A young man of the "Modern Age" ponders sits alo

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."

A.L. Steiner’s video More Real Than Reality Itself expands the structures of documentary works while challenging its conventional reliance on linear narratives.

An interview that charts the activities of the Polish critic and curator Sebastian Cichocki. The dialogue is centered around, particularly, the difficulties of operating in a peripheral, Eastern European artworld context.

Taken almost verbatim from a newspaper, The Arizona Daily Star, the video recounts the story of Ramona Barrrara, a New Mexico woman who saw the face of Jesus in a tortilla when she was rolling her husband's burrito.

Something Else is a film about found footage as subject matter and Miss Black Roanoke, Virginia 1971 expressing her thoughts about the upcoming Miss Black Virginia 1971 Pageant.

Cast: Rene Marie.

John Cage’s compositions and performances have had a profound influence on generations of musicians and artists. In this tape, he initiates For the Third Time as author Richard Kostelanetz interviews him.

RECKONING 7 is something of an instrumental interlude between longer, denser episodes of the RECKONING series, which is now being made and released "out of order.” Through an 

A high and low fidelity record of obsessions past and present. A hooded man named Cobra Commander (drawn naked) and a boy with black glasses. A fanged woman named Shadow-La and a girl in a rose colored wig.

Naked is a "living" environmental installation created for and commissioned by the Walker Art Center in Minneapolis, where EIko & Koma were "on view" all the hours the museum was open for the month of November 2010.

Crossings and Meetings explores the image and sound of a walking man, expanding a simple image into increasingly complex permutations and arriving at what Emshwiller calls a "visual fugue" in time and space.

The only time I’ve visited a communist country was when I went to Poland in 1980, not long after Margaret Thatcher’s Conservative government was first elected in Britain.

"Interested in the hidden corners of exoticism and a reinterpretation of history as an aesthetic challenge, Colombian resident in France, Laura Huertas Millán (Bogotá, 1983), presents in Aequador—in her own words—'a parallel present modified by

Painter/mixed media artist David Dunlap creates installations and performances that draw from the notebooks he has kept since the mid-’70s—giving three-dimensional, public form to his intimate thoughts and diaries.

Feedback-generated computer animations wiped and keyed with images and sounds from electronic oscillators via an analog video switcher.

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.

Breder painted the words of Donald Kuspit’s poem in white on scraps of paper and then floated them down Old Man’s Creek, the site of many legendary Intermedia performances near Iowa City.

Laurie Simmons’s photographs are brought to life in Laurie Simmons: A Teaser, MICA-TV’s portrait of the acclaimed photographer.

Setting her pixelvision camera on herself and her room, Benning searches for a sense of identity and respect as a woman and a lesbian.

Since the Gulf War in 1991, warfare and reporting it have become hyper-technological affairs, in which real and computer-generated images cannot be distinguished any more.

Tochka depicts a journey made by anonymous group through a rough landscape. After many hardships, they arrive at a shallow ravine where they decide to build a rickety wooden bridge so that they can cross to the other side.

TVTV's inside view of the 1972 Republican National Convention made broadcast history.

The Diaspora Suite

"Mama mama mama...," a woman calls out again and again, over and over. Is it her child that she mimics, or is she calling for her own mother? A desperate video performance in the first person.

Under the spell of Toloache, the hypnotic images come up.

A tour of acting gigs that come my way and the people behind the cameras that aim at my expanding torso. A bloated ham in action on the West Coast and the thespians that rub shoulders with his hind quarters. Shot in San Francisco and Hollywood, USA.

A love letter to the Internet from a feral cat in Brooklyn.

Executive Producer, Suzanne Lacy; Director, Steve Hirsch; Editor, Doug Gayeton.

From the performance Freeze Frame: Room for Living Room by Suzanne Lacy, Julia London, Ngoh Spencer, and Carol Leigh, San Francisco, 1982.

Guerilla Girls are artist activists who have dedicated themselves to informing the public of the gender and racial inequalities that persists in the art world.

The place where my students and I confront each other and glimpse into a world infiltrated by beloved infidels.

"I got my first Sony Portapak in 1972 and started keeping a video diary. I sat facing my image on the monitor and talked about what was going on in my life. In 1977 I decided to talk about my current experience with love.

Originally recorded during 1975-76 and re-mastered in March 2005, this selection of 11 skits mostly focuses on Man Ray.

Love is in the air as newlyweds chomp on cake, brides marry werewolves, and hatchets fall on adulterous heads.

... There is a garden in the dark hunger of his psyche where forbidden fruit grows.

— Mike Kuchar

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.

"Starring an inflatable wig holder that I got at a car boot sale in Bremen, Germany, this film began as a demonstration of different film animation techniques, but evolved into a bizarre improvised narrative in which the head escapes from the violent cl

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.

Gallup, New Mexico, in the American Southwest, has hosted the Inter-Tribal Indian Ceremonial annually since 1922.

In collaboration with Iris McCloughan.

Anthony Ramos' astute deconstruction of television news focuses on his part in the media coverage of President Jimmy Carter's 1977 declaration of amnesty for Vietnam draft evaders.

"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

The second installment of the collaborative project New Report, an ongoing series of performances and videos, Artist Unknown features K8 Hardy (founder of the queer feminist art collective LTTR) and Wynne Greenwood (of Tracy and the Pl

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.

Male escorts and crytozoologists battle behemoths and bulemics in this student-teacher collaboration about undying evil and those that escape it via the LOVE CANAL.

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

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

Linda M. Montano: 14 Years of Living Art is a video catalog of the artist’s exhibition, performance and workshop in Montreal in 2003.

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.

"Actions, states, one B+W video camera, the Paik Abe Colorizer, a video switcher. The two states, a b a b, I put my hand in the camera frame and saw a colored hand shifting.

Hotel Globo critically examines the changing urban surface of Luanda through video, photographic and performative incursions into the interior landscapes of the 1950s Hotel Globo in Luanda, Angola.