Gallup, New Mexico, in the American Southwest, has hosted the Inter-Tribal Indian Ceremonial annually since 1922.

Sarah Canright graduated from the School of the Art Institute of Chicago and began showing with the Chicago Imagists in the late 1960’s. In 1972 she moved to New York.

The final film in Friedland’s Movement Exercises trilogy, Trust Exercises is a hybrid experimental dance film which explores the tension between the poetics of group movement and its instrumenta

Wojtasik's Nine Gates explores the possibility of transcendence through sexual passion: averting the gaze from the objectification of the other, the female body or the obscure enemy, to the vast and microscopic details of the body unknown to th

Named after Harry Smith's seminal "Anthology of American Folk Music,” Anthology of American Folk Song re-inscribes the optimistically paranoid mythological landscape of contemporary America.

Ice is fashioned into a magnifying lens and it is used to start a fire. Created in 1974 and restaged 2004.

A minimal, suggestive narrative about a summer trip to the Jersey Shore, fictionalized by subtraction.

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

The inverted camera catches Nauman standing at the end of the room, slowly spinning around on one foot, first head down in one direction, then head up in the other direction.

The Diaspora Suite

German curator Ute Eskildsen (b. 1947) was born in Itzehoe (Schleswig-Holstein).

This is the second part of the hyperkinetic still life. This triptych is part of the Hyperkinetic and Hauntology film series.

A stark and simple drama of man versus TV. "Pixelhead is an exploration of my love-hate relationship with the television medium in the form of an exaggerated, tragi-comic, semi-autobiography." —Bryan Boyce

Phalloi Phaerie emerges from the wood. Forest nymphs with carnivorous flowers begin their mating rituals in a playful, polymorphously perverse return to arcadia.

Joan Logue cuts down considerably Andy Warhol’s projection of fifteen minutes of fame, with this compilation of 30-Second Spots.

A performance by A.K. Burns and Ulrike Müller.

The title is also available on A.K. Burns: Early Videoworks. 

April 26, 1976. San Francisco. Doug Hall and Jody Procter of T.R.

The small cruelties of a subliminal fog roll in.  A pandemic thwarts intimacy. Perched from their little planets, this cast of wildly colorful creatures question their futures and navigate the longing for connection.

Radio reports analyze staged photographs we do not see, showing the victims of a mass murder committed by Mexican soldiers.

When everyone has forgotten the romantic refrains of the Internationale sung in different languages, Pablito, a blue front Amazon parrot, capable of living to 100 years old, will remember.

Appropriated network-TV footage of Jimmy Carter’s "I see risk" speech from the 1980 Democratic Convention meets Reagan’s gloomy inaugural ride through D.C.: "If you succumb to a dream world, you’ll wake up to a nightmare."

An experiment in "video cubism." Two rows of three cylindrical water glasses are lined up to fit the frame of the monitor. The glasses disappear, then reappear; the action of placing them on the table is never seen.

In Dani Leventhal's video, 17 New Dam Rd., we are invited along on a house visit with a familial group. There's trash in the garden, guns on the sofa, and marshall arts in the living room.

George Kuchar just received a tape of himself on the Dog and His Friends from the Dog House television show, but he must first track down a VHS player to watch it.

Medicine Bundle is about a bundle that was used in my family to heal my Great Great Grandfather from a smallpox epidemic and a life threatening wound from a gatling gun used against him during the Battle Of Cutknife Hill in 1885.

High Five usually comes across as absurd and silly, and generally gets a laugh when shown. I appreciate this response and agree it is quite ridiculous on the surface.

In this interview American filmmaker, poet, and lyricist, Cecelia Condit gives shape to the contours of her work process. The artist describes the influence of her relationship with her mother, her long-term investment in the macabre, and her ongoing desire to confront death through art. While covering a broad range of topics, Condit’s discussion of her work and interests returns to several defining themes: aging, grotesqueness, and the notion of movement, both in terms of her own past as a dancer and the notion of the body in decay. With a particular emphasis on the production and context of her videos, Annie Lloyd (2008), and All About a Girl (2004), this interview offers insight into the artist’s fascination with aging, sweetness, and storytelling, while also articulating her joyful sense of discovery within the art-making process. No longer working with scripts, Condit presents herself in the interview as a scavenger–much like the crows she incorporates into her work–assembling videos which straddle the line between strange and silly. – Faye Gleisser

Mike Builds a Shelter is a performance comedy with apocalyptic overtones, a narrative extension of Smith's installation Government Approved Home Fallout Shelter/Snack Bar.

Using the opening of Godard's film Alphaville as a foundation, Lord constructs a vision of the evolving global city during the last years of the 20th Century.

Lucy Lippard (b. 1937) earned degrees from Smith College and New York University before beginning her career as an art critic in 1962, when she began contributing to publications such as Art International and, later, Artforum.

Part of the paraconsistent sequence series.

Linda Montano is interviewed by Janet Dees, Curator at the Mary and Leigh Block Museum, Northwestern University.

A.R.M. Around Moscow documents particpants in A.R.M. (American-Russian Matchmaking) to explore the relationship of personal power to domestic identity, and economic and political structure.

An examination of venture capital, Nothing Ventured documents the tough negotiations that take place when entrepreneurs and bankers meet.

To the spare sounds of a Schönberg violin concerto, a silhouetted woman seated at a small tea table puts forth her reasons for wanting to become a gourmet.

There is no better place to meet people than in the temporary community which gathers under a scant awning on a New York street in a downpour.

In October 1969, the Videofreex visited the home of wealthy political and social activist, Lucy Montgomery, as she was hosting the Black Panther Party of Chicago during one of their most fraught times – the period just after Chairman Bobby Seale was wro

Naked is a "living" environmental installation created for and commissioned by the Walker Art Center in Minneapolis, where EIko & Koma were "on view" all the hours the museum was open for the month of November 2010.

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.

Lee Choon-Sop was a Korean theology student imprisoned for protesting the death of a fellow theology student. A Dedication to Lee Choon-Sop was created for an Amnesty International fund-raiser to aid a

Taste the delicious colors of "SWEET NOTHINGS" and observe the dice of desire being tossed on a gambler’s bed like yesterday’s candy.

An episode from a Lebanese TV series entitled "Image + Sound."  Each episode in this groundbreaking series is based on paralleling TV news images alongside staged even

Petrolia takes its name from the redundant oil drilling platform situated in the Cromarty Firth, Scotland.

Anthony Ramos' astute deconstruction of television news focuses on his part in the media coverage of President Jimmy Carter's 1977 declaration of amnesty for Vietnam draft evaders.

This video was originally an installation at the Whitney Museum of American Art, part of which included the video collaboration Channels of Desire.

Since the Gulf War in 1991, warfare and reporting it have become hyper-technological affairs, in which real and computer-generated images cannot be distinguished any more.

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.

The Guerilla Girls are an anonymous activist group who refer to themselves as “the conscience of the art world” and whose stated goal is to combat racism and sexism.

Anhedonia doesn't play to the back of the church. It shoots directly to the point with poetry and images that evoke controversy in one mind set and passion in another. Depression and suicide are met head on with Cuthand's honesty.

Garrin advocates the use of video as an activist and community tool and a means for people to represent themselves.