| A Work Aesthetic: The Films of Kevin Jerome Everson |
Monica McTighe |
| Association of Moving Image Archivists Poster: Video Data Bank Digitization Project |
Kristin MacDonough |
| Beryl Korot and Steve Reich on The Cave |
Jonathan Cott |
| Beryl Korot in Conversation with Harry Philbrick |
Harry Philbrick |
| Beryl Korot's Dachau 1974 in Abstraction and Holocaust |
Mark Godfrey |
| Beryl Korot, interviewed by Laura Amann |
Laura Amann and Beryl Korot |
| Beyond the Dust: Colonial Legacy in the Desert |
Martí Madaula Esquirol |
| Busting the Tube: A Brief History of Video Art |
Kate Horsfield |
| Consuming Passions: The Video Art of Ximena Cuevas |
Steve Seid |
| Doldrums: On the Uncanny Domestic |
Elise Schierbeek |
| Doug Ischar: Recent Films |
Doug Iscar |
| Essay on Shadow and Substance |
Laurie McDonald |
| Eyes to See With |
Laura Marks |
| Feminism and Video: A View from the Village |
Joan Braderman |
| Florence, Beryl Korot |
Beryl Korot |
| Grow Gills and Swim: The Evolution of Activist Video |
Gregg Bordowitz |
| Guillermo Gómez-Peña: Sophisticated Seduction |
Carol Becker |
| I Say I Am: Women's Performance Video from the 1970s |
Maria Troy |
| Ilene Segalove: Whatever Happened to the Future? |
Emily Martin |
| Ironic Nostalgia: an Interview with Nelson Henricks |
Mike Hoolboom |
| Kate Horsfield: The Early Years of the Video Data Bank and On Art and Artists |
Faye Gleisser |
| Koken Ergun: Personal Works of Public Ceremonies. |
Ian White |
| Language as Still Life, Interview with Beryl Korot |
Valerie Amend and Beryl Korot |
| Language as Still Life: From Video to Painting |
Beryl Korot |
| Make Believe, It’s Just Like the Truth Clings to It: In Conversation with the Work of Cecilia Dougherty |
AJ Mendelsohn |
| MoMA Projects 100: Akram Zaatari |
Eva Respini and Ana Janevski |
| Notes on Black Video: 1987–2001 |
Emily Martin |
| Other Solutions |
Carrie Lambert |
| Perception as Transcendence: Interview with Paweł Wojtasik |
Scott MacDonald |
| Primate Cinema: Apes as Family [eBook] |
Rachel Mayeri and Matthew Fuller |
| Radical Closure |
Akram Zaatari |
| Reflections on Hydroglyphs: Early Morning Drift by Laurie McDonald (2020) |
McDonald, Laurie |
| REWIND: A Guide to Surveying the First Decade: Video Art and Alternative Media in the U.S., 1968-1980 |
Video Data Bank |
| Steve Reich and Beryl Korot on Three Tales |
David Allenby |
| Steve Reich and Beryl Korot, BOMB Magazine |
Julia Wolfe |
| Stories from a Generation: Video Art at the Woman's Building |
Cecilia Dougherty |
| Surveying the First Decade: Video Art and Alternative Media in the U.S. 1968-1980: Attention! Production! Audience! Performing Video in its First Decade, 1968-1980 |
Chris Hill |
| Text/Weave/Line—Video: An Interview with Beryl Korot by Evelin Stermitz |
Evelin Stermitz and Beryl Korot |
| The Persistence of the Archive: The Documentary Fictions of Daniel Eisenberg |
Scott Durham |
| The Prayers and Tears of Paul Chan: Profane Illumination and the Post-Secular in BAGHDAD IN NO PARTICULAR ORDER and Now promise now threat |
Yates Mckee |
| Tom Rubnitz / Dynasty Handbag |
Jibz Cameron, Josh Lubin-Levy, Bryan Bauman, John Kelly, Lady Bunny, Nicholas De Villiers and Joe E. Jeffreys |
| Two or three things I know about him |
Mark Westmoreland |
| Underground Man |
Gene Youngblood |
| Video Art Was Born Subversive |
Davidson Gigliotti |
| Wendy Clarke: Love is All Around |
Kristin MacDonough |
| ‘This isn’t Charlie Rose’: The Making of On Art and Artists and the Politics of Information Distribution |
Faye Gleisser |
