Reportedly shot in the back office at Leo Castelli’s New York gallery, an ashtray is used to demonstrate five different actions related to artistic work. With the camera static, the video opens with the ashtray in the center of the screen.

There were three brides, and they all married at different times to different people in different places.

Three of these four works form a trilogy that explores one of the principle metaphors of video: the window. The window is used to examine notions of knowledge, voyeurism, surveillance and time.

From the green ooze of a haunted forest arise lonely shamans in red gowns alongside twisted creatures from nightmarish cartoons with the long suppressed belief in pagan ways now real and raw in the sun and shadows of

It is a tribute of hyperkinetic colors to the Chilean poet Vicente Huidobro in times of pandemic vortex and post-Cubist quarantine. This is Altazor's color drop. Part of the Harmonic and Hyperkinetic Color Film Series.

"Persistence was shot in 1991-92 in Berlin, and edited with films by U.S. Signal Corps cameramen in 1945-46, obtained from Department of Defense archives.

They just flew in from New York, and boy, are their arms tired...

At nineteen, Barbara Kruger (b. 1945) worked as a commercial artist designing for Conde Nast.

The compilation What Was Always Yours And Never Lost, provides an essential introduction to recent works of video art and experimental documentary by indigenous film and video makers from throughout North America.

Fulbeck force-feeds the viewer scores of all-too-familiar Asian female/Caucasian male pairings in Hollywood films, and combines them with contemporary excerpts from best-selling novels, magazines, and dating services.

Fifeville is a film about a neighborhood in Charlottesville, Virginia. It focuses on the details, gestures, and material life of the citizens of Fifeville as they communicate their understandings of the neighborhood’s changing landscape.

Acconci's open mouth is framed by the camera in an extreme close-up, bringing the viewer uncomfortably close. A desperate sense of strained urgency comes across as Acconci gasps, "I'll accept you, I won't shut down, I won't shut you out....

Dear features the interior world of two teenage Chinese girls in New York City, whose diary entries reveal their concerns related to growing up as immigrants amidst the ever-gentrifying landscape of Chinatown.

Part of the Hauntology Film Archives series.

Threads of Belonging depicts the daily life of Layton House, a fictional therapeutic community, where doctors live with their schizophrenic patients.

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 video hovers tentatively between therapy, documentary, poetics and mystic traipsery and ends, like all good things, in surrender to song.

A woman stands on top of a hill in Namibe desert in Angola, looking into an extensive horizon of a vast desert, she signals the hope of crossing these borders symbolizing the repossession of the land and the regaining of a lost identity.

A girl with a bad habit of falling for older women befriends a boy lover. This video is an examination of relationships between adults and teenagers. It involves ice cream trucks and bowie knives.

Eiko Otake, based in the United States since 1976, is a highly regarded artist who has performed in many countries as part of the performance duo Eiko & Koma.

R.M. Fischer’s lamp sculptures, made from found industrial parts in a hybrid style of high-tech slickness and Baroque exaggeration suggested parodies of industrial commercials.

Laura Mulvey published her seminal essay "Visual Pleasure and Narrative Cinema" in 1975; it has subsequently become one of the most influential work in film theory.

During my residency in New York I was designing a computer virus, which would contaminate computers through a screensaver that read “there is so much love in this world”.

TVTV's inside view of the 1972 Republican National Convention made broadcast history.

A voice for which an event impossible to internalize remains distant. An event that in its distance does not cease to make the narration of something that should not take place anywhere foreign.

An excerpt from an episode of On Our Own, this video features the roommates preparing to "get crazy, cut loose, and celebrate the day." The incessantly ringing doorbell incites Joe to poison the "punks" outside by injecting kitchen chemicals in

Indians In Brazil is an educational series for Brazilian public schools that invites students to experience cultural diversity.

A video diary about Cuthand's efforts to undergo artificial insemination. Cuthand contemplates a desire to have children and its relation to preserving Indigenous culture.

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.

Students reclaim a popular gathering spot on the campus of the University of Virginia.

In this attempt to resolve the on-going crisis, Burns and Discenza find themselves in, variously, a childrens adventure playground, a garage and a yard.

The first video work created collaboratively with DonChristian Jones as a part of Eiko's The Duet Project: Distance is Malleable. The video was projected as part of The Value of Sanctuary: Building a House Without Walls exhib

"This video in two parts is a newcomer's portrait of Montréal, and focuses on two of my architectural obsessions: the Hydro Québec building and the Métro. I spent my first winter in Montréal in a cold, dark, first-floor apartment.

In this 2004 interview, Kori Newkirk (b.1970) describes his lifelong apprehension of being rooted in any one place for too long. Asserting that the School of the Art Institute of Chicago was the fifth school he attended in four years, Newkirk begins by describing the fortuitousness of his relocation to Chicago following his expulsion from Cooper Union. Recounting how he fled from the fiber department in favor of painting, Newkirk details how it was a studio visit from Deborah Kass and an exchange program to England that crystallized his burgeoning ideas about “painting without making paintings.”

Baldessari has Ed Henderson examine obscure movie stills and attempt to reconstruct the films’ narratives.

A cinematic exploration of African American intellectual, social, and political life at University of Virginia during the 1970s.

As recent state cut-backs force many mental patients out into the real world, Tony Oursler and Joe Gibbons team up to address psychiatric deinstitutionalization from a comic angle.

19 out of the 41 shots fired in 10-seconds by four members of the NYPD Street Crimes Unit hit the defenseless body of one Amadou Diallo as he stood in the vestibule of the building where he lived in the Bronx.

Red House is an animation that playfully explores metamorphosis in relation to the stability and structure of housing.

The desire to own and name land and the pleasures of seeing from a distance color this personal survey of the history of mapmaking in the New World.

Quoting Confucius, that “food and sex are human nature,” Chinese Characters builds a parallel between the Chinese legend about the search for the source of the Yellow River and contemporary Asian-Canadian gay men’s search for pleasure via their

On September 22, 2018 artists Ligorano Reese installed a 2500 pound sculpture of the word Truth carved in ice on the National Mall in front of the U.S. Capitol.

Ensconced in my urban Los Angeles bed, I recount growing up "safe" on suburban Long Island. A cameraman from KCET filmed and lit the piece. This is the only film I ever made that was not filmed by a colleague, friend, or myself.

You will never be a woman. You must live the rest of your days entirely as a man and you will only grow more masculine with every passing year. There is no way out.

Commissioned to be a "promo" for a loud punk rock band, Mr. Kuchar feared that the noise the band made would spoil the mood of his visuals, so he used the sound of a lush orchestra to score the picture and the antics.

The daily life of the Hunikui village of Sâo Joaquim, on the river Jordâo in the state of Acre. Augustinho, village shaman and patriarch, and his wife and father-in-law, remember the fetters of the rubber plantations and celebrate a new era.

This tape is, in effect, a ready-made. Produced by the Pepsi Cola Company for its own use, it was accidentally substituted for one of my tapes in 1974.

In the film Mad Ladders, the prophetic ramblings of an unseen narrator recount fantastical dreams of the coming Rapture, as crystalline imagery of rolling clouds gives way to heavily-processed video of moving stage sets from The American Music

Created with Caleb Craig.