Frances, a young Gay Indian (2 Spirit), played by Lacey Hill, is struggling with the aftermath of a gay basing. Through her friendship with her ex Jean, she gathers the strength to go out in public again.

In October 1969, the Videofreex visited the home of wealthy political and social activist, Lucy Montgomery, as she was hosting the Black Panther Party of Chicago during one of their most fraught times – the period just after Chairman Bobby Seale was wro

While moving through the streets of Paris, a brother and sister confront their incestuous past under the watchful eye of their female taxicab driver.

With sampled image and sound sequences referring to one another in a precisely calculated rhythmic alternation on four projection surfaces, Călin Dan draws a portrait of the city of Bucharest.

The tapes in Facing the Self: Program 2 are organized around the appearance of the female form, particularly the face.

Taking its title from a poem by Paul Celan (translated as “sleeping den”), this montage is the result of a script that reconfigures over two hundred lines of English subtitles, lifted from films ranging from Battleship Potemkin and Persona

In 1972, Robert Morris and Lynda Benglis agreed to exchange videos in order to develop a dialogue between each other’s work. Morris’s video, Exchange, is a part of that process—a response to Benglis’s Mumble.

In this video, made soon after the death of his mother Stella, we accompany George to the wake, and on to a trip to Albert Maysles holiday home on Fisher's Island.

There is no better place to meet people than in the temporary community which gathers under a scant awning on a New York street in a downpour.

La Intolerancia en el Jardín de las Mentiras y el Pecado (The Intolerance in the Garden of Lies and Sin) recounts the rupture of the relationship between friends due to the ambition of the prized object.

Steve Seid of Pacific Film Archive calls it, “An episodic adventure about extra-evolutionary transformation. Organized as 'lesson plans’, this unique work is an ambitious tutorial for the neo-nauts of inner space."

Impetigo is the story of passion and possession in a steamy nocturnal landscape. The title is a reference to the poem A Man All Grown Up is Supposed To, by Terry Stokes.

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.

Touch Parade is a 5-channel HD video installation consisting of crush (9:22 min. loop,) squeeze-2-pop (5:49 min. loop,) wading (3:41 min. loop,) glove love (6:58 min.

Blind man: “It is bad to be alone.”

The Creature: “Alone, bad.”

—The Bride of Frankenstein

It can be so bad to be alone that even an artificial heat is better than none.

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

He is mute flesh that the stroking of fingers can bring to sing.

-- Mike Kuchar

In this elegant demonstration, Sandin explains the mistake of using common language concepts and spatial relations to describe what actually can happen on the video screen.

This video diary/travelogue centers on a tropical trip to Acapulco where yours truly hits both sand and surf with maximum impact.

Syms’s 4-channel installation — avaliable through VDB as a single channel video — follows the central character (an aspiring artist also named Martine Syms) on a journey home from the dentist after receiving “laughing gas.” Mixing multiple points of vie

Richard Ross discusses his interest in photographing museums—their display of objects, frames, the entire context—in order to question our definitions of the museum.

Nobody counts the hours and nobody cares how the years are piling up. Souls begin and end. Then comes the night. A snow landscape of souls.

My film is a simple gathering of New York City street footage.  It was shot with a spring-wound 16mm Bolex on, above, and below the streets of Manhattan and Brooklyn and includes footage of the ticker tape parade for astronaut John Glenn.

Contains Videofreex tapes Buzzy and the Flute, Buzzy at the Gaslight, Buzzy at the Videofreex Loft, Buzzy Linhart at the Record Plant

Consisting of 13 brief spots, Experience: Perception, Interpretation, Illusion features works by artists included in a Pasadena Armory exhibition.

“Mining an ironic vein by turning technology against itself, AlienNATION undercuts the sociological ramifications of modern living.

"A film about the time of the blast furnaces — 1917-1933 — about the development of an industry, about a perfect machinery which had to run itself to the point of its own destruction. This essay...

A teenage girl recounts the artist’s stories, ones which emphasize the complexities of youth, family, love, and friendship. The muddling of self with other complicates these stories further.

Produced in collaboration with MICA-TV, Summer of Love is a public service announcement produced for the American Foundation for AIDS Research. Featuring The B-52’s, David Byrne, Allen Ginsburg, Quentin Crisp, John Kelly, and others.

"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." 

The dark and sloppy side of touring college towns with your work. An internal expose of external secretions that unfortunately make it to the boob tube in full color.

Documentarian and independent film producer Warrington Hudlin co-founded the Black Filmmaker Foundation in the late-1970s to help develop and promote emerging artists.

A radical reworking of an etching by Italian artist Giorgio Morandi, brought to life by engraving fame by frame into the photographic emulsion of color filmstock.

Four short pieces: three featuring anecdotes and conversations, the fourth an icy landscape.

Julie Ault is an artist, curator, and founding member of the artist collective Group Material, which has organized exhibitions on themes such as the U.S.’s involvement in Central America, AIDS, education, and mass consumerism.

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.

In this short video, the Videofreex sit in on, and record part of, a lecture given by Jesse Ritter to undergraduate students at Princeton University in 1969.

In Bataille, fragments from the Akira Kurosawa’s film Rashomon are subject to a mirror effect. A scene in which two samurai fight each other becomes a cosmic field of monsters where horror and pain evoke beauty and joy.

Invoking Eve’s temptation and fall from grace with recurring images of the garden, the serpent, and the apple, Condit provides a look at the trouble beneath the surface in a modern-day suburban paradise.

2 Channel Land is a north-western docu-fiction film exploring the history of analogue signals spilling across the borders of Ireland and Britain.

"Image states / sound states.

Lee Krasner (1908-1984) was born in New York and attended Cooper Union, the National Academy of Design, and the Hofmann School to study painting.

A domestic portrait rendered at miniature scale, Dust Studies brushes along the edge of what can be seen.

Sportello Quattro, filmed during a residency at the American Academy in Rome, is about immigration, work and community among people of color in contemporary Rome, Italy.

Cast: Joseph Bayorha.

Following the Israeli withdrawal from Ain el Mir in 1985, the village became the frontline. The Dagher family was displaced from their home, which was occupied by a radical resistance group for seven years.

In the late 1990’s I presented a slide lecture on how my art references impermanence and dying.

The rivers are in flood stage during a scenic tour of Tulsa; while in El Reno, Oklahoma, it's as dry as a two-week old peach cobbler.

1! 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.

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