In these two videos, Cumming investigates the worlds of a pair of abject heroes, Colin and Pierre, one a recovering alcoholic, the other an addict.

Jessica Bardsley is an artist-scholar working across film, writing, and studio art.

A sparing and minimal travelogue of Istanbul. A foreigner meditates on the unraveling of a relationship while moving from hotel room to hotel room.

Palestine, April 15th-16th 2007

This is a short direct to camera piece, originally commissioned for a screening of My Summer with Raúl at Antimatter (BC).

Twenty-five years of marriage 'down the drain'!!

Shot in Portland International Airport. Animation by Jalal Jemison.

The perception of machines' movement within industrial work.

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.

This tape documents a cultural exchange between the Parakatêjê (Gavião) of Pará and their “relatives,” the Krahô of Tocantins.

“Nancy Holt’s Revolve, a videotape where the artist, off-camera, interviews her friend Dennis Wheeler who is dying of leukemia, uses his illness and mental reflection as a metaphysical site.

There is a crudeness to How's Tricks, Benglis's first venture into narrative fiction. No attempt is made to hide the mechanics of making the tape.

A DVD box set compilation featuring four animations made by scratching directly into the surface of the film.

 EXTRAS

This slow-motion film is a glass snow globe with dancers who topple and bounce off the sides of the frame. Re-purposed by Breder at his Dortmund retrospective as Weisse Tasse in which a video was projected on the side of a white cup.

Sunstone tracks Fresnel lenses from their site of production to their exhibition in a museum of lighthouses and navigational devices.

Thanksgiving in California is the setting in which the viewer experiences "the depression inherent to festive occasions. There were many things bothering me at this time, or maybe it was one thing that broke into many pieces.

Yvonne Jacquette (b.1934)is an American painter and printmaker known in particular for her depictions of aerial landscapes, especially her low-altitude and oblique aerial views of cities or towns, often painted using a distinctive, pointillistic techniq

Anhedonia doesn't play to the back of the church. It shoots directly to the point with poetry and images that evoke controversy in one mind set and passion in another. Depression and suicide are met head on with Cuthand's honesty.

Two young women confront careers in a world of violence, lust, and show-business. This student/teacher co-production I made at the San Francisco Art Institute is a colorful collage of digital dementia.

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.

Take a peek at scenes extracted from a videomaker's life.

Alfredo Jaar is a politically motivated artist whose work includes installation, photography and film.  Born in Chile and now living in the U.S., Jaar’s socio-critical installations explore global political issues, frequently focusing on the Third

Adapted from their performance work Fur Seal (1977), this video is the first and only outdoor work Eiko & Koma created for video. The piece was filmed at Pt. Reyes, California in November 1983.

"A cinematic doppelganger without precedent, Elisabeth Subrin’s Shulie

"The films of John Smith conduct a serious investigation into the combination of sound and image, but with a sense of humour that reaches out beyond the traditional avant-garde audience.

Klaus Nomi (born Klaus Sperber) was an underground superstar in the East Village arts scene in the 1970s and early 1980s.

Ten thousand women marched down New York's Fifth Avenue on August 26th, 1970, to mark the fiftieth anniversary of the passage of the 19th amendment, which granted women the right to vote. The march was part of a "Women's Strike for Equality" organized by veteran feminist leader Betty Friedan.

I worked on Trio A alone for six months in 1965. The dance consisted initially of a 5-minute sequence of movement that would eventually be presented as The Mind is a Muscle, Part I at Judson Church on January 10, 1966.

By asking a group of space physicists the unanswerable, Semiconductor reveal the hidden motivations driving scientists to the outer limits of human knowledge.

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

Pictures from Dorothy is a current day consideration of the symbolism of Frank Baum’s Wizard of Oz.

Cast: Matilda Washington. Music: David Reid.

Greasepaint flows freely as talents of Tinseltown strut their stuff amid the rundown dreams of days gone by.

"Inspired by Ralph Hocking's fish biting video.  Eighty-seven stones thrown, volumes shifting of water sound, a real time performance event. Holding the camera and throwing 87 stones into the frame. 1/2" reel to reel Sony portapack." 

In Les LeVeque Videoworks: Volume 3, Les LeVeque explores time and the way in which it can be manipulated to affect the communication of emotion.

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.

Cameras aim and click in this breezy short that blows hot and cold kisses to the "Big Apple" below and the maple leaf above and beyond the northern border of this great nation.

In this interview, African American filmmaker and DJ Ephraim Asili (b. 1979) discusses his upbringing, education, and creative process.

Acconci's open mouth is framed by the camera in an extreme close-up, bringing the viewer uncomfortably close. A desperate sense of strained urgency comes across as Acconci gasps, "I'll accept you, I won't shut down, I won't shut you out....

Polish-American arist Ed Paschke (1939-2004) received his BFA from the School of the Art Institute of Chicago in 1961 and his MFA in 1970. Paschke was known as a member of the late-1960s Chicago Imagist movement, a group of artists who called themselves The Hairy Who, whose expressive style of figurative painting was rooted in outsider art, popular culture, and Surrealism. Paschke's fascination with the print media of popular culture led to a portrait-based art of cultural icons. Paschke used the celebrity figure, real or imagined, as a vehicle for explorations of personal and public identity with social and political implications. 

A close-range look at pigs living on a farm in Las Vegas, Nevada. The pigs, individually and as a group, become a metaphor for humanity as they go from leisurely wallowing in the mud to the wildness of a feeding frenzy.

A film about haircuts, clothes, and image/sound relationships.

Made at the time of the 1988 presidential election, this piece is about media power and market censorship.

A minimal, suggestive narrative about a summer trip to the Jersey Shore, fictionalized by subtraction.

Social Media Exodus (Call and Response) is part two of Zach Blas's Contra-Internet Inversion Practice series.

Goodbye Thelma synthesizes footage from the 1991 film Thelma & Louise with footage of the author’s own making to create a mysterious, and at times disturbing, exploration of traveling alone.

Jonas's performance piece, an homage to 18th century French outdoor theater, incorporates mythology as well as spontaneously occurring events into the narrative.

A watchful dog in a confusion of reflected chairs begins and ends Cohen’s finely tuned observational portrait of London’s Essex Street, and the inhabitants who work the shops and throng the pavement there.

Cinnamon presents a glimpse into the world of African American drag racing. It follows the consistent routine of a bank teller and a mechanic as they prepare for the sport.

In a fictional conduit space, language and function are recontextualized as the HalfLifers struggle to re-assess the nature of their mission while engaged in an eternal cycle of maintenance and communication routines.

On May 11 2004, Steve Kurtz phoned 911 to report Hope, his wife of 20 years, was unresponsive. When paramedics came to his house, one of them noticed that Kurtz had laboratory equipment, which he used in his art exhibits.