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

"Exhibitons, whether of objects or people, are displays of the artifacts of our disciplines. They are for this reason also exhibits for those who make them, no matter what their ostensible subject.

Circle's Short Circuit is an experimental feature-length work with neither a beginning nor an end—the film can be viewed from any random point.

Rosler identifies the totalitarian implications of an argument for torture, under certain circumstances, as it appears as a guest editorial in Newsweek magazine in 1982.

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.

A collection of three remarkable works by Sadie Benning, produced between 1995 and 1998, including German Song, The Judy Spots, and Flat is Beautiful.

Four tales about cannibal monsters narrated and performed by the Waiãpi Indians. “We have made the video,” say the Waiãpi, “to teach people to be more careful with monsters they never heard about.

A portrait that follows Nan, my uncle who lives with his elderly parents, during the last two years that the three share the same house together.

"Between March 1972 and February 1977, the Videofreex aired 258 television broadcasts from a home-built studio and jerry-rigged transmitter in an old boarding house they rented in the tiny Catskill Mountain hamlet of Lanesville. It was a revolutionary act in defiance of FCC regulations — the first unlicensed TV station in America."

Linda Montano is interviewed by Janet Dees, Curator at the Mary and Leigh Block Museum, Northwestern University.

In Ontogenesis, Tanaka interweaves electronically altered images of American patriotism–the Statue of Liberty, Uncle Sam, waving flags–with footage of the Vietnam war, bombs dropping, and 1960s political figures (L.B.J.

Easy Living ingeniously depicts leisure life in suburban America with a cast of little plastic dolls and miniature model cars—the toys that shape American children's ideas about success and adult life—focusing on a typical day in the life of an

As the camera looks out through a barred window and the clock strikes four in a Swiss city, the death of Yasser Arafat provides the starting point for a journey back in time.

Sites Unseen is a 16mm film of the Jewish cemetery in Warsaw, a photograph of a great Aunt who died in Treblinka, and my late grandmother eating her morning cornflakes.

Music by Zeena Parkins

In this interview, Brian Holmes, an influential art critic, activist and translator, discusses social forms of alienation, human ecologies of power, and the impact of technology on geopolitical social networks. Holmes reflects on his ongoing study of the ways in which the rhetoric of revolution has been institutionalized, as well as artists’ resistance to such cooption. For him, artists working in collectives have the potential to create a new artistic milieu that is not aligned with the dominant model of production. This argument is born out in his published collection of essays, Hieroglyphics of the Future (2003).

Flesh and blood souls breathe forth the colors of doubt, guilt and a hope for "peace of mind" in a world without moral directions...

Common Mistakes uses four synonyms for the word "mistake" (fallacy, error, accident, and blunder) to present a sample of widely held "truths" that later proved to be misconceptions.

Featuring a swirling spiral from video feedback, this video provides a contemplative visual space for viewers. The spiral appears on and off against colorful oscillation patterns. 

Opening with jarring violence, Dani Leventhal's Tin Pressed proceeds to negotiate a balancing act between the bewildering tonal variances of daily life — with all of its unnameable and enchantingly fragmented specifics — and the gravitational u

Equal Rights for Unborn Drag Queens is a satirical short video in which Brenda and Glennda critique anti-abortion politics, homophobia, and religious fanaticism in the media.

Shifting Positions is a semi-autobiographical/fictional trilogy exploring becoming queer later in life, my father's dementia, and our mid- and end-of-life crises.

In a guided meditation progress is posed as a godly icon for worship. The inseparability of the human labor-spirit connection is probed.

Made with my production class at the art asylum called the San Francisco Art Institute, this wide-screen drama of run-a-way spectacle and crazed emotion depicts a lurid tale of familial fury and unleashed passions.

Addressing the camera, Segalove confesses to plagarizing her 5th grade report, The Story of Coal.

Commissioned by the Whitney Museum of American Art and The American Center in Paris as part of their international Trans Voices project, Nation flashes contradictory formulations of language, politics, and medicine across a sharp and c

A Body in Fukushima is a film created by dance artist Eiko Otake consisting of still photographs, inter-titles, and an original score.

A two-headed calf died when one head atrophied. It became a trophy that the artist used as a source for this 16mm film transferred to video.

The sale of a plot of land marks the kickoff of an unlikely road trip in this strange American odyssey. When eteam buys an acre of the Southwestern desert on eBay, the deed fails to arrive and the pair attempt to track down the phantom seller.

This video was made as the end-credit sequence for a film version of Ron Vawter's performance piece, Roy Cohen/Jack Smith, by Jill Godmilow. Ron was an extraordinary actor and extraordinary man.

Introduces the audience to the rockin' talkin' pony, who provides musical accompaniment for a series of Texas country-dance lessons.

Cobra Mist explores the relationship between the coastal landscape of Orford Ness and its traces of military history, particularly the extraordinary ruined architecture of experimental radar and the Atomic Weapons Research Establishment.

Breder used Stavros Deligiorgis’s encyclopedic ability to make associations as an element in this video art and performances, providing a kind of intellectual running commentary in works such as Intertext (1976).

"Over the course of one year, I periodically shot footage from the front window of my third floor apartment. This material became the basis of Window, a video about knowing. How do we come to know a place or a person?

The male/female, subject/object investigation in A Bit of Matter and a Little Bit More has no titillating introduction; the appetite is not whetted beforehand.

Based on the filmmaker's autobiography, You Are Here examines the search for home within our era of transnational displacement.

Formally eclectic but heartfelt tribute to the holiday home movie heritage of low gauge formats.

"I'm not finished. I don't know how long it's going to take. As far as I'm concerned I'm officially dead."

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”.

Ming Wong creates videos that explore performance and issues of race and gender. Born in Singapore of Chinese heritage, and now based in Berlin, his work examines cross-cultural experiences by appropriating scenes of iconic world cinema.

Altamira is the paleolithic and post-human experience of the bloom of cinema. The cinema in a cave, the lightning of his presence, the fire of his birth. The paleolithic and post-human intermittence of the life of cinema.

Steve Seid of Pacific Film Archive calls it, “An episodic adventure about extra-evolutionary transformation. Organized as 'lesson plans’, this unique work is an ambitious tutorial for the neo-nauts of inner space."

Using the Islington Gazette and local pigeons as my guides I strolled, re-strolled, and strolled some more along the Essex Road: updown, downup. Paving stones, buses. Railings railings railings. More buses.

An interview that charts the activities of the Polish critic and curator Sebastian Cichocki. The dialogue is centered around, particularly, the difficulties of operating in a peripheral, Eastern European artworld context.

There is no need to "sin" because Hell is here, just go to the window and peek out…. It’s next door and is on display in this movie.

John Cage’s compositions and performances have had a profound influence on generations of musicians and artists. In this tape, he initiates For the Third Time as author Richard Kostelanetz interviews him.

Beginning with Phil Morton narrating in a Southern twang, he demonstrates how to flip a video with low cost—72 cents—on modification on the camera.

A high and low fidelity record of obsessions past and present. A hooded man named Cobra Commander (drawn naked) and a boy with black glasses. A fanged woman named Shadow-La and a girl in a rose colored wig.

In this video, Glennda is joined by social critic and feminist scholar Camille Paglia in New York's fashion district. The pair visit designers studios to discuss their respective styles and creative processes.

Henry Johnson was an elderly gas station attendant living in Goldsmith, Texas, a West Texas town of four hundred people.

Crossings and Meetings explores the image and sound of a walking man, expanding a simple image into increasingly complex permutations and arriving at what Emshwiller calls a "visual fugue" in time and space.