A flowing river, an injured arm, a dance floor, and a woman washing clothes in the bay—what carries the dust is the wind.

Screenplay | Chi Jang Yin and Elizabeth Feiertag
Produced, director, edited, video effects, main cast | CHI JANG YIN
Cinematographer | Ross Heran
Sound editor and mixer | Lou Mallozzi

This tape, shot in April 1971, documents the making of a WNET/13 TV show about video collectives and how they use the new video technology.

I reconcile the violent act. Project Gasbuggy pertains to the site where the first of three nuclear bombs were dropped a mile into the earth as part of a government collaboration with natural gas companies to see if nuclear energy could be used to free up natural gas in the earth. As a result of the radiation from each explosion, the land was labeled a dead zone where no harvesting or development of any kind is allowed.

Putting the Balls Away is a reenactment of the historic September 21, 1973, tennis match between Billie Jean King and Bobby Riggs, created for broadcast on the 35th anniversary of the original event. The Battle of the Sexes was the most-watched live sporting event at that time, and pitted chauvinist against feminist, when women tennis players demanded equal pay to that of their male counterparts. Both players are performed by Mateik, whose work wages strategic operations to overthrow institutions of compulsory gender. After each game the competitors "switch sides".

Taking its name from the Jim Crow-era of black criminals staring at white women, this hand-processed, optically-printed amalgam reframes desire by way of everything from D.W. Griffith to Foxy Brown and Angela Davis: 'Your lover belongs to this band of murderous outlaws.'

–– Cinematexas International Short Film Festival

This version of the film is a 2K restoration made by the Academy Film Archive in 2022.

Sixty-five years after the Allied invasion of Southern France, the director's mother, Cecily Barker Finley, tries to recall her involvement as a social worker aboard a WWII Red Cross ship. These memories are recorded in letters and phone calls with her daughter who is living on the coast of France where the invasion occurred. After her mother dies, she discovers a trunk, unopened since the 1940’s in the family garage that is filled with her mother's Red Cross memorabilia. By carefully documenting the trunk's contents, missing pieces of the invasion story begin to come into focus.

Respite consists of silent black-and-white films shot at Westerbork, a Dutch refugee camp established in 1939 for Jews fleeing Germany. In 1942, after the occupation of Holland, its function was reversed by the Nazis and it became a 'transit camp.'  In 1944, the camp commander commissioned a film, shot by a photographer, Rudolph Breslauer.

REVOLVER is a short film that weaves the perceptual phenomenon of pareidolia (a situation in which someone sees a pattern or image of something that does not exist) with an oral history narrated by a descendent of Exodusters. Nicodemus, Kansas (USA) was deemed a late 19th century refuge for Exodusters—Black people from the southern United States who fled violence and inequities following the Civil War. Guided by memory, history, and rumor of a Black utopia, REVOLVER proposes a psychogeographic history of place infused with visions and dreams.

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.

"The human ear. A gatherer of energy. A gatherer of sound. RPMs and BPMs. Satellites go up to the sky."

In the video Satellite, Nelson Henricks combines found footage and techno beats to question western society's ongoing obsession with science, technology and the future. Juxtaposing images derived from old educational films with absurd, aphoristic slogans, Henricks offers up a witty, entertaining and provocative commentary of our need to make sense of everything, at any cost.

In this spoof program produced for Lanesville TV, the premise is that a “Sheik” has come to buy all the land in Lanesville. Videofreex member Carol Vontobel reports that the sheik (Bart Friedman), escorted by his real estate agent (Parry Teasdale) is approaching people in the community and asking to buy their homes. An unknown Lanesville local chauffeurs them around, and the Videofreex interview Mr. Benjamin, Mr. And Mrs. Kelly, Mr. Lloyd, Mr. and Mrs. Ginsburg, and others from the Tavern.

Sites Unseen is a 16mm film of the Jewish cemetery in Warsaw, a photograph of a great Aunt who died in Treblinka, and my late grandmother eating her morning cornflakes.

Music by Zeena Parkins

A nostalgic glazier shows off his knowledge and expounds his theories. Taking glassmaking processes and history as its central theme, Slow Glass explores ideas about memory, perception and change.

For the past 20 years Alexis Smith's mixed media work has explored primal American myths: the open road, the bad/good guy/gal, the quest for romance, and the search for paradise. This portrait of the artist explores the roots of her thought and work, and was produced in conjunction with her exhibition at the Whitney Museum of American Art, held in November 1991.

Smothering Dreams is a tough, scathing condemnation of war and our country's fascination with violence. Reeves draws on his own experience as a U.S. Marine in Vietnam in the 1960s, juxtaposing actual combat footage, staged war games, and child’s war play to make his message horrifyingly clear. This work is dedicated to the men of the 3rd Platoon Company A 1st Amtrac Battalion and the North Vietnamese soldiers who died on January 20, 1969 along the Cua Viet River.

Art Spiegelman was born and raised in New York, and began working as a cartoonist while still in High School. He attended the State University of New York in Binghamton, where he studied Philosophy. Spiegelman, who continued to work as a cartoonist, mainly in underground publications, throughout his schooling, has long been acknowledged as one of our era's foremost comic book artists. However, it was Maus, published in two volumes in 1986, that first brought his work to a mass audience. Maus tells the stories of a Jewish survivor of Nazi Germany and his son.

still/here is a meditation on the vast landscape of ruins and vacant lots that constitute the north side of St. Louis, an area populated almost exclusively by working class and working poor African Americans. Though it constructs a documentary record of blight and decay, still/here is a refusal of closure that dwells within the space of rupture and confronts the presence of a profound absence.

–– Christopher Harris

Camera, sound, edit: Christopher Harris

Additional camera: Joel Wanek

The Story of Milk and Honey is a short experimental video belonging to a larger project, which includes photographs, drawings and text, detailing an un-named individual’s failure to write a love story. Through voiceover narration that weaves together images, letters, and songs, a story of defeat transpires into a journey that explores how we collect and perceive information, understand facts, history, images, and sound and where the individual is to be found in the midst of the material.

Produced with the Fundación Marcelino Botín Grant for Visual Arts Fund.

Strike Anywhere is a video essay that takes as its point of departure Swedish "Match King" Ivar Kreuger, whose privatization of financial crisis management strategies bears a direct relation to late-20th Century policies implemented by the IMF and WTO. Between 1917 and 1932, Kreuger capitalized on shifts in global financial markets to control over 200 companies and establish matchstick monopolies in at least 34 countries. At the height of his success, Ivar Kreuger was worth approximately 30 million Swedish kronor (the equivalent of 100 billion USD today).

Strike Anywhere is a video essay that takes as its point of departure Swedish "Match King" Ivar Kreuger, whose privatization of financial crisis management strategies bears a direct relation to late-20th Century policies implemented by the IMF and WTO. Between 1917 and 1932, Kreuger capitalized on shifts in global financial markets to control over 200 companies and establish matchstick monopolies in at least 34 countries. At the height of his success, Ivar Kreuger was worth approximately 30 million Swedish kronor (the equivalent of 100 billion USD today).

A cinematic exploration of African American intellectual, social, and political life at University of Virginia during the 1970s. Starring Erin Stewart as Vivian Gordon, the director of UVA’s Black Studies program between 1975 and 1980, the film tells the story of African American women and men who through their public and private gestures sought to create a beloved community that thrived on intellectual exchange, self-critique, and human warmth.

A cinematic exploration of African American intellectual, social, and political life at University of Virginia during the 1970s. Starring Erin Stewart as Vivian Gordon, the director of UVA’s Black Studies program between 1975 and 1980, the film tells the story of African American women and men who through their public and private gestures sought to create a beloved community that thrived on intellectual exchange, self-critique, and human warmth.

Moments of resistance are collapsed and woven together; from documentation of the Indigenous led occupation of Alcatraz, to the reclamation of Cahokia and the repatriation of the ancestors, to one’s reflections on their body as they exist in the world today, these are gestures that meditate on the carceral inception and nature of the reservation system, and where sovereignty and belligerence intersect and diverge.

Sound by Courtney Asztalos
Music by Room Thirteen

Commissioned by the San Jose Museum of Art and the Institute of Arts and Sciences at UC Santa Cruz.

Sunstone tracks Fresnel lenses from their site of production to their exhibition in a museum of lighthouses and navigational devices. It also examines the diverse social contexts in which optics are implicated, contrasting the system of triangular trade that followed the first European arrivals in the ‘New World’ with the political potential seen in Op art in post-revolutionary Cuba.