Filmed in June 1998 at the Whitney Museum of American Art and produced by the New York Public Library for the Performing Arts/Dance Collection. Breath is a creative archive project of Eiko & Koma’s living installation of the same

"Superimposing the stories of two women—the filmmaker’s late grandmother and the amateur filmmaker Joan Thurber Baldwin—Home When You Return explores the psychogeographies of mourning through a variety of

"The Camel with Window Memory piece was made one weekend in the early '80's. I pulled out my post card collection and began to look at specific postcards run through the new digital video buffer I had built together with David Jones.

In this futuristic computer-animated landscape, confused relationships between objects and people play out before the backdrop of a lush garden and interactive theatre known as the Big Ghost.

A video recording of electronic oscillators producing colors, shapes, and sounds while patched through a computer and/or producing one or several feedback loops.

“The second in a planned trilogy of films about desire and domesticity that began with Strangely Ordinary This Devotion (2017), Come Coyote examines issues around queer reproduction, intimacy, and motherhood.

Taking aim at the social standardization enforced particularly on women's bodies, Rosler critiques the politics of "objective" or scientific evaluation that result in the depersonalization, objectification, and colonization of women and Others.

This is actually a rather warm, Xmas greeting which features some thawed items in full action as the Yuletide logs flicker and forks plunge earthward toward smoking piles of nourishment.

This is a re-destroyed film that I was unable to finish in 2013. Filmed both in ruins: at the Sutro Baths in San Francisco and in final domestic spaces occupied with a former partner. Film was destroyed in ocean water.

I was drawn to the early cave paintings of Lascaux and Altamira for as long as I can remember. One day looking thru some reproductions in an art history book with portable video camera in hand I recorded a still of a Lascaux bull.

Through the deployment of various structural strategies, the narrative logic of three problematic and influential films is transformed into a sensuous hallucinatory unveiling of repressed representations in historical dramas of the U.S.’s critical perio

The New York City summer is fueled by the sultry emanations of hot air that tumble off the tongues of potential thespians as they attempt to decipher the gastric guesswork embedded in the prose of the pre-production process.

Part of the paraconsistent sequence series.

In this 2014 interview, South African artist Kendell Geers (b. 1968) discusses the function of magic, myth, and memory in his work. Beginning at childhood, Geers charts the path he has taken in his understanding of his own biography as a site of resistance. This interest in the use of personal biography culminated in 1993 with his decision to change his date of birth to May 1968 as a way to reference both the May 1968 student protests, and the fact that 1993 was the first year that South Africa had participated in the Venice Biennale since 1968.

In this satirical video the Yonemotos deconstruct the myth of Oedipus within the framework of the myth of Kappa: a malevolent and hedonistic Shinto god of fresh water, whose prankish harassment of young maidens includes hiding beneath outhouses to pinch

On the narrow stairway that exits Paul Kos’s Tunnel\Chapel, where his 27-channel Chartres Bleu installation is housed, Kos writes with both hands on opposite walls, recording the narrative of Noah’s Ark.

Over grainy, black and white images of a woman giving birth, Montano reads the story of a nun’s sexual self-discovery—recounting Sister Joan’s growing awareness of her body’s sensuousness and sexuality.

The Political Advertisement project began in 1984, when New York-based media artists Muntadas and Reese produced their first compilation of American presidential commercials, beginning with Eisenhower in the 1950s.

"The video Emission found its origin in three performances which I wrote between 1988 and 1991. In their original form, the performances dealt with sex, romance, and communication technologies.

Budlong Memorial Middle School is heating up.

As profecias da Orixá Oxum (The Prophecies of the Waterfall Spirit Oxum) was filmed at Iguaçu Falls, Brazil/Argentina, and is intended for viewing in Virtual Reality.

Skip Sweeney was an early and proficient experimenter with video feedback. A feedback loop is produced by pointing a camera at the monitor to which it is cabled.

Susan Mogul's first video diary work, produced two years before Everyday Echo Street: A Summer Diary (1993), follows the arti

DIRECTOR’S STATEMENT/SUMMARY: This film centers around one performance, when Holland-based musicians, The Ex, visited New York to play a concert.

Our Non-Understanding of Everything is a series of 16 videos that explore how the structures of architecture, semiconductors, and circuits become forms of expression refl

Inspired by a riff on a popular joke “Everybody wanna be a black woman but nobody wanna be a black woman,” Notes On Gesture is a video comparing authentic and dramatic gestures.

Depicting a sailing party gone wrong, McCarthy questions the effects that violence and mutilation, both real and simulated, have on the viewer in contemporary culture.

You Are What You Are Born For features three blind sisters who sing for their survival on the streets of Campina Grande, Brazil.

A collection of videos made at Miami-Dade Community College Mitchell Wolfson New World Center as part of Miami Waves Film Festival. The videos are part of Wendy Clarke's ongoing project, Love Tapes.

A cactus-strewn desert becomes the backdrop for this series of filmic stopovers that focuses on the living quarters assigned the assignee of this adventurous arrangement.

Using footage from mainstream British and Hollywood films, and excerpts from a poem by Shani Mootoo, this video explores the impact of cultural imperialism and the erasure of language—residual tools of oppression on members of post-colonial societies.

Audrey Flack uses an airbrush to produce large photorealistic paintings and works from slides for her precision. She selects subjects with great personal significance that also represent fragments of contemporary American life.

Relying on the magic echo found in an old power Station in Norway, the artist whistles and marches to the Internationale, a May Day workers’ song.

"The title (Black Sun) is as evocative of solar eclipse as it is of the 'dark spleen' which doctors, all through Antiquity, used to attribute to melancholic and suicidal drives, especially as they affected artists.

As two heavily made-up women take turns directing each other and submitting to each other's kisses and caresses, it becomes increasingly obvious that the camera is their main point of focus.

Holzer adopts the form and language of commercial messages to disrupt communication, presenting kamikaze texts that are designed to stimulate thought, with humor, and inspire a critical attitude in an often passive audience.

“It is curious that in the most important periods of one’s life, one never keeps a diary. There are some things that even a habitual diary-keeper shrinks from putting down in words—at the time, at least.

This is an agitprop piece on resistance from the autonomy and indigenous sovereignty that hold in his own name, in his own letters, in his own sparks and embers of letters.

Painter and multi-media artist Jack Goldstein lived and worked in New York City. His airbrushed paintings of lightning and night skies are shown here accompanied by synthetic music, which the artist also composed.

Based on a Story explores the widely-publicized encounter between a Jewish Cantor, Michael Weisser, and Nebraska's former Ku Klux Klan Grand Dragon, Larry Trapp.

Une Ville de l'Avenir uses the lens of Alphaville to look at the City of the Future that we live in today. The modernism of La Defense in Paris is the setting for this chilling revisiting.

In Manpower, a bulldozer, a screaming man and a crying baby are among the images that Tanaka combines with a suggestive soundtrack to create an eerie portrait of male strength and weakness.

In the beginning was the weave, and the transmission of its workings, a curse of mortality—so ends Quantum Creole with the fabulous words of the Papel weaver, Zé Interpretador.

In Wigstock ’94, Glennda and her friend Bobra attend Lady Bunny’s Wigstock festival. Following the event’s move from the East to the West Village, they explore the changing dynamics and configurations of queer culture in New York.

the suggestive nature of word fragments, sentence fragments, story fragments, war. 

The seemingly groundless debate as to whether a river is "riley" or "roily" can be interpreted as an example of language's descriptive failure.

A combination birthday/going away party proceeds at its own shallow pace, while revellers reminisce inwardly amid a paralyzing atmosphere of mixed drinks and emotions that choke all but the young at heart and body.

In this episode of the Whispering Pines series, Moulton's character Cynthia is confronted with a distorted mirror image that slips between the grotesque and the exotic, depending on her posture.

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.

A portrait of influential Dutch musician and composer Louis Andriessen, as he talks about composing a new work. Andriessen draws inspiration from the life of Dutch painter Piet Mondrian and his love for ballroom dancing.