A video in two parts about two states (being asleep and being awake) and the absurdity, or even impossibility, of bridging between them. The camera becomes a microscope examining light as if it were a state of mind.

Black Code / Code Noir unites temporally and geographically disparate elements into a critical reflection on two recent events: the murder of Michael Brown and that of Kajieme Powell by American police officers in 2014.

“Ah! It is so easy to convert others. It is so difficult to convert oneself.”

—Oscar Wilde, “The Critic as Artist” in The Complete Works of Oscar Wilde (New York: Harper Collins, 1989)

A buoyant character struggles with hazards in a cloudy gray environment in this animation inspired by the Dylan Thomas poem Lie Still, Sleep Becalmed. The look of the entire animation is shades of gray.

Stardust is the second part of the trilogy where Nicolas Provost investigates the boundaries of fiction and reality by filming everyday life with a hidden high resolution camera and turning the cinematic images into a fiction film by using cine

The performer interprets a video demonstration of a series of poses with mirrors, not unlike Breder's Bod/Sculpture photo series, but this time in a studio. This performance was later staged several times with Breder directing from off-camera.

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.

The crowded streets of New York City turn into fictive, cinematographic scenery.

Named after Hatice Güleryüz’s haunting short film, with its disturbing yet iconic images, this program presents unsettling situations narrated with both considerable emotional investment and critical distance.

Ulrike Ottinger is a prolific German filmmaker whose work includes Madame X (1977), Ticket of No Return (1979), Freak Orlando (1981), Johanna D'Arc of Mongolia (1989), Countdown (1989), and Exile Shanghai

Old Cat will eventually and pleasantly get to a destination. Shot in the summer of 2009, in a single take, on a lake in Virginia.

Cast: Chad Bowles, Marcus Bowles.

Tom Kalin is a screenwriter, film director, producer, and educator. As a key figure in New Queer Cinema, his work focuses on the portrayal of gay sexuality both in the age of AIDS and historically.

“To take back the gold that was stolen from us – this is the object of our actions.”

This is the clinamen of our times, sparkling bodies into the spiral vortex as well as its chaotic spatial present. Part of the Scattered Geology Audiovisual series.

A Perfect Pair posits the idea that individual consumers are walking billboards for the products they use; product slogans and brand names peeking out from every crevice and cranny of the actors’ bodies.

Turn It On, Tune It In, Take It Over! is a portrait of freedom of expression at the dawn of the Electronic Age.

A Videofreex performance.  Bart Friedman plays the pump organ and David Cort sings.  He asks Bart to "Play something that I can laugh to," and much laughter ensues.  Then, "because of American society," there is a sad song, and much waili

Get ready for a smorgasbord of mishaps perpetrated by misfits choking on missteps in life… Add to this a dash of bitter memories sprinkled with love affairs gone stale, and you’ve got a heap of slop for mental indiges

Cohen shot Little Flags in black and white on the streets of lower Manhattan during an early 90s military ticker-tape parade and edited the footage years later.

Scenes from a vacation. Music comes on loud and clear and washes over a series of visual impressions of the land and the sky and the faulty plumbing that submerges porcelain bottoms in a sea of unmentionable froth.

You live somewhere, walk down the same street 50, 100, 10,000 times, each time taking in fragments, but never fully registering THE PLACE. Years, decades go by and you continue, unseeing, possibly unseen.

A more socially-active addition to the Weather Diary series, we meet the natives and participate in the rituals of business and schooling and high hopes on the flatlands.

A performance about the artist’s experience in the aftermath of an accident.

Through collage, Alazeef shows the dreams and the fears of a typical Iraqi soldier, a week before the 1991 Desert Storm, compared to the huge war machine.

Susan Mogul's fantasies of success have always a comic, congenial twist, as in Dear Dennis, a video letter to Dennis Hopper inspired by her discovery that they share the same dentist.

An investigative documentary on police brutality that uses the Rodney King incident as a springboard to analyze the inner workings of the LAPD under the leadership of former police chief, Daryl Gates.

From his photo-text canvases in the 1960s to his video works in the 1970s to his installations in the 1980s, John Baldessari’s (b.1931) varied work has been seminal in the field of conceptual art.

The combination of a found site (an old power station in Norway), and a found object (a log) and a found instrument ( a wooden floor) produce a found sound in this acoustically alive action.

In Xmas 1986, George Kuchar’s mother Stella has come to stay with him for the holidays.

"The title (Black Sun) is as evocative of solar eclipse as it is of the 'dark spleen' which doctors, all through Antiquity, used to attribute to melancholic and suicidal drives, especially as they affected artists.

Madi plays an interactive on-line computer game in the privacy of her apartment.

This tape was originally an installation at the Whitney Museum of American Art, part of which included the video collaboration Channels of Desire.

This final weather diary travels through some rough inner and outer domains.  Social interactions blend more smoothly than the clash of air masses which threaten to clobber a prairie town in a vortex of violence.

This 1978 conversation between poets Anselm Hollo and Robert Creeley, was updated in 2015 as Adam Burke relays their conversation.  Images of Hollo, Creeley, and Burke are juxtaposed on top of one another.

Blumenthal constructs a loose narrative around the sexual evolution of a woman (played by Yvonne Rainer) through a stunning collage of images appropriated from TV and film. Certain images come to dominate this effusive stream—tall buildings, sex scenes, an Elvis movie, the courtroom, fireworks. Doublecross pits the indeterminate, disruptive power of the erotic against the rigid, normalizing structures of family, law, marriage, popular culture, movies, and music—societal institutions that codify sexual relations.

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.

Shot in low-light style, Kuchar documents his experiences with various underground filmmakers such as James Broughton and Ken Jacobs, then moves on to the other side of Hollywood lifestyle to visit Nicholas Cage.

“[Segalove] pursues her self-analysis via the popular culture and TV addiction of her youth: seeing JFK shot on TV, falling in love with the TV repairman, being glued to the tube while suffering from the requisite bout of mononucleosis, and associating

Dee Dee Halleck is a media activist, one of the founders of Paper Tiger Television and the Deep Dish Satellite Network, and was a professor in the Department of Communication at the University of California-San Die

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

On the horizon, beyond their reach lies the shores of Poetry, and beneath their feet the chaos of Hell!

Here, a double morphology of conversion forces us to think about the trance of non-reconciliation, outburst and trance that go through the centuries of colonial violence until reaching us in the tension of an audiovisual disjunction: visible and enuncia

Parnes moves further into her interrogation of horror genres and the art world, with their sometimes over-lapping cults of personality.

In this piece I am exploring the idea of belonging by tracing the outline of the shifting skyline. Through imagination, learning, and a continuous adjustment, I strive to relate the communal with personal identity.

— Ezra Wube

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.

In the beginning was the weave, and the transmission of its workings, a curse of mortality—so ends Quantum Creole with the fabulous words of the Papel weaver, Zé Interpretador.

2 Spellbound is a frame-by-frame re-editing of Alfred Hitchcock’s 111-minute psychoanalytic thriller (1945) into a seven-and-a-half-minute dance video.

The film reexamines J. Robert Oppenheimer's speech at Princeton Theological Seminary in 1958.

Jennifer Bartlett (b. 1941) is a writer and painter who makes large paintings with enamels on fabricated panels. She uses an overall grid structure on which she repeats images in a variety of styles ranging from lyric abstraction to childlike representation.  Near the end of this interview with Kate Horsfield, she reads the chapter “Dreaming” from her book The History of the Universe (1985). “I decided: 1) I didn’t want to stretch a canvas again, 2) I wanted to be able to work on a lot of things at once. I didn’t want to exercise my own taste, which seemed boring and hideous. I wanted something modular, a constant surface."

A historical interview originally recorded in 1976, edited in 2010 with support from the Lyn Blumenthal Memorial Fund.

With the Watergate hearings as a backdrop, quotes from various newspapers and magazines--including the story of Robert Smithson's death in a plane crash--build a picture of the confusing and tragic events of July 1973.