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.

A watchful dog in a confusion of reflected chairs begins and ends Cohen’s finely tuned observational portrait of London’s Essex Street, and the inhabitants who work the shops and throng the pavement there.

Edited from over seven hours of interviews with Houstonian Beverly (last name withheld), Telephone Dating: A Quest for That One Special Man is about the oftentimes frustrating s

St. Marks: New Years Eve combines political commentary with non-narrative segments that celebrate the medium of video.

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 reflecting hierarchies,

"A refreshing look at karaoke, psychedelic dance moves, and donuts all mashed together into a small and swinging film about a man who considers his private thoughts and private jokes worth sharing with a large audience.

Applying the same economy used in César's other films — one shot which uses the duration of an entire 16mm film reel — Porto 1975 is a tracking shot that unfolds at the social housing complex Cooperativa das Águas 

Impetigo is the story of passion and possession in a steamy nocturnal landscape. The title is a reference to the poem A Man All Grown Up is Supposed To, by Terry Stokes.

Coral is part of the harmonic and hyperkinetic colors film series. In this part the transcendental experience of his harmony leads us to an aesthetical suspension of content. Part of the Harmonic and Hyperkinetic Color Film Series.

Most of the moving images produced for science, industry, commerce, and medicine are seen only by specialized audiences, and are then discarded soon after they are made. Rumour Of True Things is constructed entirely from such moving image ephem

Secret number... secret shape... knower of the secret name... God of the realm of night - I summon you, 'Son of Sin'... arise!

Ron Gorchov (b. 1930) is an American artist who has been working with curved surface paintings and shaped canvases since 1967.

"In this eight-minute video work, we are given nonnarrative footage sutured together to form a fragmented, hallucinatory sensation.

Unlike other sectors of Romanian civil society who gained status after December 1989, the gay community struggled for many more years with a legal ban imposed by a conservative political class subservient to the Orthodox Church.

Perceptual concerns predominate in my videoworks.

A barricade is built inside the Main Temple of the Aztecs. Testimony of the contemporary battles against the governmental aggressions.

“For quite some time the Hamburg artist Cornelia Sollfrank has been researching female hackers and found that hacking is a field completely under male domination.

Matt Wolf returns to Joe Brainard's iconic poem I Remember (1970) in this videowork. His archival montage combines audio recordings of Brainard reading from the poem, as well as an interview with his lifelong friend and collaborator, the poet Ron Padgett. The result is an inventive biography of Joe Brainard, and an elliptical dialog about friendship, nostalgia, and the strange wonders of memory.

Joan Fontcuberta was born in Barcelona in 1955. His work has been widely exhibited internationally. Fontcuberta uses photography as a conceptual medium, often testing the limits of the image’s credibility.

Efforts to “decolonize” institutions are embodied in ritual acts of acknowledging Indigenous presence and claims to territory.

In 1992, Tran came across a New York Times article about a group of hysterically blind Cambodian women in Long Beach, California, known as the largest group of such people in the world.

George Kuchar’s Acid Redux is a raucous journey into the murky domains of mysticism and liminality.

This video presents a history of alternative spaces in New York City during the late 1960s and early 1970s, focusing on two galleries that no longer exist.

This essay film confronts questions of accessibility through the filmmaker’s attempt to record their open-heart surgery.

A weather diary of sorts where my mouth is pretty much shut but the window is wide open to various cloudscapes and local color tinged with a twang.

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

Largely focused on the critical use of language both archaic and contemporary, poet Caroline Bergvall’s work asks questions about cultural identity and feminism and explores challenging or unknown historical and political events.

A search for a non-existent image, a desire to create an image where there is none,“ leads to Rea Tajiri’s composition on recorded history and non-recorded memory.

"The human ear. A gatherer of energy. A gatherer of sound. RPMs and BPMs. Satellites go up to the sky."

Footage from the May Day 1971 events in Washington DC. Davidson, a Videofreex member, gets arrested, and what follows is rarely seen footage of the inside of the detainment bus and the jail cell, videotaped by an arrestee.

The Diaspora Suite

A fragmented, experimental biography of the 19th-century poet and writer Isabelle Eberhardt, whose brief, unusual life ended abruptly in a flash flood in the desert.

Sausages simmer and so do the manicured remains of manly torsos as they struggle to ventilate in a manufactured world of soap opera bubbles and globular goo that bead the brows of summer folk.

One of several videos the artist made with her brother while still in graduate school at the University of Illinois at Chicago. Two Dogs and a Ball is a cover of William Wegman’s piece of the same title from the late 60’s.

Designed as the centerpiece of Eiko & Koma’s three-year Retrospective Project, Raven is a radically scalable work.

Footage from a performance produced at Forum en Scene in Middleburg, Holland of the players continually enacting the same tasks. Nothing To Lose opens with a young, androgynous sailor standing between two buildings, while the song Nothing To Lo

CURRENCY is a sound-film of refusal—a woman wears bygone forms of currency on the tips of her hair while preserving the greatest currency for herself.

Filled to capacity, each car of a 157 car train sounds a percussive note in this homage to John Coltrane. And not one coal train, but two.

A family embraces the heart of evil in this Poltergeist re-make/drag show, circa 1992.

Using highly-manipulated and over-processed images, Latham investigates the process of video as inherently fragmented. Weaving together various people’s impressions of the artist and her work, the work demonstrates important parallels between video, storytelling, and the formation of identity — all processes of active fabrication that blend “lies” and truth in the construction of a certain reality, history, or past. Labeling an image of herself talking as “her most recent explanation,” Latham addresses “the construction of her video personality” as an identity outside of herself.

Coyolxauhqui recasts the mythical dismemberment of the Aztec Moon goddess Coyolxauhqui by her brother Huitzilopochtli, the deity of war, the Sun and human sacrifice.

Co-commissioned by the Dance Center of Columbia College Chicago and Danspace Project, Death Poem is a meditation on dying. Eiko dances a long solo on a futon under a mosquito net, accompanied by the sound of insects and cicadas.

A reverse striptease, non-stop comedic monologue about shopping for clothes, while eating corn nuts. Dressing Up was inspired by the artist’s mother’s penchant for bargain hunting. Mogul produced Dressing Up as a student in the feminist art program at the California Institute of the Arts in 1973.

The crossword puzzle addiction.

Executive produced by Sara Diamond at the Banff Art Centre, co-produced by Michelle Baughn and Suzanne Lacy, directed by Tom Weinberg and Dick Carter, and edited by Holen Kahn.

It’s summer time in New York City and the relatives are coming out of the woodwork. Cats live and die amid the high humidity and more exotic species of God’s goodness parade distressingly on the hot asphalt of a shopping mall.

A cavalcade of characters in conflict with consciousness is conjured up within the confines of Studio 8 at the San Francisco Art Institute and digitized for analysis.

Two women, miles apart in spacial terms, chat about their art and motivational meanderings amid images of Chinese potstickers and fresh pasta.

Polycephaly in D is a densely collaged exploration of the existential drift, collective trauma, and psychological free-fall of the contemporary moment.

Through the testimonies of five women, this video lays out the complex problem of anorexia, detailing how the disease develops as a response to both personal and societal pressures.