Freed intercuts still color imagery of Roy Lichtenstein’s paintings with a close quarters interview conducted in Southampton, N.Y in Summer 1972.  Lichtenstein discusses the creation of his work, points of inspiration and his recurring aesthetic ch

In an upmarket house surrounded by an idyllic garden, there is no trace of human presence, even though a family obviously lives there. Voices, sounds and superimposed text create a feeling of disquiet whose origin continually escapes us.

Indians In Brazil is an educational series for Brazilian public schools that invites students to experience cultural diversity.

Found-footage video that addresses American racism and the violence that it spawns. 

Fences Make Senses re-stages and interrogates international barriers and borders using the bodies of non-refugees.

“Ursonate 1986 is the result of a transference process which utilizes computer and video technology to transport a 1932 phonetic poem, Ursonate, by the German artist Kurt Schwitters into a contemporary context.

In this 2002 interview, filmmaker Joe Gibbons (b.1953) discusses his early work and the path that led him to an interest in both narrative and experimental film. Gibbons recalls how exposure to P.

Partially Buried Continued is a meditation on ways in which one’s associations to history, location, and genealogy become tangled in a subjective web which makes it complicated to separate history from fiction.

This is a gaze of the body and a notion of spectator that the 90´s decade constructed, this is the audiovisual legacy of the 90's for our actual audiovisual control world.

A brief trip to the Miami '09 art festival was the moving (or swimming) force to instigate this travelogue. There are some bathing sequences sprinkled about and lots of munching going on in this latest addition to my Christmas video series.

Louise Bourgeois (1911–2010) utilized wood, metal, plaster, and bronze in creating her sculptures.

An artist looses faith in the world his brush depicts...

In this interview, Indian artist Shuddhabrata Sengupta (b. 1968) discusses his role in the initiation of the Raqs Media Collective, a Delhi-based artist collective, active since the 1990s. At the time of this interview, Raqs had been creating documentaries, art installations, and educational programs for eighteen years. Sengupta likens the driving force of Raqs to that of a game of catch, a process generated by a back-and-forth dialogue mobilized through writing and in-person meetings. As children of the late sixties, Sengupta explains how and why the members of Raqs, (himself, Jeebesh Bagchi and Monica Narula) share an interest in investigating mass communication, technologies of visibility, and the significance of memory and travel. It is also for this reason, Sengjupta explains, that the Collective’s work is committed to fostering rigorous research in addition to art-making endeavors.

This early Videofreex production exemplifies the type of imaginative approach that the collective adopted when exploring the medium of video, and how, in many ways, this balance of play and experimentation defined and unified the group's work from the v

Bee Film is a collaboration between filmmaker Cathy Lee Crane and composer Beth Custer that explores the life of bees in Hilo, Hawaii and their human caretakers who are working to preserve an endangered species. 

U & I dOt cOm is an experimental narrative/documentary hybrid about Zoey, a teenage girl who negotiates her identity in cyberspace. Dreaming about the perfect true love, she secretly navigates 3-D worlds to find romance.

Meditation is from Martine Syms’ Kita’s World series. Kita enacts the performances of everyday life in a hyper-digitized world.

A familiar landscape comprised of big box stores and parking lots proves a rich site for longing, intimacy, and radical change. Celebrities are observed in this environment and are reduced to ordinary beings in the process.

Documentarian and independent film producer Warrington Hudlin co-founded the Black Filmmaker Foundation in the late-1970s to help develop and promote emerging artists.

Ice falls from the sky as tears plip-plop onto wall-to-wall carpeting. No degree of renovation can enliven the dead that we mourn in our hearts as the storm of the centuries assails our heads with memories of the passing parade that got rained on.

John Smith’s Flag Mountain records a vast flag, the insignia of the Turkish Republic of Northern Cyprus, painted onto the side of the Kyrenia mountains overlooking Nicosia, the divided capital of the former island nation.

In a tape that stands out as one of the earliest examples of the use of appropriated television footage, Freed assembles a collage of images representing American media icons, from Mickey Mouse and Richard Nixon, to The Wizard of Oz and the Rol

The magic life of the objects reanimate the ancestrality of the aesthetic of dream.

A volume of illustrated horrors arrives to stimulate the chatter of those who behold its weighty extravagance.

In this interview with Carl Bogner, Sky Hopinka (b.

five more minutes is an exploration of grief. Two women spend an afternoon recreating lost time. What begins as play-acting breaks open into a world where the tenderness and sorrow of having to say goodbye exist untempered.

“I am a mannish / Muff-diving / Size queen / With bad attitude / An arse-licking / Psychofag / Molesting the flies of privacy / Balling lesbian boys / A perverted heterodemon / Crossing purpose with death / I am a cock-sucking / Straight-acting / Lesbia

Strapped for time due to her busy schedule of personal appearances, Anderson creates a rather clumsy looking clone to take over and keep up her artistic production.

On December 8, 1984, Linda Montano began a 7-year performance titled 7 Years of Living Art, based on the seven Hindu chakras, and performed public and private vows and tests of personal endurance.

Resisting the regime of the counter-shot, this experimental short fiction film follows the story of Alex on the eve of Le Pen’s defeat in the 2002 French presidential election.

Conceptual artist Hans Haacke’s two most notorious works took unsavory Manhattan real-estate dealing as their subject, which triggered the cancellation of his exhibition Real Time Social System at the Guggenheim Museum in 1971.

This is an edited excerpt of Eiko and Iris McCloughan's experiment working over Zoom on May 5, 2020 as a part of Eiko's Virtual Creative Residency hosted by Wesleyan University. 

"Combining the comical with the absurd, I created six funny faces to animate the images of Japanese vowels while differentiating between 'image', 'letter', and 'voice'."

— Takahiko iimura

I could not remember anything about my childhood before the age of twelve. I made a decision to remember.

This tape is, in effect, a ready-made. Produced by the Pepsi Cola Company for its own use, it was accidentally substituted for one of my tapes in 1974.

Through poetic juxtaposition of the virtual landscape of the phone, the calm landscape of the cabin, and the chaotic landscape of memory, 1991 paints a cruel image of the horror of war and separation.

Transit journeys through the East End of London, quietly observing the shifting architectural and social landscape.

Two performers, Acconci and a young woman, occupy two wooden boxes in separate rooms, connected via monitor, camera, and microphone.

Welcome to David Wojnarowicz Week is the follow up to A Boy Needs a Friend. Reinke proposes a new holiday with the motto MORE RAGE LESS DISGUST: David Wojnarowicz Week and takes us through his seven days of celebration.

John Tagg is a writer, educator, and a leading contributor to the development of art-historical and photographic theory, focusing on political analysis of institutionalized culture and interventions within it.

The city of San Francisco is awash with talent and some fine eating places too. In this seaport escapade the viewer is detoured by the smell of lamb chops and the sound of loose tongues vibrating with vitality.

Dorothy doesn't reach her dream of the Emerald City. Rather, she will have already been over the rainbow by the time she arrives at the worst corner in Kansas.

“The syntactic structure and lateral movement of Arcade match its fairground equivalent.

The orchestra begins and a male and female dancer move from opposite sides of the stage. The dancers embrace and begin the White Swan pas de deux from the ballet Swan Lake. However this is not the ballet as it is normally performed.

The unusual combination of a sound like a singing saw accompanies sweet images of frolicking lambs in the meadow, galloping horses, and a strange boy, is eerily beautiful and pure.

I worked on Trio A alone for six months in 1965. The dance consisted initially of a 5-minute sequence of movement that would eventually be presented as The Mind is a Muscle, Part I at Judson Church on January 10, 1966.

It is a tribute of hyperkinetic colors to the Chilean poet Vicente Huidobro in times of pandemic vortex and post-Cubist quarantine. This is Altazor's color drop. Part of the Harmonic and Hyperkinetic Color Film Series.

A series of intimate video-8 vignettes depicting the fierce love between Malverna and Sandi, 88 and 22, grandmother and grandson. The two playmates dress up drag-esque for this moving portrait of a woman’s lifetime struggle with gender and sexuality.

Skim Milk & Soft Wax explores Jewish identity from the point of view of the American filmmaker, who was raised to believe that Israel is the "land of milk and honey".

As a well-known painter and collagist, teacher at the School of the Art Institute of Chicago and mentor to the Chicago Imagists, Ray Yoshida (1930-2009) had far reaching influence. In this interview, Yoshida offers a tour of his home, showing us the unique dolls, masks, trinkets and tattoo art from which he drew inspiration. Describing his own stylistic progression from the late 1950s to the early 1970s, Yoshida also talks about the collage aesthetic and persistence of visual complication in the Chicago Imagist style, demonstrating its various permutations by showing off his collection of works by former students at SAIC. A lover of curiosities, Yoshida also describes discussions he had with Chicago artist Roger Brown about opening a museum for their vast collections of oddities.

— Kyle Riley