“The second in a planned trilogy of films about desire and domesticity that began with Strangely Ordinary This Devotion (2017), Come Coyote examines issues around queer reproduction, intimacy, and motherhood. Collaborators and partners Dani and Sheilah ReStack capture in fleeting, diaristic images the tender and terrifying feelings they have around ushering new life into the world, conveyed with both humor and a powerful immediacy."

— Projections at NYFF, 2019 catalogue

“The second in a planned trilogy of films about desire and domesticity that began with Strangely Ordinary This Devotion (2017), Come Coyote examines issues around queer reproduction, intimacy, and motherhood. Collaborators and partners Dani and Sheilah ReStack capture in fleeting, diaristic images the tender and terrifying feelings they have around ushering new life into the world, conveyed with both humor and a powerful immediacy."

— Projections at NYFF, 2019 catalogue

Company Line is a film about one of the first predominately Black neighborhoods in Mansfield, Ohio. The title, Company Line, refers to the name historically used by residents to describe their neighborhood, located on the north side of town close to the old steel mill. The Company Line began during the post–war migration of Blacks from the south to the north in the late 1940’s. The neighborhood was purchased in the early 1970s and its residents were scattered throughout Mansfield.

From 1970 to 1972, Arthur Ginsberg and Video Free America recorded the private life of a not-so-average American couple-Carel Row and Ferd Eggan. She is a porn actress and filmmaker; he is a bisexual junkie. The video verite camera captures the desires and frustrations of their evolving relationship and their responses to the ongoing videotaping exercise. The tape, a study in "the effect of living too close to an electronic medium," reveals attitudes and discussions that also render it a fascinating social document of the west coast counterculture.

The fragment contains within it an implied reference to something that was once whole. It suggests damage and violence, time and distance. These qualities I found were integral to my own constitution, and it was with the making of Cooperation Of Parts that this became clear.

“Misfortune makes and breaks you.” I have the misfortune of a history of disruptions, and the fortune of having that history to work with.

County Down is a cross-platform, episodic, digital video, exploring an epidemic of psychosis among the adults in a gated community, coinciding with a teenage girl’s invention of a designer drug. A rave-culture period-piece that harnesses the unwarranted optimism of the 1990s, County Down presents a society so obsessed with novelty and consumerism that it euphorically sews the seeds of its own destruction. Tracking the genesis of our current political climate, the ensemble cast banks on cultural appropriation and a constant din of micro-aggressions.

In this video, made soon after the death of his mother Stella, we accompany George to the wake, and on to a trip to Albert Maysles holiday home on Fisher's Island.

"Deep waters flow around the living, dead and inanimate objects that bring this picture to life on the wide screen tapestry of electronic reality. Come and join the young and old of eastern energies as they bask in the sun and shadows of past sins and future fortunes. See how the other side lives and devours the fruits and nuts that pepper this great nation with neon nutrients worthy of Broadway and beyond!"

Dad’s Stick features three objects that my father showed me shortly before he died. Two of these were so well-used that their original forms and functions were almost completely obscured. The third object seemed to be instantly recognizable, but it turned out to be something else entirely.

This video is a moving personal documentary about Danny, a friend of Kybartas who died of an AIDS-related illness in 1986. This powerful work explores the reason for Danny’s return home and his attempts to reconcile his relationship with his family members who had difficulty facing his homosexuality and his imminent death. Retracing Danny’s memory of his once-high lifestyle in the clubs and gyms of Miami, Danny avoids sentimentalizing its subject as it juxtaposes images, text, and voice-over to build a sense of the psychological struggle brought on by Danny’s impending, premature death.

The Disappointment: Or, The Force of Credulity is a documentary about the search for four lost treasures buried on a single farm in Missouri. These treasures include a Spanish explorer's gold, silver from the Civil War, mysterious stone carvings, lost texts, and a wife's attempt to heal her husband and protect herself and her children. Part personal documentary and part historical essay, The Disappointment traces the patterns of cultural forgetting etched in the landscape of the Austin Farm.

Double Sigh is a video in which my mother reenacts a moment from my adolescence. In confronting the viewer directly, my mother's anger, frustration and sadness are imposed on the audience.

-- Julia Hechtman

This title is only available on Suitable Video, Volume 1.

THE DRESS: is a projection prop created for a performance piece at the Art Institute in 1984. It was installed in March 2021, suspended in front of a building on the Bowery as both a memorial to my grandmother, a Hungarian immigrant and master seamstress, and to the Triangle Shirtwaist Factory fire, of 1911, which occurred a few blocks north of this site.

-EJay Sims

THE DRESS: is a projection prop created for a performance piece at the Art Institute in 1984. It was installed in March 2021, suspended in front of a building on the Bowery as both a memorial to my grandmother, a Hungarian immigrant and master seamstress, and to the Triangle Shirtwaist Factory fire, of 1911, which occurred a few blocks north of this site.

-EJay Sims

Sassy, iconoclastic, and never-married, Los Angeles filmmaker Susan Mogul rides shotgun with ex-lovers, almost lovers, and her Dad, in a road movie turned inside out. Conversations with each driving man - pornographer, tuba player, TV critic, long haul truck driver, and more - are catalysts to reflect upon the past and comment about the present.

This arresting early work conveys a tension that emanates from what Tanaka posits as life's basic dualities: male/female, past/present, known/unknown. By focusing issues of identity, doubt, wonder, and awareness through the body, and the bodies of her ancestors, Tanaka succeeds in creating a work with both personal and political power. Tanaka creates a unique voice that speaks of her experience of maturing into womanhood, repeating the refrain, "I my mother." An experimental video, this work contains one of the first examples of flicker editing.

Eiko's grandfather Chikuha Otake (1878–1936) was a praised figure in traditional Japanese painting. But his anti-mainstream sentiments were shunned by the field authorities. His reputation was severely damaged by his failed run for the House of Representatives. Filmed in 2018, at the Philadelphia Museum of Art and the Suiboku Museum in Toyama, Japan, Eiko's edit combines videos of Chikuha's paintings and Eiko's performance with quotes from his essays and Eiko's musings.

Special thank you to David Brick, Ryohei Endo, Hiroyuku Horikawa, Feliece Fischer, and John Killacky.

A domestic portrait rendered at miniature scale, Dust Studies brushes along the edge of what can be seen. Staying close to the ground to collect what gathers there, the film looks deeply for everyday things and finds them drifting in the pleasant, meandering headwaters of a young child's language.

Note: This title is intended by the artist to be viewed in High Definition. While DVD format is available to enable accessibility, VDB recommends presentation on Blu-ray or HD digital file.

John Killacky is Eiko's long time friend. It was in July 2018 when both of them were attending the tree planting ceremony of their mutual friend Sam Miller at the Jacob's Pillow that Eiko invited John to join her Duet Project. John proposed to create a video work that they both speak to their dead mothers.

After exchanging their writings, the video was shot and edited by Brian Stevenson in the studios of Vermont PBS on November 22, 2019.
Special thanks to Larry Connolly.

A fantasia that makes twisted use of elements from the Elektra myth and vampire stories. Imagine a woman listening to Richard Strauss's Elektra while watching Carl Dryer's Vampyr and the dream she might then have that night. The protagonist imagines herself as Elektra. She has an unhealthy obsession over her dead father Agamemnon. She also passionately despises her mother Clytemnestra, as she is the one who murdered her father. Elektra exhumes the ax used to kill her father in his bath.

Epilogue: The Palpable Invisibility of Life is the final chapter in The Blindness Series, a body of eight videos on blindness and its metaphors that was begun in 1992. The inspiration for the series came from a 1990 exhibition Jacques Derrida curated for the Louvre Museum, titled Memoirs of the Blind.

Filmed in Susan Mogul’s Los Angeles multi-ethnic working class neighborhood, Highland Park, Everyday Echo Street: A Summer Diary, is an insider’s view of how home and neighborhood are constructed in everyday relations. Composed of conversational and anecdotal portraits of neighbors and merchants, Susan ruminates about the past and the present, as she looks out her apartment window. Struggling to arrive at a new definition of “home,” she ponders loss, middle age, and living alone.

An homage to the death of the soap opera, The Evil Eyes is a 1960's era story of a grandmother faced with her mortality, a mother in mid-life crisis, and a son realizing his sexuality - a dysfunctional family whose unspoken angst manifests in the latest episode of their beloved supernatural soap opera, Before Dawn.

Made from silent black and white tube camera footage of the artist taken by her father in the early 70s, this series of loops—through the examination of particular moments and gestures— is evocative for what it reveals and conceals about their relationship.

This title is also available on Helen Mirra Videoworks: Volume 1.

Extractions parallels resource extraction with the booming child apprehension industry. As the filmmaker reviews how these industries have affected her, she reflects on having her own eggs retrieved and frozen to make an Indigenous baby.

Artist Rabih Mroué looks back at old audio recordings, which were made by him and his parents to be sent as audio letters to his brother while he studied abroad. The old recordings become the site of a political critique of the packaged values of communism, resistance and martyrdom.

This title is only available on Radical Closure.