This structurally simple video, shot through Benglis's apartment window, contains a, "distinct disjuncture between the visual and aural components of the work.

Benglis uses the video format as a metaphor for other types of limiting conditions or limited realities.

Two years after the riots and deaths at Attica, New York, a community day was organized at Greenhaven, a federal prison in Connecticut.

In her oft-cited essay “Video: The Aesthetics of Narcissism,” Rosalind Krauss says, “self-encapsulation — taking the body or psyche as its own surround — is everywhere to be found in the corpus of…

Black and White Tapes derive from a series of performances Paul McCarthy undertook in his Los Angeles studio from 1970 to 1975.

In 1973, Dan Sandin designed and built a comprehensive video instrument for artists, the Image Processor (IP), a modular, patch programmable, analog computer optimized for the manipulation of gray…

The frame is filled with two concentric magnifying lenses, one larger than the other. Behind them is a mirror. The mirror turns and reflects the landscape around it.

Over a montage of family photographs, Freed’s narration questions the consistency of memory and self over time, with Freed displaying a quizzical and sometimes hostile relation to her past.

An experiment in "video cubism." Two rows of three cylindrical water glasses are lined up to fit the frame of the monitor.

There has to be a way to win is the refrain. Three women fold clothes, stroll and shop as they discuss jealousy, murder and dead bodies. An enquiry into the generosity of women.

There has to be a way to win is the refrain. Three women fold clothes, stroll and shop as they discuss jealousy, murder and dead bodies. An enquiry into the generosity of women.

Perceptual concerns predominate in my videoworks.