This is a colorful fable of many foibles involving a man of the cloth who wishes to shed those accouterments for something of a more sinister fabric.

A defiant, weird, DIY lament on not keeping calm in toxic times.

Statement

A last stand for the silent guardians of the old order. Take It Down is a filmic day of reckoning for the Old Confederate South. What is up must come down, like the Confederate soldier monuments standing in court house squares across the South. At long last, a grand inversion! Solarized film makes positives bleed into negatives. The South is renewed.

This film looks to North Carolina to describe the cultural fissure that runs through the South, a legacy of the Civil War. In the context of the divisive Trump presidency and the increasing visibility of white supremacist activism, these Confederate memorials have become sites of conflicting politics and historical narratives. 

Historians agree that a majority of Confederate statues were erected as propaganda tools legitimizing racism in the era of Jim Crow laws. For example, “Silent Sam”, a statue depicted in the film, was erected on the quad of the University of North Carolina campus. In an act of civil disobedience in Fall 2018, students and protestors tore down the statue in a statement against white supremacist oppression.

Yvonne Jacquette (b.1934)is an American painter and printmaker known in particular for her depictions of aerial landscapes, especially her low-altitude and oblique aerial views of cities or towns, often painted using a distinctive, pointillistic techniq

A woman sets out to photograph moments of intimacy.

The 1949 Housing Act, often seen as the beginning of urban renewal, reshaped the landscapes of many American cities.

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

Using performance as a means of personal transformation and catharsis, Mitchell’s Death mourns the death of Montano’s ex-husband.

This Is Not Beirut is a personal project that examines the use and production of images and representations of Lebanon and Beirut, both in the West and in Lebanon itself.

The audience's engagement with the smallest subtleties and less than (usually considered) spectacular elements of theater is impressive and speaks volumes on the patience and acuity of modern viewers.

Taking its title from a sound design maxim and using it as a conceit to grasp the desire for connection, See A Dog, Hear A Dog probes the limits and possibilities of communication.

Crossings and Meetings explores the image and sound of a walking man, expanding a simple image into increasingly complex permutations and arriving at what Emshwiller calls a "visual fugue" in time and space.

When I look for the lightning, it never strikes. When I look away, it does. Filmed inside a car, this tape focuses on observation of natural phenomena, presenting the obverse of the, "If a tree falls in the woods..." conundrum. Does observation change the course of events? Can you believe in things you don't see? In this experiment, the camera occupies a privileged position — showing the woman and what she sees, as well as what she cannot see.

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.

Polycephaly in D is a densely collaged exploration of the existential drift, collective trauma, and psychological free-fall of the contemporary moment.

Painter/mixed media artist David Dunlap creates installations and performances that draw from the notebooks he has kept since the mid-’70s—giving three-dimensional, public form to his intimate thoughts and diaries.

Based on Emanuel Admassu's essay Menged Merkato, an architectural analysis and historical journey of the largest open-air market in Africa, located in Addis Ababa, Ethiopia.

The daily life of the Hunikui village of Sâo Joaquim, on the river Jordâo in the state of Acre. Augustinho, village shaman and patriarch, and his wife and father-in-law, remember the fetters of the rubber plantations and celebrate a new era.

The installation created by Monica de Miranda in collaboration with Teatro GRIOT accompanies the play Os Negros. It includes a photographic and video exhibition that abstractly uses the images inspired by the play.

Laurie Simmons’s photographs are brought to life in Laurie Simmons: A Teaser, MICA-TV’s portrait of the acclaimed photographer.

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.

By subjecting fragments from the Akira Kurosawa’s film Rashomon to a mirror effect, Provost creates a hallucinatory scene of a woman’s reverse chrysalis into an imploding butterfly.

"A hand made raster deflection unit was used, inspired by Nam June Paik's video synthesizer system. I also used a TV repair person's test signal grid, early digital. Two b+w video cameras, audio oscillator sweeping up and then down.

A man learns his daughter has been brutally murdered by her husband.

As a foulness shall ye know Them. Their hand is at your throats, yet ye see Them not; and Their habitation is even one with your guarded threshold. The wind gibbers with Their voices, and the earth mutters with Their consciousness.

We hear a female voice with a subtle Jamaican accent speak about her life.

The “greca”, the meander, is the main symbol weaved in the textiles made by the Navarro sisters, from Santo Tomás Jalieza, México.

A tour of acting gigs that come my way and the people behind the cameras that aim at my expanding torso. A bloated ham in action on the West Coast and the thespians that rub shoulders with his hind quarters. Shot in San Francisco and Hollywood, USA.

A portrait of a studio photographer, Her + Him VAN LEO also examines the photography of the 1940s and 50s from a critical perspective rather than a nostalgic one.

Acconci listens to his own recorded monologue of sexually intimate secrets and repeatedly tries to obscure these secrets by shouting over the tape, demonstrating the paradoxical situation of the artist confounded by two desires: to reveal oneself for th

The place where my students and I confront each other and glimpse into a world infiltrated by beloved infidels.

A woman raises her voice and gives a painful and endless speech that with time becomes even more overwhelming, because her words are heartbreaking and permanent impressions in the collective memory, stabbing with words an old Mexican film, a celluloid t

Polish-American arist Ed Paschke (1939-2004) received his BFA from the School of the Art Institute of Chicago in 1961 and his MFA in 1970. Paschke was known as a member of the late-1960s Chicago Imagist movement, a group of artists who called themselves The Hairy Who, whose expressive style of figurative painting was rooted in outsider art, popular culture, and Surrealism. Paschke's fascination with the print media of popular culture led to a portrait-based art of cultural icons. Paschke used the celebrity figure, real or imagined, as a vehicle for explorations of personal and public identity with social and political implications. 

The annual holiday video is off and swinging with this foray into festive chatter and explosive fireworks. Sweet treats are served up along with ice cream and jungle jingles befitting this season of goodwill toward man and beast.

While asleep and dreaming, older children and adults alike tend to perceive dream events as external reality, but very young children do not understand "asleep" and "conscious" to be different domains. Perhaps they are not. 

This observational documentary presents Venice as a city inundated with tourists as well as periodic bouts of high water. The tourists take pictures, and endure the flooded areas of Piazza San Marcos.

Segalove gives us another series of true incidents involving the powerful influence of television on life, relationships, and attitudes. Among them is the tale of a family in serious dialogue about their decision to censor the tube.

Based on a set of drawings that depict George W. Bush's administration as wounded soldiers in the war against terrorism, RE:THE_OPERATION explores the sexual and philosophical dynamics of war through the lives of the members as they physically engage each other and the "enemy." Letters, notes, and digital snapshots "produced" by the members on their tour of duty become the basis of video portraits that articulate the neuroses and obsessions compelling them toward an infinite war.

¡Macho Shogun! was created by Reed Anderson and Daniel Davidson over a single weekend some time in 2000.  It's your basic monster-robot / destroy-city kind of video that we wanted to make when we were kids but never did.

In the spell of one of the most exquisite pop songs I know, with the most rudimentary of animation skills, I sought to produce a smooth and rapid transition from innocuous kindergarten silliness to faux-Lynchian horror.

Part of paraconsistent sequence series and the hauntology series.

Anthony Ramos' astute deconstruction of television news focuses on his part in the media coverage of President Jimmy Carter's 1977 declaration of amnesty for Vietnam draft evaders.

Flowers for LH reflects on the last play written by Lorraine Hansberry entitled What Use Are Flowers?

Dance: Joey Kipp
Cinematography: Steve Cossman, Cynthia Madansky
Music: Zeena Parkins

"By way of lush formal and associative shifts, Hearts Are Trump Again evokes the ever-present tension between seemingly polarized states of experience.

"An eye-opening piece of guerilla counter-surveillance, Untitled documents Dinçel’s time working as a tech assistant at a film festival where they managed to record the headset chatter between themselves and the two male projectionists working

Male escorts and crytozoologists battle behemoths and bulemics in this student-teacher collaboration about undying evil and those that escape it via the LOVE CANAL.

This being an annual, Xmas holiday video, you can be guaranteed good cheer on a platter and maybe a plop in a bowl or two.

In this collection of videos, Susan Mogul casts her diaristic lens to the nature of motherhood.

“We are hoping that in presenting this story in such a minimal way it would become evident that this Freudian logic is a conceptual and visual cliché. We want our audience to have an emotional response to the work, but at the same time realize that they’re being manipulated.” —Bruce and Norman Yonemoto

An experimental video on national insecurities.