"If there's something big, big that you want to reach for, you begin by dreaming." —Ivonne and Ivette

In Islands, Fung deconstructs the 1956 John Huston film Heaven Knows Mr. Allison to comment on the Caribbean’s relationship to the cinematic image.

Moving Stories strings together scenes of passenger aircraft in flight.  In this short study of the dramatic and narrative power of image and sound, Provost manipulates cinema language and reaches, though minimal means, a strong, emotionally loaded result.  With a limited number of images, an absorbing soundtrack, and a suggestive story line, the viewer's imagination is stimulated to the maximum.

A dissemination of suspended bodies in the liminal space.

Made from silent black and white tube camera footage of the artist taken by her father in the early 70s, this series of loops—through the examination of particular moments and gestures— is evocative for what it reveals and conceals about their relations

One of my weather diary series out in Oklahoma. The tone is wistful, the surroundings wispy (with some puffs of pungency). The TV is on and the porcelain is smeared with some residue atrocity from a previous passion.

Originally presented as a live performance piece using actors, multiple monitors, and music, Modern Times is a consolidation of seven short chapters in the life of a modern woman.

Filming is alchemy; preserving, seeing, devouring, cutting. Chopping the flow of images with a push of a button. It privileges a solitary unseen protagonist, choosing this over that and then that, it eats anything, not everything,

Playing off the notion of “interactivity”, Utopia poses itself as a video game plugged into the social consciousness of contemporary California.

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.

This is a tape which analyzes its own discourse and processes as it is being formulated. The language of Boomerang, and the relation between the description and what is being described, is not arbitrary.

Guided expertly by those who live on the land and driven by the pulse of the natural world, Mobilize takes us on an exhilarating journey from the far north to the urban south.

Using footage from the legendary Bruce Lee’s last, unfinished, film, Fulbeck turns the subtitled martial arts movie on itself—levelling criticism and commentary with the genre's own tools, and examining the various representative functions of the late a

Shot in Lebanon, Syria and Jordan, this essay uses transportation, video, and photography to examine images circulating in a historically charged, and presently war-torn and divided, Middle East.

Do Not Circulate, an experimental short film, attempts a structuralist and materialist approach to unraveling the entrails of a collective media memory.

1+8 is a film about Turkey’s unique position between West and East and her relationship to her eight very distinct and diverse neighbors.

Felipe Ehrenberg is a prominent Mexican artist who has been actively producing interactive political art, installations, and murals for more than 30 years.

These three videos from Cecilia Dougherty deal with particular states of mind: that of a participant in a symbiotic relationship, the melancholy felt at the end of a romantic union, and the solitary non-space created by a regular commute.

The sun pretty much shines throughout this romp back East as waves crash against a land of plenty while the residents bathe in its nutritional offshoots.

Decidedly low-tech, this optical abstraction begins with a shot of an aluminum reflector inside a lamp; a lightbulb in the shot’s center flicks on and off.

Earthglow is a poem written for the character generator and switcher that conveys a writer's internal dialogue through both subtle and dramatic color changes and through movement, size, and placement of words. The ambient soundtrack evokes the confluence of past and present perceptions.

These are the ghosts of a haunted civilization, a culture of progress that hides the social and political horror behind the Olympic Games. These are the haunted figures in the Capitalocene era. A sinister dance of macabre abstraction.

In 1995 when TJ Cuthand was 16 they felt like the only lesbian at their Saskatoon high school.

Dykes and trans guys take over the Jackhammer for a punk show.

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.

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.

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

Capitalizing on the visual aspect of musical performance, Quad Suite explores the essential link between the image of music and its sound.

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

The second in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed here—Jolene Rickard, Robbie McCauley, Judy Baca, and May Sun—discuss their work and its cultural contexts. Moderated by Lucy Lippard.

In this work, Alfred Hitchcock's 128-minute film Vertigo (1958) has been condensed at the rate of one frame every two seconds.

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.

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.

Set in the industrial suburbs of Beirut, Majnounak (Crazy of You) explores male sexuality through interviews with three men who are asked to recount very openly the beginning, middle, and end of a sexual relationship they have experienced.

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.

On a gradually inclined plane, attempts are made to scale the rise, and rubber shoe marks leave evidence of the point where all of humanity fails.

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

Cats meow and claw at exits beyond the reach of those who suffer within the walls of their own litter boxes.

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.

Forti uses the camera as a research tool to record the movements of three grizzly bears pacing anxiously behind the bars of their cage in the Brooklyn Zoo. The collected visual information becomes part of the basis for Forti's movements in Solo No.

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. 

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

In this video the artist states that a public work demonstrates what qualifies as art within his conception. Like Beached, it was also shot in a marshy area near the sea and in sequences separated by dissolves.

The fourth video of the installation Touch Parade, which as a whole explores “plastic love” or fetish culture and the assimilation of marginalized sexuality on t

Actor Richard Marcus speaks directly and intimately to the viewer, relating a tale of personal loss, and then changing the subject to baseball. The video is about amateur vs. professional, personal vs. public space, and loyalty and self-confidence.

A Body in a Cemetery is a 15-min short film that documents a place-inspired solo performance by dancer/choreographer Eiko Otake in Green-Wood Cemetery, the U.S.’s second oldest cemetery in Brooklyn that holds 570,000 "permanent residents." Pres

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.

50 doves fly out of a window, one by one. Some escape in a rush, some take their time and seem to be hesitating. The Dove symbolizes new hope and new beginnings after a disaster, as in the biblical story of the flood.

“[This tape] gives a clear picture of the consistency of Jonas’s concerns. The performance was based upon the merging of two fairy tales — The Frog Prince told backward and The Boy Who Went Out To Learn Fear told forward.

The perception of machines' movement within industrial work.