Joan Logue cuts down considerably Andy Warhol’s projection of fifteen minutes of fame, with this compilation of 30-Second Spots. Produced to be broadcast as individual, mini-documentaries on the included artists and their work, Logue’s short interpretive video pieces feature a prime time selection of over twenty New York performance artists, composers, dancers and writers, including Maryanne Amacher, Robert Ashley, David Behrman, John Cage, Lucinda Childs, Douglas Ewart, Simone Forti, Jon Gibson, Philip Glass, Spalding Gray, Joan Jonas, Bill T.

Yvonne Rainer combines a dance performance she choreographed for Mikhail Barryshnikov’s White Oak Dance Project in 2000 with texts by Oscar Kokoschka, Adolf Loos, Arnold Schoenberg, and Ludwig Wittgenstein—four of the most radical innovators in painting, architecture, music, and philosophy to emerge from fin-de-siècle Vienna.

Masked men prowling in the bushes and not touching anything but satin, dandelions and flesh.

Subtitled A Rebellion against the Commodity, this engaged reading of the urban black riots of the 1960s references Guy Debord’s Situationist text, “The Decline and Fall of the Spectacle-Commodity Economy,” Internationale Situationniste #10 (March 1966). Along with additional commentary adapted from Barbara Kruger and musicians Morrissey and Skinny Puppy, the text posits rioting as a refusal to participate in the logic of capital and an attempt to de-fetishize the commodity through theft and gift.

This slow-motion film is a glass snow globe with dancers who topple and bounce off the sides of the frame. Re-purposed by Breder at his Dortmund retrospective as Weisse Tasse in which a video was projected on the side of a white cup.

The union of humankind and the camera is a long and sordid tale. This lyrical dance illustrates the inseparable nature of the two.

This title is also available on Animal Charm Videoworks: Volume 3, Computer Smarts.

Circles cycle and shift in scale in this video about, through, into and out of Carol Bove’s monumental sculptures starring the exquisitely talented dancer Katie Gaydos. Circles are celestial bodies, the pendulum, the metronome, playing against the hands of a clock as Gaydos’ body traverses the forest of Bove’s sculptures, reminding us that time is nothing external, but an integral feature of our interior landscape. Bove’s title Chimes at Midnight is a reference to Orson Welles’ film of the same name.

Circle's Short Circuit is an experimental feature-length work with neither a beginning nor an end—the film can be viewed from any random point. It moves through a circle of five interlocking episodes that describe the phenomenon of interruption in contemporary communication through various forms and modes, investigating causes, consequences, and side-effects. Genres shift along the episodic path of this circle, moving from documentary to essay, through collage, simulated live-coverage, and silent film.

C.L.U.E. (color location ultimate experience), Part 1 is a collaborative video and performance work by artists A.L. Steiner and robbinschilds, with AJ Blandford and Seattle-based band Kinski. Inhabiting the intersection of human movement and architecture, A.L. Steiner and robbinschilds (Sonya Robbins and Layla Childs) present a full-spectrum video, set to a score by rock quartet Kinski.

C.L.U.E. (color location ultimate experience), Part 1 is a collaborative video and performance work by artists A.L. Steiner and robbinschilds, with AJ Blandford and Seattle-based band Kinski. Inhabiting the intersection of human movement and architecture, A.L. Steiner and robbinschilds (Sonya Robbins and Layla Childs) present a full-spectrum video, set to a score by rock quartet Kinski.

Compromise is Episode 1 of the video art trilogy, This is More Than Love I Feel Inside, in which Jillian Peña traces a queer relationship from inception to demise.

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

In Danza Solar, Super8 archival footage of dancers is superimposed with 16mm views of the sun (suns). The film evokes a communal solar trance, both Andean and Mesoamerican. Part of a collection of works the collective considers "Shamanic Materialism," Danza Solar is a Mesoamerican spell unleashed.

A brief glimpse into the cycles of Coyolxauhqui, the moon goddess, whose cycles used to be a dance. A fast-paced jazz soundtrack accompanies the quick, darting movements of the moon.

This title is only available on Kip Fulbeck Selected Videos: Volume One.

Lips that issue forth melodious vows. Warm skin on bedsheets stained with dreams. Faces crowned with halos that light a path to temples of the soul…..You will find it here in DREAMS and OMENS!

This title comprises Wishful Thinking (2015), Testimony (2013), and New Beginnings (2014) which were compiled into this form by Mike Kuchar in 2022.

Drills is a film about the choreography of preparing for the future. A hybrid documentary and experimental dance film reimagining the form of the Cold War-era, US government-produced social guidance film, Drills asks what futures we are preparing for through the exercises embodying present anxieties. Weaving in between multiple forms of choreography and documentation, Drills restages lockdown and active shooter drills, frames corporate and tech start-up office meditation, and reperforms Boy Scout drills from the 1917 Boy Scout manual.

"A refreshing look at karaoke, psychedelic dance moves, and donuts all mashed together into a small and swinging film about a man who considers his private thoughts and private jokes worth sharing with a large audience. And it's unlikely that many would disagree."

--Impakt Festival, Utrecht, The Netherlands, 2001

This title is also available on Jim Finn Videoworks: Volume 1.

In the nest of the sun, Xolotl, Huitzilin and Xochitl meet to recover the dance of radiation, whose colorful heat stirs the new fire of their cosmic dance. Part of the Film Tonalli.

A compilation of five early short films made between 1966 to 1969.

Hand Movie 1966, 6:00, b&w, silent, 8mm

Close-up of a hand, the fingers of which enact a sensuous dance. Camerawork by William Davis.

Volleyball (Foot Film) 1967, 10:00 b&w, silent, 16mm

A volleyball is rolled into the frame and comes to rest. Two legs in sneakers, seen from the knees down, enter the frame and stand beside it. Cut to new angle, same characters and actions. Camerawork by Bud Wirtschafter.

The later 1950s and early 1960s saw the development and proliferation of radically new forms of dance driven by a desire to understand the essentiality of movement divorced from traditional, balletic and modern syntaxes. At the forefront of this new wave of performance was Simone Forti, an artist with a hand in both improvisational techniques and choreographed task-maneuvers. This interview details her exploration of each – with a particular focus on her earliest investigations into movement, owing to time spent under the study of Anna Halprin.

From The Files of the Pyramid Cocktail Lounge is a series of video clips taken at the Pyramid Club, a seminal location for the East Village drag scene in the midst of the club's most influential years. While rummaging through a file cabinet full of event fliers from the Pyramid Club, an office worker in drag guides the viewer through video documentation of past performances at the club.

A film titled Dance Movie (or, alternatively, Rollerskate) appears in many Warhol filmographies, but no work with this title has been found in the archive. The lost film, starring dancer Fred Herko, was shot in 1963. A year later, Herko leaped out of an open window while dancing to Mozart’s Coronation Mass in C Major. Inspired by descriptions of the missing film and the memoir of Herko’s best friend, the poet Diane Di Prima, Goddess of Speed poetically reimagines the last days of the young performer.

Identically dressed, and with sibling-like resemblance, performance artists Trevor Martin and Kym Olsen shift between spoken word and athletic dance choreography in a collection of 29 scenes. Set in various locations--including a gymnasium, an abandoned hospital, and a trailer park circus--Martin and Olsen slip between a ventriloquist and his dummy, a seducer and his surrogate, a doctor and his patient, and synchronized dance partners. The film examines a complex social psychology--questioning the colonization of the human body for various political, medical and religious agendas.

Identically dressed, and with sibling-like resemblance, performance artists Trevor Martin and Kym Olsen shift between spoken word and athletic dance choreography in a collection of 29 scenes. Set in various locations--including a gymnasium, an abandoned hospital, and a trailer park circus--Martin and Olsen slip between a ventriloquist and his dummy, a seducer and his surrogate, a doctor and his patient, and synchronized dance partners. The film examines a complex social psychology--questioning the colonization of the human body for various political, medical and religious agendas.