Congratulations.
The jury & the voters have spoken.

About this Project

mini DV 12 minutes 2008

how looking at what has become the skeletons of photographs is a visual lecture on aesthetic pleasure or emotion. and how being, almost entirely denied of this pleasure, or having the pleasure merely suggested induces a viewer to ruminate on the act of viewing and that of wanting to view. and maybe it is evolution which causes this anxiety and art form. A series of collages recreating the photographs of well known artists (uta barth, kohei yoshiyuki, candida hofer, deborah willis) and a very slight suggestion of the actual photographs. The soundtrack is composed of approximately 25 statements on photography.--sb

"The images in Barber's new video 'the inversion, transcription, evening track and attractor' are a series of collages Barber has created, they are entirely white--white on white exquisite cut-outs of exact replications of well known photographs. These are painstakingly constructed and delightful and she superimposes them ever ever so slightly over the original images. The entirety is an unbelievably transcendent, ruminative and spellbinding experience referencing high modernism, the history of photography and questions of ownership in the construction of the theories on this artform. I left feeling as though my eyes and ears had been scrubbed clean and replaced with new suggestive models. As with all of Barber's soundtracks the text is formally considered and plays intelligently between a cold distant consideration of ideas and an often devastating emotionalism sneakily brought in and in many ways serving as counterpoint to the asceticism of the images. An astounding and important video from an artist most well known for her film work, it is gratifying to see that she has maintained the high level of delicacy in this (new to her) video medium."--Henry Trial, 2008

About this Project

dwarfs the sea stephanie barber 2007 dv 7 min
small biographies and musing generalizations--men’s relations to each other and their lives. there is hope and loneliness, companionship and isolation and the simplest of filmic elements to contrast the complexity of human emotions. the delicacy of the formalist writing moves the listener from intimacy to universalism and back again, swaying gently to and fro like the rocking of a ship.

About this Project

a short 16mm film for those who find listing and repetition romantic. all letters and floral mittens suspend time to draw hope from the shallowest puddles.
a near perfect structure. three acts, an auditory red herring, classic love story and vast need.
made in 1996 this film has screened at the paris cinematheque, the anthology film archives, the san francisco international film festival and many other museums and galleries.

About this Project

16mm 2000, 15min.
a mini revolution. wrong choices. the divorce of ethereal beauty and mystery so common in experimental films, in my films. what begins as devastatingly awkward or 'tender' unfolds itself to show a deceptive, strangely rigid literary formalism commented upon by the content. the two dance around (form and content) moving towards and away from each other in the tricky, clear dialogue. hyper-reflexivity, art and love--and the role faith plays in each of these. i myself feel safest around purposefulness, can read more clearly an artists work when i trust that choices have been weighed, bear meaning. this film requires a great deal of faith, because it is strange and labile. its device-ness is so apparent as to have left it naked, and then so naked as to be, perhaps, closed again (so that it is possible i have lied about the divorce).

About this Project

16mm 1997 7 min.
this film brings found photographs and letters to create new mini narratives. death and disease are set blithely beside, and given equal importance as, the sighting of a skunk or love sick scribblings.

"letters, notes was neither too long nor too knowing and produced the most profound occasion of un remembrance on my part. Too busy trying to figure out what it all meant, I neglected to note down the words passing across the screen or what was beneath them, but I can tell you I was strangely moved, and I desire to see it once more just so I can again become so wrapped up that I forget to remember." --jeff lambert, senses of cinema

About this Project

16mm 1997 10 min.
this film is thinking about colonialism, entertainment and love. the images are taken mostly on disneyworld rides where one is shown facsimiles of people from far away lands. The sound track a little more than half way through ceases its cricketing and, against impressionistic waterfalls, mentions love ("they have love here") which must then be thought of in the context of this same wonder, possession and amusement. the film ends with a series of flights.

About this Project

16mm, 2005 12 minutes
catalog is a composition of stillness—inversion of the spectacle-–actors are posed
recreating various photographs in surroundings unfrozen. The sound track is a labile and dense tale of spaces, royalty and a photograph more mutable than an image should be.

About this Project

shipfilm 1998 16mm 3 min.
this is probably the most heartbreaking film i have made, the pacing is romantic and simple, haiku-esque pauses and inclusions, with the words contrasting this poetry with their factual, disinterested narration. and that narration is a simple statement of failure, one which lies, not in any action, but in the pre-thought to that action, the hope or faith one holds in oneself, one's knowledge or abilities.