"Between March 1972 and February 1977, the Videofreex aired 258 television broadcasts from a home-built studio and jerry-rigged transmitter in an old boarding house they rented in the tiny Catskill Mountain hamlet of Lanesville. It was a revolutionary act in defiance of FCC regulations — the first unlicensed TV station in America."

In the video Glennda does DC, Glennda interviews people in Washington D.C. about the topic of gay rights. As the National Gay and Lesbian Task Force Conference is going on simaltaneously, she asks people if they were aware of this, and if they believe that there should be a gay rights bill.

On February 10th, 2005, Lynne Stewart was convicted of providing material support for a terrorist conspiracy. She is the first lawyer to be convicted of aiding terrorism in the United States. Stewart was convicted on charges of conspiracy and providing material support to terrorists in 2005, and sentenced to 28 months in prison. Her felony conviction led to her being automatically disbarred. She was re-sentenced on July 15th, 2010, to ten years in prison in light of her perjury at trial.

Parry Teasdale is one of the founding members of the video art collective Videofreex, which was active in the 1960s and 70s. In this extensive two-part interview Teasdale explores the collective’s motivations and endeavors, which embodied the social and political concerns of the period.

Poison Ivy is an energetic activist response to conservative ideologies and their ‘Contract On America’.

Your Money or Your Life is a video essay on street crime, and on the role played by an atmosphere of pervasive (white) urban fear in structuring and renewing racial antagonism and inequality. At the center of the video is a young, white, middle-class woman caught in an ideological trap in which her genuine fear, whetted and animated by the media, becomes synonymous with racial suspicion and hostility. Her counterpart is a black mugger, who tells a story of unemployment, powerlessness, ambition and cynicism, unmasking an ethos not dissimilar to the ethos of American capitalism.

The Templo Mayor was the center of the Aztecs' religious life in Tenochtitlán, a ceremonial building in the heart of Mesoamerica. A center of political battles of contemporary Mexico. A ritual of resistance.

M+ Museum presented A Body in Hong Kong in two locations as part of Mobile M+: Live Art, 2015. Tim Mei Avenue, where Eiko chose and performed, was the main site of 2014 Umbrella Revolution. Nearly 100,000 people camped out, and in doing so, stopped traffic on twelve-lane highways and created a politically charged sphere.

Subtitled: The Struggle for Western Shoshone Land Land activists Mary and Carrie Dann confront Federal Bureau of Land Management officers determined to impound the women's livestock until they pay grazing fees on land the Shoshone have never sold or otherwise legally transferred to the U.S. government. Part of an ongoing conflict over who will control ancestral lands in Nevada, this videotape depicts a standoff between the two groups, as activists speak about their ties to the land and their determination to keep it at any cost.

In this episode of The Brenda and Glennda Show, Brenda and Glennda comically debate changing the name of their show to Drag Queens for Jesus, in order to convert all the secular homosexuals to Christianity. They discuss topics like abortion and censorship from a drag queen perspective, exploring the hypocrisy and inherent bias of Christian ideals. Later, Brenda gets her nipple pierced in homage to Sandy Daley's Robert Having His Nipple Pierced (1971).

The Sun Quartet is a solar composition in four movements, a political composition in four natural elements, an audiovisual composition in four bodily mutations: a sun stone where youth blooms in protest, a river overflowing the streets, the burning plain rising in the city. And, finally, the clamor of the people that shook Mexico after the night of September 26, 2014. The disappearance of 43 students from Ayotzinapa opened a breach in the Mexican political body.

A tribute to movement in resistance. Part of shamanic materialism. 

In this episode of Glennda and Friends, Glennda Orgasm and Mark Allen drink at Marie's Crisis Café, a piano bar in Manhattan. They interview other bar patrons and discuss topics including politics, Judy Garland, and the idea of mid-life crisis.

An episode of Glennda and Friends, hosted by Glennda Orgasm and Mark Allen.

The film-essay Mined Soil revisits the work of the Guinean agronomist Amílcar Cabral, who studied soil erosion in the Alentejo region of Portugal through the lens of his political engagement as a leader of the African Liberation Movement of the 1950s. This line of thought intertwines with documentation of an experimental gold mining site, now operated by a Canadian company located in the same Portuguese region once studied by Cabral.

"Ursula Biemann’s Writing Desire is a video essay on the new dream screen of the Internet and how it impacts on the global circulation of women’s bodies from the third world to the first world. Although under-age Philippine 'pen pals' and post-Soviet mail-order brides have been part of the transnational exchange of sex in the post-colonial and post-Cold War marketplace of desire before the digital age, the Internet has accelerated these transactions.

Sounds in the Distance is a video adaptation of David Wojnarowicz's 1982 book Sounds in the Distance: Thirty-five Monologues from the Road.

Cast in order of appearance: Allen Frame, Tara Kelly, Nan Goldin, Kirsten Bates, Elisabeth Walker, Bill Rice, Brian Burchill, Suzanne Fletcher, Frank Franca.

Directed by Kirsten Bates and Allen Frame, Produced by Peggy Bates

This interview depicts American writer, activist, and AIDS historian Sarah Schulman (b. 1958), discussing becoming a writer, her novels, and her long-term collaboration with filmmaker James Hubbard on projects devoted to gay liberation and AIDS activism. Born in New York to a Holocaust-surviving family, Schulman grew up in an era where women were not considered important.

Statement

A last stand for the silent guardians of the old order. Take It Down is a filmic day of reckoning for the Old Confederate South. What is up must come down, like the Confederate soldier monuments standing in court house squares across the South. At long last, a grand inversion! Solarized film makes positives bleed into negatives. The South is renewed.

This film looks to North Carolina to describe the cultural fissure that runs through the South, a legacy of the Civil War. In the context of the divisive Trump presidency and the increasing visibility of white supremacist activism, these Confederate memorials have become sites of conflicting politics and historical narratives. 

Historians agree that a majority of Confederate statues were erected as propaganda tools legitimizing racism in the era of Jim Crow laws. For example, “Silent Sam”, a statue depicted in the film, was erected on the quad of the University of North Carolina campus. In an act of civil disobedience in Fall 2018, students and protestors tore down the statue in a statement against white supremacist oppression.

The planting of the "cempasuchil" for the celebrations of the "Day of Death" is one of the last jobs that the Ayotzianapa normal students did before they were brutally disappeared, with small Lomokino 35mm cameras, which we had to compose-hit several times since they are manufactured to be disposable, we record the harvest of the season, with the purpose of impregnating in the fragility of the chemical canvas: the earth, no longer that of the common graves but that other earth that gives light to the work of our fellow Normalistas.

Spanning two years of protest and resistance, this video chronicles the politically-motivated police harassment of the homeless population in Manhattan’s Lower East Side; including suspected arson, illegal eviction, and the demolition of buildings that forced families onto the street. Taking its title from a quote by Malcolm X, By Any Means Necessary is an indictment of government systems that violate the law willfully and at random in the service of wealthy real estate developers.

Turner Prize winning conceptual artist Jeremy Deller works across many different mediums, creating highly political and frequently collaborative works. Defying conventionality, Deller often exhibits outside of traditional gallery spaces, such as his 1993 twist on artist open studios, Open Bedroom, a secret exhibition in Deller’s family home while his parents were on holiday.

In Glennda and Bruce Do Times Square, Glennda is taken on a night tour of Times Square by author Bruce Benderson. They observe the dynamic between forms of culture that would typically be identified as “underclass” in “suburbanite” culture within the economic and spatial landscape of New York City. Glennda and Bruce visit the apartment of performer Consuela Cosmetic, who was prolific within New York’s ball scene. She maps out the ways in which she believes gender can be expressed, and discusses the implications of ‘passing’.

The two-part video Gender Cruise on the Circle Line involves Brenda and Glennda leading a group of drag queens, drag kings, and other gender nonconforming people on a three-hour ride on the Circle Line boat around Manhattan.

A provocative half-hour of guerrilla artists caught in the act on videotape, Undeniable Evidence is a public art extravaganza assembled by Igor Vamos and anonymous culture jammers.

Ephemeral pieces documented include Grupo Baja Mar/The Low Tide Group. An artists' group uses the unique geologic and architectural features of Spain's San Sebastian's beaches to create a giant public billboard that wipes itself clean each day with the incoming tide.  In English and Spanish.

Gravity Hill Newsreels: Occupy Wall Street comprises Jem Cohen’s twelve-part series as a continuous and complete compilation. Cohen, who witnessed the New York occupation from day one, borrowed a digital camera and started gathering footage in subsequent weeks. Initially acting upon an instinctive impulse to document and be guided by the events of the movement through quiet participation, Cohen’s documentation took a more public and expansive form through an agreement with the IFC Center, a local movie theater.