Framed is the second installment of the longer piece, Video Bites: Triptych for the Turn of the Century.

The two related compilations of Julia Hechtman's video works titled Acts of Disappearance: Death and Acts of Disappearance: Environmental document twenty years of the artist's ongo

Eiko & Koma titled all of their performances in Europe White Dance (1972-1974). Their presentations were always about one hour, performed without an intermission.

Laurie Anderson (b. 1947) began her career as a gallery artist specializing in photography, before moving to critical work as a writer for Art News and Art in America.

In Rotten Apples, George Kuchar explores the themes of life, lust, decay and death, all through the act of grinding apples for cider.

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.

Now Let Us Praise American Leftists is an experimental video animation that seeks to eulogize and ridicule the American leftist movement of the past century.

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.

This high octane drama that I made with my students at the San Francisco Art Institute chronicles the moral decline of it's heroine, as the love of a man she obsesses over drives her over something else: a cliff into hell.  It's a free fall all the

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.

Arguably, the most successful of the four “Gerald Ford’s America” shows was “Chic To Sheik,” a TVTV tour of the private culture of the official Washington.

Rong Xiang is a work on architectural replicas, piracy and its consequences. It is a comparison of LeCorbusier's chapel Notre Dame Du Hautin Ronchamp, France with its exact replica in Zhengzhou, Henan province East China.

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.

In this futuristic computer-animated landscape, confused relationships between objects and people play out before the backdrop of a lush garden and interactive theatre known as the Big Ghost.

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.

In this 2002 interview, filmmaker Joe Gibbons (b.1953) discusses his early work and the path that led him to an interest in both narrative and experimental film. Gibbons recalls how exposure to P.

Various scenarios are envisaged where a rescue might be possible. Props include a hoist, a trolley, various doors and windows, ladders and a length of hose. It is unclear whether our two heroes help or hinder one another.

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.

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.

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

In Dani Leventhal's video, 17 New Dam Rd., we are invited along on a house visit with a familial group. There's trash in the garden, guns on the sofa, and marshall arts in the living room.

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

Award-winning videomaker Kip Fulbeck brings his blistering pace, comedic skill, and critical eye to bear on the Hapa and Asian American male experience—parodying the relationships between sex, love, and martial arts movies.

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.

In 1985, Hollis Sigler, a leading feminist artist in Chicago, was diagnosed with breast cancer, a disease that had also stricken her mother and great-grandmother. This interview with Hollis Sigler focuses on the period of her life beginning with the work entitled Breast Cancer Journals, a series of paintings, drawings, and collages expressing a wide range of emotional responses to the various stages of her struggle with cancer encompassing more than 100 works. Art in America called Sigler’s Breast Cancer Journals “one of contemporary art's richest and most poignant treatments of sickness and health.Taking on a kind of religious conviction, her jewel-colored symbols imbue a death-haunted situation with miraculous, celebratory life.” 

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.

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.

Palestine, April 15th-16th 2007

In(sul)ar marks the dichotomy between reality and fiction, by creating meta-images of an imagined island, where time and space are confused with each other.

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

Museum collections of various kinds are the object of artist Dana Levy's ongoing, consistent study in the past decade.

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.

"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.

You never thought that Franco-American relations could be so fun! A French thriller in the tradition of the Marquis de Sade, getting it on with Roger Corman's from-the-hip philosophy.

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

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

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.

Pastures filled with the bounty of a meateater's fantasy fill the screen with bellows of bovine origin as testosterone-driven madness runs rampant on 20,000 acres of Oklahoma soil.

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.

The young and the innocent at the mercy of a palpable presence oozing menace and scarlet-stained goodness as a strawberry sundae melts under the glare of future hell-firestorms in search of kindling.

“[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

French performance artist Orlan uses her own body as a sculptural medium.

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

“But these meetings, these partings, finally destroy us.”

—Virginia Woolf, The Waves (New York: Harcourt, 1978)

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

"The gerbil has long been associated with New World capitalism because of its incessant energy. The Golden Age of Hollywood takes on the history and evolution of this delightful household pet."

— International Film Festival Rotterdam (2003)

John Smith’s Flag Mountain records a vast flag, the insignia of the Turkish Republic of Northern Cyprus, painted onto the side of the Kyrenia mountains overlooking Nicosia, the divided capital of the former island nation.

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

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.

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