"Ever on the lookout for learning opportunities, Reinke envisions an art institute where you don’t have to make anything, and with a library full of books glued together. All the information’s there—you just don’t have to bother reading it!"

This video highlights several narratives concerning video surveillance—not to reiterate the conventional privacy argument but rather to engage the desire to watch surveillance materials and society’s insatiable voyeurism.

There are approximately 30,000 Filipino guest workers living within the State of Israel. The majority are female and work as caregivers for the elderly or sick.

As a foulness shall ye know Them. Their hand is at your throats, yet ye see Them not; and Their habitation is even one with your guarded threshold. The wind gibbers with Their voices, and the earth mutters with Their consciousness.

Part of the Long Beach Museum of Art’s Collectors of the Seventies series, this tape enters the home and art collection of Dorothy and Herbert Vogel.

This archival film remixes the systemic violence and power throughout the 1984 National Day Parade, the 1989 Tiananmen Square Protests, and the 2014 Umbrella Movement. 

Wind imagines a dying child, a common event until recently and still so in many parts of the world today.

Mother’s Day in Mexico is considered one of the most important family holidays of the year. Thousands of mothers have nothing to celebrate. They are the mothers of victims of forced disappearances.

Sitting at an altar decorated with a kitsch collection of cultural fetish items, and wearing a border patrolman’s jacket decorated with buttons, bananas, beads, and shells, Gómez-Peña delivers a sly and bitter indictment of U.S.

Big_Sleep™ explores problems in our archival urges. Via a single-channel desktop screencast, informatic elements ebb and flow—creating and relating interface absences.

A military installation is beset by unidentified flying objects while the personnel try to come to grips with their own mysterious yearnings and the cumbersome protuberances that protrude from their own species.

An experimental video on national insecurities.

Berlin-based Danish artist Olafur Eliasson complicates and simulates perception through his installations, sculptures, and photographs.

"Weeks before the 2006 midterm elections in the U.S., Venezuelan President Hugo Chávez came to the United Nations and blew everyone's minds with his "smells of sulfur" speech about Bush.

Tapping into cable because of his lousy reception, Mike gets more than he bargained for as he unwittingly becomes trapped in the medium—the “star” of his own cable TV show.

A house covered with beer cans, a tribute to the orange; Eyeopeners features seven Houston, Texas, folk art environments, eye-opening creations that are monuments to the wonders of ingenuity and imagina

"Harun Farocki was commissioned by the Lille Museum of Modern Art to produce a video about his work. His creation was an installation for two screens that was presented within the scope of the 1995 exhibition The World of Photography.

Riffing on relations between grief, love, bodies, and embodiment, this short film features two former professional Ringling Bros. and Barnum & Bailey Circus clowns.

Duet for Tap and Galoshes is a visual restructuring of a real time tap performance, presented in two parts.

Ascensor is an exploration of grief, longing and mysticism through a queer lens. It documents a syncretic ritual that culls from the magical reverberations in Mexican culture to process the unexpected loss of a dear friend.

In Two-Spirits Speak Out, Brenda and Glennda interview members of We'Wah and Bar-Chee-Ampe, one of the first Two-Spirit Native American organizations in New York.

Blood and Guts in High School features actress Stephanie Vella in a series of video installations* that re-imagine punk-feminist icon Kathy Acker's book of the same title.

Re-mastered in 2005, Reel 2 features a series of demonstrations and durational tests: how to protect oneself from germs; how to turn a roll call into a role play; and an excruciating exercise in desire, as Man Ray attempts to get his just rewar

Modeling Paranodal Space is part three of Zach Blas's Contra-Internet Inversion Practice series.

Since his early days in Ant Farm, Lord’s evocation of the automobile has been the car as avatar, as the spirit of America—that consummate combination of superior organized corporate technology and the pioneering triumph of the willful individual driver.

The commodification of the American presidency is examined and lampooned in Presidents and Elections, a compilation of work from the Video Data Bank collection.

This humorous selection of performance-oriented videos maps a trajectory between consumer society and psychoanalytic confession. HalfLifers perform two rescue missions using colored snack food and everyday objects as means towards transcendence.

Everglades is a project Levy began while a resident artist in Florida's Everglades National Park.

Take a joyride through comfortable suburbia—a landscape molded by seductive television and corporate America (and keep in mind: disaster is another logo for your consumption...).

"A cinematic doppelganger without precedent, Elisabeth Subrin’s Shulie

A collection of love tapes made at the Metropolitan Correctional Center, a federal prison in New York City. The videos are part of Wendy Clarke's ongoing project, Love Tapes.

Last Man is made of the raw footage of security cameras that stream online.

An eloquent personal narrative about the meaning of childhood and the use of children as political tools—specifically by “Right-to-Lifers” participating in the blockades of abortion clinics.

Home is about disappointment in northern Ohio. The scoreboard depicted is on the grounds of Mansfield Senior High. The sentiment conjures the close call.

In Chicken on Foot, Sobell bounces a chicken carcass as one would a child, periodically crushing eggs (fetal chickens) on her knee.

As one of the early media collectives, Raindance Corporation celebrated an eclectic use of the portapak by taping everything from man-in-the-street interviews to concerts and demonstrations.

Performing artist Neil Bartlett plays a gay lecturer whose attempt to go back into the closet is betrayed by the contents of his briefcase.

This work opens with rich, color-saturated images of Saint Lucia, where the film was shot and the birthplace of Julien's parents. A scene of violence interrupts this setting, and the piece suddenly moves to the dark, gray, dismal world of London.

This compilation is a fresh, witty, and compelling addition to video’s rich legacy of media deconstruction.

Morel's Yellow Pages focuses on secretive and destructive actions and image making. The title references The Invention of Morel (1940), Adolfo Bioy Casares’s science fiction novel, which informs the work.

The 1949 Housing Act, often seen as the beginning of urban renewal, reshaped the landscapes of many American cities.

Illustrating the modern woman’s mantra “I shop therefore I am", Barbara Latham’s Consuming Passions examines the passion for sweets as a replacement for a sense of security and a source of erotic satisfaction.

“Living in Los Angeles is like being on vacation, or in a coma. I don’t really like it, but it’s so pleasant I don’t want to leave. I’ve only had one idea since I’ve been here and that was to video a cake in the rain in MacArthur Park.

This time, the call of the west sends me packing to Oregon, California and Arizona. You too can experience the dizzy delights of a whirlwind tour and witness wonders seen through the savage eye of a Sony camcorder.

During her graduate studies at Hunter College, Alice Aycock (b. 1946) began to forge links between personal and more inclusive subject matter and form. In her quest for contemporary monuments, Aycock wrote her Master’s thesis on U.S. highway systems.

Benning illustrates a lustful encounter with a “bad girl,” through the gender posturing and genre interplay of Hollywood stereotypes: posing for the camera as the rebel, the platinum blonde, the gangster, the '50s crooner, and the heavy-lidded vamp.

In this interview, American filmmaker, teacher, and video artist Peggy Ahwesh (b.1954) delves into the key figures and primary texts that have inspired her work in Super-8 and video since the 1970s.  She discusses her early influences as a member of the underground art scenes in Pittsburgh in the late 70s and Soho’s Kitchen in the 80s. Ahwesh’s experimental hand-processing and controversial subject matter can be traced to feminist theory, and her exposure to underground experimental films, including works by Werner Herzog, George Amaro, Kenneth Anger, Jack Smith and her teacher at Antioch College, Tony Conrad.

A performer lip-synchs to archival audio featuring the voice of author and anthropologist Zora Neale Hurston as she describes her method of documenting African American folk songs in Florida.

A rising moon and lowering standards in secular shenanigans highlight this documentary on the making of a sci-fi epic for mini-adults.

A single-shot, choreographed portrait of the Foley* process, revealing multiple layers of fabrication and imposition. The circular camera path moves inside and back out of a Foley stage in Burbank, California.