In imaginary landscapes where trees talk and frogs turn to handsome princes, Pizzly Bear is a story of a cross between a Grizzly and Polar Bear.

This is a fragment of the sacred lizard in desecrated times, an intermittent tour of the flashing body of the Cipactli lizard. Part of the Cipactli series.

Legendary filmmaker George Kuchar, in between trips to the bathroom, visits three Bay area friends: an eccentric filmmaking couple who produce zombie movies, and performer Billy Nayer.

A documentary – of sorts – retinted, toned, sped up, slowed down.

Brief and bouncy document of Jennet’s open studios private view, back when she was still mostly a painter.

This compilation features 11 of Jem Cohen's collaborations with musicians.

"Love at first sight, one night, down at Silverror’s Saloon!" Mickey R Mahoney and jonCates direct Silverror’s Saloon, the next film in the 鬼鎮 (Ghosttown) Glitch Western

This meditation on family and friends uses, as a point of departure, the relationship between the maker and his grandparents.

No Damage is a composition made out of fragments from over 80 different feature and documentary films that show the architecture of New York City — its architectural presence as captured on film over eight decades.

This tape exemplifies Snyder’s early experiments with the image processor. Articulated patterns of alternating wavelength and amplitude of both sound and light are arranged to produce abstract compositions.

"The Camel with Window Memory piece was made one weekend in the early '80's. I pulled out my post card collection and began to look at specific postcards run through the new digital video buffer I had built together with David Jones.

This is an edited excerpt of Eiko and Iris McCloughan's experiment working over Zoom on May 5, 2020 as a part of Eiko's Virtual Creative Residency hosted by Wesleyan University. 

The sun pretty much shines throughout this romp back East as waves crash against a land of plenty while the residents bathe in its nutritional offshoots.

Our Non-Understanding of Everything is a series of 16 videos that explore how the structures of architecture, semiconductors, and circuits become forms of expression refl

Commissioned by and performed at the 2000 Brooklyn Academy Music Next Wave Festival, When Nights Were Dark is a full evening-length collaboration with Joseph Jennings and the Praise Choir.

A portrait of an unnamed city in Italy. Sidestepping the tourist attractions that make the city famous, the film/video posits an almost-imaginary place that draws closer to the reality of its inhabitants.

Space Ghost compares the experiences of astronauts and prisoners, using popular depictions of space travel to illustrate the physical and existential aspects of incarceration: sensory deprivation, the perception of time as chaotic and indistinguishable, the displacement of losing face-to-face contact, and the sense of existing in a different but parallel universe with family and loved ones.

Physical comparisons such as the close living quarters, the intensity of the immediate environment, and sensory deprivation, soon give way to psychological ones: the isolation, the changing sense of time, and the experience of earth as distant, inaccessible, and desirable. The analogy extends to media representations that hold astronauts and prisoners in an inverse relationship: the super citizen vs. the super-predator. Astronauts, ceaselessly publicized, are frozen in time and memory whereas prisoners, anonymous and ignored, age without being remembered.

This is the invocation to the ancestral god of the underworld, the ancient annihilator, which preserves the ritual inertia of the bones and stones.

Cheang has taken her camera to the streets for a candid glimpse of lesbian public sexuality.

This film was made from The New York Times newspaper articles. The semi-automated animation process resulted in sentence recombinations that sometimes made sense while randomly emphasizing certain words and images.

Strapped for time due to her busy schedule of personal appearances, Anderson creates a rather clumsy looking clone to take over and keep up her artistic production.

Using a pulsing rock soundtrack and music video-style editing, X-PRZ combines archival footage of Malcolm X, advertisements, and corporate logos in No Sell Out to provide a scathing commentary on commodity culture.

Set to music by Bikini Kill (an all-girl band from Washington), Sadie Benning's Girl Power is a raucous vision of what it means to be a radical girl in the 1990s. Benning relates her personal rebellion against school, family, and female stereotypes as a story of personal freedom, telling how she used to model like Matt Dillon and skip school to have adventures alone. Informed by the underground “riot grrrl” movement, this tape transforms the image politics of female youth, rejecting traditional passivity and polite compliance in favor of radical independence and a self-determined sexual identity.

Part of the Long Beach Museum of Art’s Institute for Art and Urban Resources' Collectors of the Seventies series, this video focuses on the Betty Asher’s acquisitions. "I started collecting in 1939.

A cold stone structure stands in frigid defiance to the moral decay which shrivels the leaves of erect extensions to the human lust for creative expression.

John Smith, throughout his 40-year career, has approached the moving image from film, video and installations, generating a tremendous body of work that’s as diverse in its topics as it is in its methods.

“In her brilliant video Art Herstory, [Freed] has restaged art history, putting herself in the model’s role in numerous paintings....

A table is set with two red books placed at diagonal corners and a stack of three poker chips placed in the center. Two women enter, sit, and begin to play with the books and poker chips.

Part of a cable TV series called Communications Update that aired on public access in New York City from 1979 through 1992, these tapes provide an early example of television made by artists.

Based on Robert Heinlein’s 1941 story “Universe,” Double Lunar Dogs presents a vision of post-apocalyptic survival aboard a “spacecraft,” travelling aimlessly through the universe, whose passengers have forgotten the purpose of their mission.

Small Miracles is a suite of eight video animations in which the artist conjures up and controls forces of nature.

Reportedly shot in the back office at Leo Castelli’s New York gallery, an ashtray is used to demonstrate five different actions related to artistic work. With the camera static, the video opens with the ashtray in the center of the screen.

Playing off the notion of “interactivity”, Utopia poses itself as a video game plugged into the social consciousness of contemporary California.

CURRENCY is a sound-film of refusal—a woman wears bygone forms of currency on the tips of her hair while preserving the greatest currency for herself.

1.1 Acre Flat Screen is a 45-minute video about a year-long effort to improve a lot of 1.1 acres of desert land in Utah, which we purchased on September 4th 2002 on eBay.

Thoughts and Feelings is comprised of five short works which are a part of Mike Kuchar's ongoing Soul Searching Series.

"Here is Everything presents itself as a message from The Future, as narrated by a cat and a rabbit, spirit guides who explain that they've decided to speak to us via a contemporary art video because they understand this to be our highest form

Through poetic juxtaposition of the virtual landscape of the phone, the calm landscape of the cabin, and the chaotic landscape of memory, 1991 paints a cruel image of the horror of war and separation.

Desire and the Home: Program 1

Challenging the dominant ways of making and critiquing art, feminist art practice in the 1970s stressed personal connections to materials and immediacy of context over formal abstraction.

Next Atlantis is a video/sound collaboration between composer Sebastian Currier and filmmaker Pawel Wojtasik.

In a radical action like Nam June Paik destroying a violin, and rolling up in bandages the bodies of the players in in a concert by Yoko Ono, the international avant-garde group Fluxus changed not only art, but the concept of it.

A series of numbers that form infamous years that are uttered in a repetitive pedagogical litany. Ominous dates as a correlate of forgotten apolitical portraits. Portraits of a remembered royalty whose wealth was made possible by infamous times.

A wonderfully witty work about nostalgia and desperation. Anne McGuire portrays a Kennedy-era singer performing in the space where theatre meets television. McGuire's Garland-esque gestures provide both a sense of tragedy and humor. I Am Crazy And You’re Not Wrong weaves narrative, performance, memory and history into an ironic and haunting work of singular proportions.

Obscure signs portend a looming, indecipherable slump. An oracular decoding of the landscape.

In Post Queer Pride 93, Brenda and Glennda attend the New York Ci

In this irreverent and hilarious videotape, renowned street performer Stoney Burke leads us on a subversive tour of the 1992 Republican National Convention in Houston’s Astrodome.

Filmed entirely in Sweden, VIEWFINDER is a surreal sound-film that entangles gestures of place, belonging, and monument.

Louise Bourgeois (1911–2010) utilized wood, metal, plaster, and bronze in creating her sculptures.

In the late 1970s, Walter Naegle was walking to Times Square to buy a newspaper when he ran into a striking older African American man on the corner. Walter says that “lightning struck” and his life changed forever at that moment.

the suggestive nature of word fragments, sentence fragments, story fragments, war. 

On the eve of the 1984 Presidential election, Jenny Holzer used a truck equipped with a sound system and an 18-foot Diamond Vision electronic board to display images, statements, and man-on-the-street interviews.