Matthew Coolidge is a founder and director of The Center for Land Use Interpretation (CLUI), an organization dedicated to raising awareness about how land is apportioned, used and perceived by its inhabitants. Through exhibitions, publications, and guided tours, Coolidge and the CLUI seek to foster and encourage a heightened sense of awareness of natural surroundings. In this interview, Coolidge defines a ‘land art spillover effect,’ in which the perceived significance of the landscape seems to increase the closer people get to a piece of environmental art.

Filmed in the remains of Soweto's historic Sans Souci Cinema (1948-1998), YOLO is a makeshift structuralist mash-up created in collaboration with the Eat My Dust youth collective from the Kliptown district of Soweto, South Africa.

Approximates a small child’s fantasy world in the dark. In a series of close-ups, the nightlight is transformed into a meditative star-spangled sky. An improvisation, edited inside the camera and shot on a single reel.

Plagued by blindness, sloth, and devotion, a troubled scene from Little House On The Prairie offers itself up to karaoke exorcism.

— Michael Robinson

"On my mother’s side there are two lands I come from, separated by the Atlantic ocean, all those fathoms deep. The lands of my grandma and grandpa. I had been through the lands of my grandfather, that is where I still live.

This is a re-destroyed film that I was unable to finish in 2013. Filmed both in ruins: at the Sutro Baths in San Francisco and in final domestic spaces occupied with a former partner. Film was destroyed in ocean water.

"Soundings is a meditation on the phenomenology of sound, the translation of image into sound and sound into image through a series of experiments on an audio speaker.

Born in 1943 in Poland, Wodiczko lives and works in New York and Cambridge, MA, where he has been professor at MIT since 1991.

Performance artist/sculptor Ana Mendieta used the raw materials of nature: water, mud, fire, rock, and grass.

Volume 2 includes the pixelvision works made in 1992: A Place Called Lovely, It Wasn't Love, and Girlpower.

John Arthur Clark (1943-1989) was born in Yorkshire, England. He attended Hull College of Art, receiving a National Diploma in Art and Design (N.D.D.) in painting. From 1966 to 1968 he attended Indiana University, receving an M.F.A. in painting.

The video series Not Once began with the recording of personal stories by local Icelanders, about specific locations or a sense of place.

Spanish artist Jaume Plensa (b. 1955) creates sculptures and installations that intend to unify individuals through their relationship to memory, the body, and spirituality.

On Photography People and Modern Times is the outcome of three years of research on photography conducted by the artist in Lebanon, Jordan and Egypt during the founding years of the Arab Image Foundation (AIF).

Turistas deals with the letdown of a world that is pre-mediated and post-digested—a video travelling guide that updates the 19th century artist's Grand Tour and downgrades it to 21st century not-so-Grand status.

The dog in dreamland? Or at least one of us is…

–– Ken Kobland

Originally constructed using a Super 8 camera and a walkman, Manipulation/Dictation investigates processes of lesbian seduction, betrayal, and the expectation that both parties can still be friends later.

The third installment in the Action Series. Two characters engage Ann Hamilton's Headlands kitchen-space and create temporal resonances. To survive they must break the fast (a midnight snack) and service the meal.

In this video diary of Breder’s trip, the viewer is given an after-hours tour of the Soviet capital.

Footage from a performance produced at Forum en Scene in Middleburg, Holland of the players continually enacting the same tasks. Nothing To Lose opens with a young, androgynous sailor standing between two buildings, while the song Nothing To Lo

In this agit-pop double feature, Cokes celebrates civil disobedience and deconstructs race relations. Cokes inter-cuts political slogans and social facts with an array of footage and juxtaposes the images with pop, rock, and rap soundtracks.

This is "limbo" in which the objects of capital are found. Part of Hauntology Films Archives series.

When everyone has forgotten the romantic refrains of the Internationale sung in different languages, Pablito, a blue front Amazon parrot, capable of living to 100 years old, will remember.

My Mother’s Place is an experimental documentary focusing on the artist’s mother, a third-generation Chinese-Trinidadian who at 80 still has vivid memories of a history lost or quickly disappearing.

Torn over the pressure to perform for his audience, Acconci fantasizes about "a dancing bear" who takes his place, performing in the spotlight, doing what others want, "what I always had to do."  The viewer is placed in the position of an authority

This is an agitprop piece on resistance from the autonomy and indigenous sovereignty that hold in his own name, in his own letters, in his own sparks and embers of letters.

This is the new choreography of devotion, via the vlog of southern nightmares. This is the light that never goes out. This is the line describing your mom.

VIVA ÁGUA is a meditation on the philosophical work entitled ÁGUA VIVA written by Clarice Lispector in 1973.

"Conspiracy Of Lies speaks of the alienation of minorities, of consumer culture, urban isolation and the fine balance between mental order and chaos.

Primal urges and lofty aspirations saturate this lush excursion into the human landscape where internal battles rage – see pens spill forth poems – observe the paintbrush dripping passions, as writers and artists sear

An over thirty-minute static long take of a grass lawn in front of a lake. A camera is set still to capture a day trip of a group of people around the lake.

In this video, Glennda Orgasm and social critic Camille Paglia walk the streets of downtown Manhattan and discuss the status of mainstream feminism in the early 1990s.

The Look of Love: A Gothic Romance is an experimental video/audio collage in four acts. Performing in various guises, Suzie Silver embarks on a quest for the magnificence—and horror—of desire and pleasure.

Now That I've Lost My Buffalo, I Don't Know Who to Grind is a short animation conceived through the collaboration of three visual artists — Diane Christiansen, Jessie Mott, and Alejandra Trigoso — that stages a volatile theater of bodies in flu

A tribute to people everywhere who spread their glorious visions on canvases both large and small, beaded or lenticular, glossy or matt finished.

Breakfast of Champions is an installation created in 1991 by the artist duo Ligorano Reese, comprising Nora Ligorano and

This European flavored melodrama depicts a fictional country of refined manners and debased desires that explode into chaos, sending its prodigal son into the pit of 20th Century technology.

Eiko Otake, based in the United States since 1976, is a highly regarded artist who has performed in many countries as part of the performance duo Eiko & Koma.

In this interview, Los Angeles-based artist and filmmaker Ryan Trecartin (b. 1981) discusses his personal interests and motivations, as well as the larger cultural and philosophical concerns that shape his videos and their reception. Trecartin is known for his construction of non-linear narratives, campy costumes, and excessively visceral characters and environments. One of the most compelling aspects of this interview is his insistence that language and its verbal articulation, rather than the visual, anchor his process. Trecartin identifies the influences of 1990s retro-rave culture, hip-hop videos, and editing software tools on his work. He notes that the accelerated disintegration of high and low culture has played a major part in his growth as an artist.

Shot in Naples, Vienna, and New York, Some Chance Operations explores the notion of an archival form, in this instance film, as an unstable memory receptacle that can vanish.

This Is Not Beirut is a personal project that examines the use and production of images and representations of Lebanon and Beirut, both in the West and in Lebanon itself.

Beach House is a film about a unique example of rural modernism built on the UK coast of Suffolk by the architect John Penn. As well as being an architect, Penn was a painter, musician and poet.

Solstice is a music video illustrating the feelings inspired by this holiday song written by a young man I met in Atlanta, Georgia, Andy Ditzler.

Washington, D.C.-based African-American artist Sylvia Snowden paints what she calls “figural or structural abstract expressionist” works.

An Ocean Between Us expresses the desire for a relationship that is made up of transitions, successive time shifts, and coordinated changes without an essential unity.

Private photos of an exploitation film matron (Doris Wishman) in action highlight this collection of summer fare that features a wide range of image-makers pursuing their dreams.

Reeves explores his personal journey to seek the center of existence through the teachings of Eastern religions. India is the source of images for his message about the eternal wheel of existence—life and its continuous process of change.

Painter Peter Saul’s iconoclastic paintings parody various aspects of contemporary American life, from politics to sex to violence.

Public Discourse is an in-depth study of illegal installation art. The primary focus is on the painting of street signs, advertising manipulation, metal welding, postering and guerrilla art, all performed illegally.

This is the path from the snake’s perspective.