The four‐part cycle Parallel deals with the image genre of computer animation. The series focuses on the construction, visual landscape and inherent rules of computer-animated worlds.

Shot in the style of a silent film from the 1920s, Frida & Anita is a political fantasy, intersecting the lives of two queer radicals — Frida Kahlo and Anita Berber — who happen to meet one fateful Berlin night in 1924 at the infamous La Ga

A meditation on the nature of “Nature” and the uncertainty of “Cause and Effect.”

In the center of the rising Temple, the history, myth, ancestral and infrareal combine their rhythms into the cycle life of ritual cinema. Trance and shamanic visions arise into the ancient Teocalli.  

A woman raises her voice and gives a painful and endless speech that with time becomes even more overwhelming, because her words are heartbreaking and permanent impressions in the collective memory, stabbing with words an old Mexican film, a celluloid t

Blood and Guts in High School features actress Stephanie Vella in a series of video installations* that re-imagine punk-feminist icon Kathy Acker's book of the same title.

Mary Miss (b.1944) is an American environmental artist who works with concepts of illusion, distance, and perception. Her site-specific work frequently uses both ancient and modern architecture as references. Miss's 1977 installation Perimeters/Pavilions/Decoys at the Nassau County Museum of Art, served as one of Rosalind Krauss's inspirations when she defined postmodern sculpture in her article, "Sculpture in the Expanded Field." 

Using footage from mainstream British and Hollywood films, and excerpts from a poem by Shani Mootoo, this video explores the impact of cultural imperialism and the erasure of language—residual tools of oppression on members of post-colonial societies.

One of the earlier video diaries where George vacations in Colorado, reflects on scenery and animal life and visits people. "

Beloved by filmmakers such as John Waters and Todd Solondz, George Kuchar has been working with the moving image for nearly half a century.

As with his predecessor Ernie Kovaks, everything is fair game for ridicule in Dibble’s gentle and eccentric humor.

“Criminality may present itself as a kind of saintly self-mastery, an absolute rejection of hypocrisy.”

—Angela Carter, The Sadeian Woman and the Ideology of Pornography (New York: Pantheon Books, 1978)

A series of abrupt vignettes and transitional montages paint a torrid portrait of a tropical isle in the grip of terror.

Part of paraconsistent sequence series and the hauntology series.

"My first digital recording and my first and only recording with Don McArthur's "Spatial and Intensity Digitizer". The digitizer was not working properly. I had no idea. The shift I saw was stunning.

Oral Fixations is a single channel video installation that evolves over a seven hour time period. The project is a darkly humorous look at a habit of endless consumption and the resulting accumulation of waste.

The music of John Bender punctuates a flow of processed images.

An electronic disturbance created during a live audio meltdown by Animal Charm as part of their Hot Mirror Mix in the fall of 1998.

Acconci sits with a man and a woman before a microphone. The man and the woman read from two different texts (novels by Mickey Spillane and Raymond Chandler), and Acconci repeats everything the man says.

Shot in Lebanon, Syria and Jordan, this essay uses transportation, video, and photography to examine images circulating in a historically charged, and presently war-torn and divided, Middle East.

Juan Sanchez explores his Puerto Rican heritage and the issue of Puerto Rican independence through his work as an artist and writer.

A black-and-white drama that lays bare the earth-shattering events surrounding the rise and fall of certain members of the communal body in a California town ravaged by subterranean forces.

A Child Already Knows is a short film that describes a child’s retelling of an escape from Shanghai disguised as a family vacation through the south.

In El Gringo, viewers experience the discomfort of being an outsider when the camera is confronted by a pack of snarling dogs.

Three nuns in dark sunglasses sit at a table playing cards while a nurse is inteviewed about "what death looks like” on the soundtrack.

At sunset a large orchestra, a choir and a group of young people position themselves against the backdrop of a mountain landscape. The musicians play the first section of Mahler's 8th Symphony, moving in precise choreography.

Take a joyride through comfortable suburbia—a landscape molded by seductive television and corporate America (and keep in mind: disaster is another logo for your consumption...).

[A] postcard-sized [film that]…manage[s] to implicate the audience’s ethical imagination…Distant Shores models a necessary imaginative leap simply by juxtaposing footage of a Chicago River cruise with testimony of a migrant’s

Swamp Swamp and Wurmburth are each comprised of a series of tightly cropped shots of small, hand-made table-top sculptures or "sets".  Paint and many other materials that behave like paint (i.e.

Anne Bancroft and Patty Duke proceed to beat each other while text from psychiatrists and ex-patients discuss the violence in some forms of psychiatric care. Four actions repeat as the struggle for autonomy rages.

Combining Rubnitz’s skillful manipulation of the familiar “look” of TV shows with an extraordinary range of characters, performer Ann Magnuson convincingly impersonates the array of female types seen on TV in a typical broadcast day.

"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.

"There are three scenes in this work, all reflecting a changing sense of time. Each has a voiceover soundtrack with a similar structure, but with different information.

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.

This real-time video-meets-digital-animation trilogy of shorts features the highly excited and mildly delusional Joe Gibbons. Against a background of live action and animation, the caddy’s golf club turns into a guitar as he reminisces about playing golf with Iggy Pop: “Hell of a guy, hell of a golfer." 

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

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.

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.

In this humorous short, Astrid Hadad, dressed in traditional folkloric costumes and religious garments, sings and performs to a Chilean love ballad before a painterly background of fantastic landscapes.

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

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.

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

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

“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)

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

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

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. 

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.

“Many artists developed systems or took on languages to structure their compositions. For this score, Nelson Henricks chose to appropriate English musical notation, which uses letters from A to G to identify the notes of the scale.

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