There But For resembles a soap opera; its characters—a couple whose relationship has seen better days, a ball-and-jack playing adult/child, and a couple that comes to visit the family—are in the midst of their day-to-day lives (an imitation of

In this interview with Melika Bass, a Chicago-based filmmaker and installation artist, Camilo Restrepo discusses how he became a filmmaker and how he chooses to document his native home of Colombia.

This short piece introduces the visual artist German Bobe. A narrator explains Bobe’s background in various media, stressing that his work—the media he chooses and the themes he revisits—presents a synthesis of the concerns of his generation.

Mr. Thomas is in the back garden, performing his new moves in the glorious sunlight, making things happen. Somewhere between ritual, a white suburban war dance and 1970's "keep fit" exercise to lovely music, Mr.

Betty Parsons (1900-1982) was an influential art dealer in mid to late 20th century New York.

The incident was based on testimony. Thousands of girls and women have been kidnapped over the decades in China.

Sable Elyse Smith's How We Tell Stories to Children is a single channel video that combines found footage, music clips, and audio of the artist reading with video clips of her father recording himself from prison.

Featuring Arnold and Ahneva from Wendy Clarke's One on One video series, this video dialogue deeply connects the pair through discussion of Black brother and sisterhood.

Europlex tracks distinct cross-border activities through the Spanish Moroccan borderlands and seeks to make these obscure paths visible.

In a conversation with one of the Hells Angels at a party the motorcycle gang has thrown in Manhattan, the interviewee introduces “Kenny, from the Videofreex” to his friends, commenting (presumably explaining the Videofreex project): “like low class soc

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.

In Birth of a Candy Bar, the young people who worked on the video participate in a pregnancy prevention and parenting program at Henry Street Settlement in New York City.

A big splashy rendering of Hollywood in hot action. The babes, the boobs, the boo-boos and the inner triumphs all brought to the screen by the uncorked youth and uncouth old bats of the San Francisco Art Institute.

"I'm not going to go to the Anne Frank House—I don't think I could take it—being a tourist is bad enough—though I'm not really a tourist—I'm here working—my camera's the one on vacation—taking holiday sounds and images—it's having a nice change of pace—

An homage to Chicago's East 95th Street Bridge, Calumet Fisheries and to a couple of the city's infamous brothers.  The take-out shack, originally glimpsed in the background of a scene from The Blues Brothers, still operates.  It has

Scottish artist Thomas Lawson (b. 1951) is a painter, critic, and founding editor of REAL LIFE magazine who lives and works in Los Angeles. His paintings are tied to the particularities of the present, and he is especially critical of the art world’s infatuation with ego and creativity. His portraits, appropriated from the print media, represent an intervention in that vein.

Illness, treatment, recovery, conversation. This experimental short presents stories of illness and disfunction, bringing together but also separating two performers, their stories, their bodies.

Inventing freedom as they roam, videomaker Ellen Spiro and her dog Sam go west in a vintage Airstream trailer in search of elderly dropouts and their dogs who have pulled out of society and into by-the-side-of-the-road trailer communities.

Images of beauty rituals – both masculine and feminine – focus on the removal of body hair. Scenes of adolescent embarrassment are played out in adult life. Gender confusion lurks behind the curtain. Impoverished aesthetics. Popular music.

Wendy Clarke's videos frequently feature unscripted dialogue, inviting speakers to create a video diary or to share their thoughts on a topic, such as love. This approach often results in sincere and honest portraits of the speakers.

In Birth of a Nation, Jem Cohen takes his camera to Donald Trump’s presidential inauguration and to the next day’s protests.

Chief Waiwai recounts for his village the story of a trip he and a small entourage made to meet the Zo’é, a recently contacted group whom the Waiãpi “know” through video.

The secret history of hobo and railworker graffiti.

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

Another Clapping explores the relationship triangle between a daughter, her mother and the Chinese Cultural Revolution.

"The films of John Smith conduct a serious investigation into the combination of sound and image, but with a sense of humour that reaches out beyond the traditional avant-garde audience.

This suite is a set of circular and fragmented compositions, in which a rhythmic and haunted dance hides an eroded lunar landscape. The microscopic rubble of our contemporary civilization. Part of the Lunar Films series.

A five-minute video collaboration between Dani Leventhal and Steve Reinke.

Dennis Oppenheim was a prominent figure in various art developments throughout the ’70s.

Reclamation is a documentary-style imagining of a post-dystopian future in Canada after massive climate change, wars, pollution, and the after-effects of the large-scale colonial project which has now destroyed the land.

In Glennda and Bruce Do Times Square, Glennda is taken on a night tour of Times Square by author Bruce Benderson.

Showcasing a solo organ recital, Victor Solo features seven sets of organ works. A narrator, possibly the organ player, announces work titles before each set.

The Dream of the Darkest Hour takes the intrigue and mystery of Bobe's other works but exacerbates it in such a way that it is overpowered by aesthetics and experimental tonality.

The city of San Francisco is awash with talent and some fine eating places too. In this seaport escapade the viewer is detoured by the smell of lamb chops and the sound of loose tongues vibrating with vitality.

In this early black and white, reel-to-reel video, small game traps are set to catch the rain.

Nine individuals visit the Santa Monica Mall and share their thoughts and feelings about love with Wendy Clarke and her camera. Love Tapes: Santa Monica Mall is part of Clarke's ongoing project, Love Tapes.

Erase the 1940s. The desire to better appearances. To try to record a love story. It's in this way that a facial can become the biggest remaining pleasure.

Three people are taken for a short ride on the River Thames hanging upside down on the back of a speedboat. The journey is both a test of endurance and a simple way of forcing people to see differently.

Eric Fischl's early works were large-scale abstract paintings. While teaching in Nova Scotia, Fischl began to shift from abstraction to smaller, image-oriented paintings, beginning with narrative works that investigated a fisherman's family.

A Kafkian vision of the New World. The arrival of Karl Rossman to the contemporary Babylon under the spell of the paranoid avant-garde. Kinetic coexistence of the archaic forms in dissolution.

What are all of these photographers trying to capture, and just who is collaborating with whom? This short piece could be a take on fame and the cult of the personality — or a tourist portrait with the audience as subject.

Annie Lloyd is a daughter's poetic documentation of the last few years of her mother's life and an intimate portrayal of the creativity and wisdom of old age.

"Bricks, white noise, video. Free floating sync, altered, drifiting camera: video image and time. Keying permutations, switching via gray level values, using a modified b+w Sony special effects generator (SEG).

An incomplete and imperfect portrait of reflections from Standing Rock. Cleo Keahna recounts his experiences entering, being at, and leaving the camp and the difficulties and the reluctance in looking back with a clear and critical eye.

In the spring of 1988, video-maker/activist Gregg Bordowitz tested HIV-antibody positive. He then quit drinking and taking drugs and came out to his parents as a gay man.

Woman, monster, animal? A portrait of a woman's face, the movement slowed down and reversed, the grotesquely made-up face examined in close-up.

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

Spanning two years of protest and resistance, this video chronicles the politically-motivated police harassment of the homeless population in Manhattan’s Lower East Side; including suspected arson, illegal eviction, and the demolition of buildings that

2@ is part of the Pop Manifestos series, a five-video project realized in collaboration with Cokes' former students Seth Price and Damian Kulash, and originally conceived as part of a series for the conceptual band SWIPE.

With Cold Harbor, Donigan Cumming uses a minimum of elements to create a powerful anti-war message. Initially, the video seems enigmatic, almost abstract.