examining light as if it were a state of mind.

In 1975, the Feminist Studio Workshop (I was a member) at the Woman’s Building in LA, the Women’s Interart Center in New York City, and another feminist organization in Washington DC, attempted to set up a video exchange among feminist art organizations

Earthmoves is a continuation of Semiconductor's exploration into how unseen forces affect the fabric of our world.  The limits of human perception are exposed, revealing a world which is unstable and in a constant state of animation as the

In this video, Brenda and Glennda attend and interview participants at the 1991 New York City Pride March.

This 1978 conversation between poets Anselm Hollo and Robert Creeley, was updated in 2015 as Adam Burke relays their conversation.  Images of Hollo, Creeley, and Burke are juxtaposed on top of one another.

Shared Resources depicts the filmmaker’s family after their father was fired from his job as a debt collector and their parents declared bankruptcy, largely due to the filmmaker’s own debt.

The performer interprets a video demonstration of a series of poses with mirrors, not unlike Breder's Bod/Sculpture photo series, but this time in a studio. This performance was later staged several times with Breder directing from off-camera.

Realizing the words by Jacques Derrida.

'Misery' doesn't like 'company' -- but 'company' does love a 'party', so come join in on a catastrophic celebration, and do 'hang on' tight -- because it's a steep ride down into the depths of a soul in meltdown mode!

After working in solitude at the studio, the artist leaves, uncomfortable with the idea of having to put on a face for the art world, where they expect you to say something articulate in order to grab the curator's attention.

Love Songs #1 is composed of three pieces that pose questions about urban culture, race, and politics. Found footage images are manipulated and juxtaposed with popular music; the effects are unsettling, ironic, and sometimes humorous.

Rubnitz’s short cooking clip showcases a chicken casserole recipe from the kitchen of Elaine Clearfield. All you need is chicken, rice, a packet of Lipton onion soup mix, a can of cream of mushroom condensed soup, and water!

We have come to this place of meaning together, celebrating our un-remaindered completeness.

Part of paraconsistent sequence series and the hauntology series.

“Trypps Number Three transports the documented transcendence of Jean Rouch's Les Maîtres Fous from the Hauka movement to a Lightning Bolt concert where overlapping bodies, swaying to noise rock, are fram

In this experimental travelogue, efforts to sound human and look natural instead become artifical.

Fifty Wonderful Years provides a behind-the-scenes look at the 1973 Miss California Pageant. In the early '70s beauty pageants across the country came under fire from feminists who targeted them as spectacles that exploited women.

Forest Law underlines the persistent fact that we are yet to learn to live otherwise in an age defined by the colossal consequences of a new socio-geological order we ourselves have created through irresponsible interactions with Earth

Backwards Birth of a Nation is a re-editing of D.W. Griffith's 187-minute film, Birth of a Nation (1915), into a pulsating 13-minute black and white phantasm.

"Renwick recounts a sad time in her life, when a friend was dying and she suddenly became aware of the presence of crows... [Renwick] craft[s] a lyrical and moving essay that works its magic through poetic accretion rather than narrative logic."
— Holly Willis, L.A. Weekly

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

The popular images of Asian American males, historically propagated in the mass media, range from "silent, sex-less, obedient houseboy" to "mystic martial arts master".

Scratch of image. As a consequence of a global quarantine, an entire device emerged. With much of humanity locked up and eager for communication, a pandemic exhibitionism went viral. Covid-19 mobilizes an audiovisual pandemic.

Prefaces is composed of wild sounds constructed along entropic lines, placed tensely beside bebop rhythms, and a resurfacing narrative cut from a dialogue with poet Hannah Weiner.

"Presented in seven parts, Beauty Plus Pity considers the potential for goodness amidst the troubled relations between God, humanity, animals, parents and children...

Acid Migration of Culture occupied the main windows of the Donnell Library, the branch of the New York Public Library directly across from the Museum of Modern Art.

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."

“Hey, how’s that TV work?” 

Pixilated, an archaic word meaning enchanted, bewitched, magical, insane, and the stop frame animation of objects and people.

VIVA ÁGUA is a meditation on the philosophical work entitled ÁGUA VIVA written by Clarice Lispector in 1973.

Shot by Mary Curtis Ratclif at the O.K. Harris Gallery on Prince and Green Streets, New York, this tape focuses on performer “Ricky Jay” as he performs card tricks at his magic table for an enthusiastic audience.

While moving through the streets of Paris, a brother and sister confront their incestuous past under the watchful eye of their female taxicab driver.

Consisting of 13 brief spots, Experience: Perception, Interpretation, Illusion features works by artists included in a Pasadena Armory exhibition.

Sister City channels moments of paradoxical experience — of being a superhero or being for sale — into reverberant conduits, articulating a nature divided by panes of glass or suspended in watery solitudes.

Nest of Tens is comprised of four alternating stories which reveal mundane yet personal methods of control. These systems are derived from intuitive sources.

An intimate dialogue with Soha Bechara, ex-Lebanese National Resistance fighter, in her Paris dorm room.

Based on Robert Heinlein’s 1941 story “Universe,” Double Lunar Dogs presents a vision of post-apocalyptic survival aboard a “spacecraft,” travelling aimlessly through the universe, whose passengers have forgotten the purpose of their mission.

Feminist performance artist, Martha Wilson (b.1947), is director and founder of the alternative New York art space, Franklin Furnace Gallery, in operation since 1976. In this interview, Wilson discusses her Quaker upbringing, the impetus for her move from Nova Scotia to New York, and the founding of Franklin Furnace, as well as her involvement in the feminist punk band collective Disband.

A documentation of a performance/installation. Guillermo Gómez-Peña and Roberto Sifuentes created a fictional religion based on inter-cultural confessions.

This is the second part of the hyperkinetic still life. This triptych is part of the Hyperkinetic and Hauntology film series.

On Subjectivity examines how information is disseminated, how people read, screen, and interpret images; how mechanisms function and articulate information.

Made with my students at the San Francisco Art Institute, this video drama explores the thrills and terrors of the Big Top as a travelling circus comes to town bringing with it the promise of cotton candy, eternal youth, and high-flying beefcake.

VDB TV: Decades
1980s: Problematizing Pleasure / Punk Theory

Three basic compositions are played and recombined in Collage: a hockey game; arms swinging across the screen; and a hand holding one, two, then three oranges.

Compromise is Episode 1 of the video art trilogy, This is More Than Love I Feel Inside, in which Jillian Peña traces a queer relationship from inception to demise.

In a visually difficult construction, Silver plays with the viewer’s ability to focus and take in an entire image.

Created from 2014 footage shot at Ethan Cohen Fine Arts Gallery with a mirrored curtain, the performer here meets a ghost of herself.

Performer: Elisa Osborne

Camera: Liliana Gao

Editor: Adam Burke

A woman is standing barefoot on a tile floor.  In slow motion, the investigative camera circles around her.  Her breasts are bared and liquid runs down her legs.  Bit by bit, every part of her body is shown, except her face, which remains

Sportello Quattro, filmed during a residency at the American Academy in Rome, is about immigration, work and community among people of color in contemporary Rome, Italy.

Cast: Joseph Bayorha.

George is invited to the AFI Video Festival to see the screening of his tape, Video Album 5: The Thursday People, but detours into a melodrama about the fear of internal spaces in buildings.