An ex-model struts her stuff amid the dolls of desire that drive the demented to deeds of depravity and decapitation.

Named after Harry Smith's seminal "Anthology of American Folk Music,” Anthology of American Folk Song re-inscribes the optimistically paranoid mythological landscape of contemporary America.

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

Prefaces is composed of wild sounds constructed along entropic lines, placed tensely beside bebop rhythms, and a resurfacing narrative cut from a dialogue with poet Hannah Weiner.

Listen To This is a fragment of collective memory that finds critical relevance in contemporary Queer discourse.  Tom Rubnitz weaves narration, image, and a form of temporality, dislocated from ‘real time’, into a video where artist and AIDS activist David Wojnarowicz’s loss and anger is palpable.

Stop action animation, ink on glass.

In an upmarket house surrounded by an idyllic garden, there is no trace of human presence, even though a family obviously lives there. Voices, sounds and superimposed text create a feeling of disquiet whose origin continually escapes us.

Future From Inside is the last in the trilogy begun in 2016, by Dani and Sheilah ReStack (also including Strangely Ordinary this Devotion and

1968 was the opening of the Summer Olympics in Mexico City, ten days after the massacre of students and civilians by military and police on October 2 in the "Plaza de las Tres Culturas, Tlatelolco."

On April 30, 2019, Eiko and Alexis Moh, one of Eiko's collaborators in The Duet Project, visited the Manzanar Historical Site.

A meditation on maritime trade routes, SEA – SHIPPING – SUN is a short film directed by Tiffany Sia (b. Hong Kong) and Yuri Pattison (b.

The 1949 Housing Act, often seen as the beginning of urban renewal, reshaped the landscapes of many American cities.

Steve Kurtz is a founding member of the Critical Art Ensemble and Associate Professor of Art at University of Buffalo. His areas of focus are contemporary art history and theory as well as post-studio practices.

What are all of these photographers trying to capture, and just who is collaborating with whom? This short piece could be a take on fame and the cult of the personality — or a tourist portrait with the audience as subject.

Made in Ireland, October 8th, 2001.

A disorientating experience while attempting to watch the TV news in an Irish hotel room triggers a spontaneous response to the bombing of Afghanistan.

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.

Fences Make Senses re-stages and interrogates international barriers and borders using the bodies of non-refugees.

e-[d]entity: Female Perspectives on Identity in Digital Environments is a two-part collection of videoworks created from 1982-2000 that explores the cyber environment and how it affects, expands, confuses, and involves female identity.

Thoughts and Feelings is comprised of five short works which are a part of Mike Kuchar's ongoing Soul Searching Series.

Home Exercises is a short dancefilm and hybrid documentary investigating the gestural habits and choreographies of aging individuals in their homes.

In these lunar paths the moon is the celestial body of brilliant colors that crosses with its cyclical and mythical dance the dark space of our present time and in whose dance the moon enters, moves away, approaches and lies on itself in a cycle rhythmi

This social satire on total, faceless authority begins with Smith bewildered by forces he doesn’t understand.

Sites Unseen is a 16mm film of the Jewish cemetery in Warsaw, a photograph of a great Aunt who died in Treblinka, and my late grandmother eating her morning cornflakes.

Music by Zeena Parkins

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

Acconci literally feels the music in this tape as he lays down on speakers playing jazz. The sound pulses through his body while a collaborator massages his nude back in time with the music, occasionally striking Acconci like a rhythm instrument.

Gibbons presents a Son of Sam-like relationship between a man and his dog in which the man takes the dog to task for the terrible things he has made him do. Shot in Pixelvision.

American, minimalist painter Sol Lewitt (1928-2007) used the grid as a foundation for his many artworks. Seeing himself in the role of architect or composer, Lewitt was most concerned with the concept behind the piece rather than the final product.

The seventh in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed here–visual anthropologist Wendi Starr-Brown, Hapa video and performance artist Kip Fulbeck, Japanese-American artist Dorothy Imagire, Chicana mix

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.

This video is an unabashed fan letter to poet Eileen Myles. As in Laurie, my desire was to romanticize the poet, but not through her writing so much as through her reputation as the natural born child of the New York School and the Beats.

This tape addresses spiritual closure.

Fashioned out of home movies recovered from failing hard drives, this glitch-art video makes comparisons between different forms of memory - suggesting that, while error and decay may keep us up at night, they might also be the way we put our ghosts to

“[This tape] gives a clear picture of the consistency of Jonas’s concerns. The performance was based upon the merging of two fairy tales — The Frog Prince told backward and The Boy Who Went Out To Learn Fear told forward.

Originally commissioned by the Harvard Art Museums in response to the life and work of David Wojnarowicz, Survivor’s Remorse looks at how both art and bodies are maintained and the socio-economic influences that create a chasm between the value

Part of the paraconsistent sequence series.

This is a story of friendship between two independent female artists and their body memories each willingly carry.

West coast artists, Mike Mandel (b.1950) and Larry Sultan (1946-2009) became artistic collaborators in 1972 while both enrolled in the San Francisco Art Institute’s MFA program.

In Aspect colour, light and shadow shift across the surface of the forest as the duration of a calendar year is condensed into minutes.

In Sonnier’s video tape TV In and TV Out, two images are superimposed, one shot off network television and the other shot from a studio performance situation involving some of the materials and visual qualities of his sculptures. This live image is colorized by a device which adds color to a black and white image and in turn manipulates the color. Colorized color is more opaque and less three-dimensionally tactile than synthesized color, but it is tactile in its video scan-line texture.

Bob Snyder is a Chicago-based composer, video artist, and author who has been experimenting with sound and video synthesis since the 1960s.

No More Nice Girls layers the personal and political histories of women active in the 1970s feminist art movement, including Brenda Starr, Yvonne Rainier, B. Ruby Rich, Carrie Mae Weems, and Sherry Millner.

"In the spring of 2002 I handed over to Charles Atlas a collection of films and videotapes in various formats that I had been accumulating with an eye to his editing them into what I call a "faux Rainer portrait" (though he may well call the final produ

In this interview American filmmaker, poet, and lyricist, Cecelia Condit gives shape to the contours of her work process. The artist describes the influence of her relationship with her mother, her long-term investment in the macabre, and her ongoing desire to confront death through art. While covering a broad range of topics, Condit’s discussion of her work and interests returns to several defining themes: aging, grotesqueness, and the notion of movement, both in terms of her own past as a dancer and the notion of the body in decay. With a particular emphasis on the production and context of her videos, Annie Lloyd (2008), and All About a Girl (2004), this interview offers insight into the artist’s fascination with aging, sweetness, and storytelling, while also articulating her joyful sense of discovery within the art-making process. No longer working with scripts, Condit presents herself in the interview as a scavenger–much like the crows she incorporates into her work–assembling videos which straddle the line between strange and silly. – Faye Gleisser

An Unangam Tunuu elder describes cliffs and summits, drifting birds, and deserted shores. A group of students and teachers play and invent games revitalizing their language. A visitor wanders in a quixotic chronicling of earthly and supernal terrain.

These three videos from Cecilia Dougherty deal with particular states of mind: that of a participant in a symbiotic relationship, the melancholy felt at the end of a romantic union, and the solitary non-space created by a regular commute.

Paternal Rites is a first-person essay film that examines the secret underbelly of a contemporary Jewish American family as they grapple with the aftereffects of physical and sexual abuse on their present-day lives.

Soliloquy is from Martine Syms’ Kita’s World series. In the series, Kita enacts the performances of everyday life in a hyper-digitized world.

This is a gaze of the body and a notion of spectator that the 90´s decade constructed, this is the audiovisual legacy of the 90's for our actual audiovisual control world.

A post-apocalyptic computer animated vision of humanity lost in an industrial wasteland, Maxwell's Demon was animated on a low-cost, consumer computer model - an IBM PC.

A satire of the political television spot, Perfect Leader shows that ideology is the product and power is the payoff.