This is the contained power of the sacred seeds, the vibration of the ancient seeds of corn and their passage through an ocean of pulsating luminosity. A germinal liturgy of holy seeds.

This extensive interview with California artist Doug Hall (b. 1944) provides unique insight into the culture and politics of experimental artistic production during the 1970s. Discussing the founding of the performance group TR Uthco, Hall offers context for his contribution to the field of video art, and shares stories of his collaborations with Ant Farm, Videofreex, and others. Ranging from his early years as an art student, to his romance with artist Diane Andrews Hall, to reflections on technology in art, this interview importantly extends the discourse surrounding topics of archive, performativity, and autobiography—subjects that have come to define the contours of video art today. 

This humorous selection of performance-oriented videos maps a trajectory between consumer society and psychoanalytic confession. HalfLifers perform two rescue missions using colored snack food and everyday objects as means towards transcendence.

It was 1990 and, although the iron curtain was falling, Soviet official control was still iron-fisted.

The colorized abstractions of Moog Images were created by feeding Moog synthesizer oscillators into the video inputs of a television monitor.

In collaboration with Iris McCloughan.

In the early 1990s, I went to a reading by Leslie Scalapino at Intersection for the Arts in San Francisco.

"In Some Dark Place, filmmaker Cecelia Condit explores the dislocations of identity and memory that aging forces upon us, without losing sight of life's beauty."

— Milwaukee Film Festival, 2016

In Music on Triggering Surfaces, Bode constructs an interface between audio and video systems.

A political composition on natural resistance. These images are an expiring breath in danger of extinction. These images become extinguished, consumed: a drop, a pure intensity which only appears when falling.

This turgid potboiler was made with my class at the San Francisco Art Institute. It steam-rolls a series of overheated episodes to a colorful climax of redemption and moral rectitude.

Students reclaim a popular gathering spot on the campus of the University of Virginia.

The fifth in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed here–Tejana tableaux artist Santa Barranza, Taiwanese video and interactive installation artist Shu Lea Cheang,

A promotional vehicle with lane-changing tendencies, but both hands kept on the wheel at all times.

After the screening of his film Wai'á rini, the power of dream in other Xavante villages, the people of Aldeia Nova from the São Marcos reservation asked Divino to make a film on the same ritual, the Wai'á ceremony.

Painter and multi-media artist Jack Goldstein lived and worked in New York City. His airbrushed paintings of lightning and night skies are shown here accompanied by synthetic music, which the artist also composed.

Lambert is a Chicago-based musician and media artist. His creative output primarily consists of vocal driven art-pop music and pop-inflected video art made from repurposed industrial and commercial media.

By subjecting fragments from the Akira Kurosawa’s film Rashomon to a mirror effect, Provost creates a hallucinatory scene of a woman’s reverse chrysalis into an imploding butterfly.

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 reflecting hierarchies,

Segalove re-enacts the trials and travails of her desperate, hormonal, pubescent years with actors dancing their way through what looks like a techni-color version of the Cleaver’s backyard.

“Animists are people who recognise that the world is full of persons, some of whom are human, and that life is always lived in relationship with others.”

-- Graham Harvey, Animism

Confrontation is the element that defines Acconci’s work, from explorations of the body and self to his performances, videos, and installations to the more recent “transporting and self-erecting architecture.” Throughout his wo

Timely concerns about the future of video, artists’ complicity in the money making system of the ‘establishment,’ and the effect of the camera’s presence on personal encounters, is discussed and debated in this late night video produced by David Cort, C

In the video Glennda does DC, Glennda interviews people in Washin

The rocks are red, the mood is blue, the sky is big, and the scars on the earth run deep as a man and woman shop incessantly for nature's bounty and the trinkets of a vanishing culture. 

A short production I concocted with the students from the School of the Art Institute of Chicago and a tour through the old Playboy Mansion in Chicago where I bedded down for several days, alone and confused.

History haunts the border town of Columbus, New Mexico when riders on horseback cross the border to commemorate Pancho Villa's 1916 raid.

British-Ghanaian, writer, theorist and filmmaker Kodwo Eshun (b.1967) is known for his interest in the electronic mythology of sound. In this interview, Eshun discusses his desire to challenge the predominance of sociological inquiries into the historical and stylistic development of music.  Eshun seeks to establish a model of inquiry that is much more concerned with the materiality of sound.

6^ is part of the Pop Manifestos series, a five video project realized in collaboration with Cokes' former students Seth Price and Damian Kulash, and originally conceived as part of a series for the conceptual band SWIPE.

In this moment when the believability of our reality continues to stretch - blue people are hoping to enter into our reality environment.

In English, Chinese, Haudenosaunee, and Spanish. This video is originally a 2-channel video installation.

20 Hz observes a geo-magnetic storm occurring in the Earth's upper atmosphere.

Wawa peeks at the anxieties and difficulties of communication through the interactions between speakers of an endangered Indigenous language, each from differing cultural backgrounds and generations.

"The life of objects intrigues me. Apparently inanimate, they adopt the souls, actions and lifestyles of their keepers. Here, a bed testifies to what goes on behind the closed door of a decent family's bedroom."

—Ximena Cuevas

Part of the paraconsistent sequence series.

A family embraces the heart of evil in this Poltergeist re-make/drag show, circa 1992.

Most of the moving images produced for science, industry, commerce, and medicine are seen only by specialized audiences, and are then discarded soon after they are made. Rumour Of True Things is constructed entirely from such moving image ephem

As the AIDS epidemic took hold in the early 1980s, self-help guru Louise Hay created a space for healing called the Hayride.

Recently I found myself rising from a forced landing on the floor after being catapulted into the air by an exercise machine and bouncing off the dresser.

Uh-Oh! is a love story that revolves around the classic text, The Story of O. Not an adaptation, but rather a critical analysis of masochism that investigates the relationship between love, risk-taking, spirituality, power, and sex.

An experimental video on national insecurities.

Lines of Force opens with footage of a dramatic explosion. For most of the piece, the screen is divided, into a triptych at first, and slowly into horizontal and vertical bars.

"Newly hand-built digital video A to D and D to A with ALU bit flipping. Controlled by an ELF II computer. The image brightness changes also controlled analog synthesizer parameters of the live flute playing.

If anyone slaps you on the right cheek, turn to them the other cheek also. (Matthew 5:38-40)

A picture of the day-to-day life of Shomõtsi, an Ashaninka Indian living on the border of Brazil and Peru. Valdete, a teacher and one of the village video makers, highlights his hardheaded and witty uncle.

“Hey, how’s that TV work?” 

This is a kinetic tribute to Sylvia Plath at a time of the pandemic vortex, a dissemination of suspended bodies in the liminal space. Haunted figures in the Capitalocene era.

Respite consists of silent black-and-white films shot at Westerbork, a Dutch refugee camp established in 1939 for Jews fleeing Germany.

Jonas uses reflections on a lake as a mirror to displace reality, creating a disruption and the illusion of presence.

This single channel tape was created from a 4-channel live mix of 4 VCRs, an A/V mixer, and a sampler.

Robert Colescott paints expressive parodies of Western masterpieces.