Originally filmed as an installation in Berlin, a digital reworking of documentation results in digital video artwork which uses image, narration, and raw sound for the sake of deconstructing and reconstructing.

"A group of students and teachers gather in an historical mansion in the woods of West Virginia for a week-long retreat in spoken Latin. I observe and I participate while navigating the errata with my camera."

— Sky Hopinka

IN TRANSIT was shot in HD video during travels between 2008 - 2010. It is both an observational documentary and an experimental work in form and intent with an overall lyrical quality.

Born in Los Angeles in 1933, Michelle Stuart spearheaded the use of non-traditional materials from nature in the early '70s, and has produced and exhibited her work internationally.

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.

In 1958, Allan Kaprow (1927-2006) published an article on Abstract Expressionism entitled The Legacy of Jackson Pollock in which he suggested the separation of the art-making activity from the art itself.

A hyper-collage endurance test of sado-masochistic proportions, mixing an anthology of corporate video music with a feng shui video.

In Two-Spirits Speak Out, Brenda and Glennda interview members of We'Wah and Bar-Chee-Ampe, one of the first Two-Spirit Native American organizations in New York.

Eiko edited this video to illuminate, in fast pace, her solo performance project A Body in Places. The red cloth she often uses in her performance is used as a visual link between different places and communities where Eiko performed.

This is the state of mind in the post-Covid quarantine. This is the state of the images in the pandemic vortex. This is our post-Covid screen. The constant monitoring of a global demonic and satanic presence.

Standing on the brink of elimination, the suspense threatening to fracture their composure, contestants wait and see if they will be going home. The audience at home is also waiting... Part two of Bearing Witness Trilogy.

Color Schemes was exhibited in its installation form (with a self-service washing machine) at the Whitney Museum in 1990.

An up-close compilation of interviews and discussions with people living with HIV in the early 1990s. 

A compilation of two videos that wittily explore counter-cultural identity through lesbian portrayals of iconic stars: in this case, the Beatles and British playwright Joe Orton.

George Kuchar’s Acid Redux is a raucous journey into the murky domains of mysticism and liminality.

In Toms’ Tattoo, someone named Tom is getting a tattoo in front of an audience. The tattoo displays an ox where two roses are branched from its mouth with the word “STUDEBAKER” above.

A portrait of risk and language, DAREDEVILS, presents the experimental narrative of a writer as she interviews a well-known artist and feels the reverberations of their discussion throughout her day.

Heliocentric uses timelapse photography and astronomical tracking to plot the sun's trajectory across a series of landscapes.

Dan Sandin designed the Image Processor that, partly because of his decision to give away the building plans, has effected an energetic and aesthetic investigation of the technological structures of electronic media.

A newly re-mastered collection of 22 comedic performances to camera, produced during 1973-74.

The everyday performance of domestic labor is teleported into a surreal game world where an emotionally responsive AI chatbot provides no answers.

(In) Visible Women shows the heroic responses of three women with AIDS in the context of their respective communities. In the face of adversity, these women confront all aspects of the AIDS crisis in their lives.

Juan Sanchez explores his Puerto Rican heritage and the issue of Puerto Rican independence through his work as an artist and writer.

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

A loosely structured and evocative drama that centers around the search for a lost oasis. Shot in a bizarre Californian landscape, the piece is a contemporary desert fantasy.

This absurdist, microscopic film noir follows the activities of an underground network of ill people, desperate to create alternative methods of self-care in a world where natural resources are disappearing.

A series of unnatural deaths and departures (almost all, of men) disrupts the lives of nine families sharing an apartment building in Jerusalem.

In her oft-cited essay “Video: The Aesthetics of Narcissism,” Rosalind Krauss says, “self-encapsulation — taking the body or psyche as its own surround — is everywhere to be found in the corpus of video art” (October 1, Spring 1976). This certainly applies to this early work of Hermine Freed. Utilizing a split and reversed screen, Freed faces herself, caressing and kissing her doubled image.

Found-footage video about the destruction of the environment by man-made forces. 

“A soldier’s trip to Syria is complicated when he accidentally impregnates a friend. Meanwhile, a horse breeder from Ohio is driven away from home by her own desire to become pregnant.

I just got this tattoo — you can see it's still healing, the edges are raised like some sort of fancy business card — to mark the completion of this, Series One of my on-going project, Final Thoughts.

My TV Dictionary: The Drill (1986) translated through digital filtering in 2014.

Nang has lived outside the box. Born in a Trinidadian village in 1934, she grew up poor, illegitimate, mixed-race and female, but she survived by defying convention.

Burrow-Cams features footage from cameras that have been placed inside underground animal habitats (dens, burrows, etc.).

In a celebrity-obsessed culture, filmmakers often exploit the downfall of a star to amplify the emotional undertones of the fictional films in which they perform.

The male/female, subject/object investigation in A Bit of Matter and a Little Bit More has no titillating introduction; the appetite is not whetted beforehand.

An erotic/mystical misadventure in which the allure of the religious path is strewn with earthly temptations.

"We buried ten Cadillacs in a row alongside Interstate 40 (the old Route 66), just west of Amarillo, Texas; each car represented a model change in the evolution of the tail fin.

It’s a delight; not fragile yet.

It’s not hockey bashing and blades.

Not the escapades, or a snake.

It’s an expanded definition of drawing.

Their first longer piece entirely in silence. The backdrop and floor were painted with a burned flour paste which crumbled down as they moved.

Stasi is an audiovisual recall of the political and social substrates that sustain an actual system of images. Stasi is a recall of a system of images that, even now, dominates the global gaze of the world.

Blood and Guts in High School features actress Stephanie Vella in a series of video installations* that re-imagine punk-feminist icon Kathy Acker's book of the same title.

A HalfLifers journey to a lush interior landscape where some domestic chores and an unexpected encounter provoke a crisis at Mission Control, paving the way for a seasonal reflection upon the meaning of "home."

Thornton asks viewers to question how one sees “space" — whether literally or figuratively — and what is being revealed? Images of a sonogram session grant viewers access to what is typically reserved for medical analysis — “inner space.”

"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

These five short videos examine the relationship between the female body and the camera’s gaze.

Tom Poole is an organizer of many things.

Babeldom is a city so massive and growing at such a speed that soon, it is said, light itself will not escape its gravitational pull. How can two lovers communicate, one from inside the city and one outside?

I moved three thousand miles from the east coast to join the feminist art program at CAL ARTS in 1973.  I had only been in LA three weeks when Judy Chicago took us to a "Menstruation" art exhibition at Womanspace Gallery.  The exhibit included

A Yosemite gargoyle climbs two gothic arches.