A re-reading/ re-construction of a Wooster Group theater production: Part I / LSD: Just the High Points, 1978

Rosler calls Domination and the Everyday, with its fragmented sounds, images, and crawling text, an artist-mother's This Is Your Life.

Formed in 1969 at the legendary Woodstock Music Festival by David Cort and Parry Teasdale, who met while taping the events with the newly available Portapak video equipment, the Videofreex (also known as "the Freex") were one of the very first video col

This film is a reflection on descendants and ancestors, guided by a 50 year old audio recording of my grandmother learning the Pechanga language from her mother.   After being given this tape by my mother, I interviewed her and asked abou

In The Body Parlor, both man and sheep as combined sacrificial bodies become subjects of biological investigation. As symbols of ritual sacrifice, they are bodies that give of themselves.

The Bus Stops Here is an experimental narrative about two sisters, Judith and Anna, plunged into depression by their struggle to gain control over their lives.

A bird of paradise is pruned for the lens of a Bolex camera as my Sony camcorder documents the film and video scene out here in fog-bound Frisco.

As a testament to the Videofreex joyful investment in the medium of video, Skip Blumberg, Bart Friedman, and Nancy Cain take turns singing Christmas carols in the shower on Christmas Day.

The artwork on trial is Richard Serra's public sculpture, Tilted Arc, commissioned and installed by the U.S. government in 1981.

In this episode of The Live!

Between job losses, foreclosures, living with family, and the Cande’s constant desire to return to Mexico, Pancha and Cande work through the strains of their marital relationship in San Diego County.

This first program deals with stories of captivity. To start, Hostage: The Bachar tapes by Walid Raad presents us with an imagined hostage presumably held in custody along with the American hostages in Lebanon during the 1980’s.

An experimental documentary about the street drag racing scene on Chicago’s near West Side. This is a rambling textured film about obsession.

An Anthology of Collaborative Works by Guillermo Gómez-Peña

Don’t You Like the Green of A? is based on the correspondences between letters and colors specific to Joan Mitchell’s synesthesia––a condition that Henricks happens to share with her.

In this March 9th, 1974 episode of Lanesville TV, the Videofreex screen their recently shot ringside footage from a boxing match that took place over the weekend in Marion Square Gardens of nearby Tannersville, NY.

Joe Gibbons plays Dr. Joe Baldwin, the self-styled child education expert. He prepares Zoe, from birth, for acceptance into a coveted “gifted-only” kindergarten program.

Bill Murray and Christopher Guest lead a behind-the-scenes tour of the 1976 showdown between the Dallas Cowboys and the Pittsburgh Steelers.

Kiss The Boys And Make Them Die explores how memory, sexuality, and the self are created and enforced through the family story.

A raunchy, explicit comic-opera ... (two years of looking out the window during a pandemic).

Raunchy /ˈrôn(t)SHē/

Eiko & Koma created Dancing in Water: the Making of River as the first video work for the Retrospective Project.

An urban and suburban blend of nerd, nebbish and nympho, united in the urge to create a cosmetic cosmology.

Footage of a May 1970 rally featuring political speakers, including members of the Black Panther Party. Abbie Hoffman talks about fighting imperialism at home, and the Chicago 7 Conspiracy Trial.

Songs of Praise for the Heart Beyond Cure is a fourteen-minute experimental video that unfolds through a series of short episodes. "To describe Cooper Battersby and Emily Vey Duke's new video as ironic doesn't do it justice.

After an all-night session of editing Free Society, Garrin headed home with video-8 camera in-hand, only to happen upon the Tompkins Square riots.

The "dazzling, delightful, and delicious" messages of broadcast television get scrutinzed in Social Studies, Part II: The Academy.

Taped during the summer months in New York City and Provincetown, Massachusetts. This vacation video explores the restrictions imposed by dietary fears and the need to appease fresh and rotten appetites.

The Observers portrays one of the world's last staffed weather observatories in two different seasons.

Moving towards an unknown destination, a group of anonymous passengers float through an unidentified landscape. Built from Cohen’s archive documenting his travels, the film can be seen as a curious parable.

For four years in the 1860’s, half of the United States was held hostage by an unrecognized white supremacist republic.

A video letter to artist Nancy Holt, in homage to a shared interest in terminal lakes, framed views, monuments and time.  Filmed on and around the Great Salt Lake, Mono Lake and Meteor Crater.

Urban parks consist of two major elements: nature and man-made forms. Parks play an important role in the urban environment, offering relief in everyday life.

An episodic adventure highlighting the riff between mind and body. Through a series of animated narratives, role reversals and associations, images are driven out and stacked one on top another.

In The Sodomites of Shalimar, George Kuchar crafts a dizzying psychotronic drama of stilted romance and frustrated ambition replete with carnies, car crashes and calamitous volcano eruptions.

San Francisco is a city where the virtual and the real co-exist. It is both a center of multi-media and Internet activity, and a city with a vibrant street life and commitment to public space.

Shown at the Brooklyn Museum of Art, Brooklyn. The Real Art World Episodes explore the awkward social interaction of the studio visit.

In 1973, Dan Sandin designed and built a comprehensive video instrument for artists, the Image Processor (IP), a modular, patch programmable, analog computer optimized for the manipulation of gray level information of multiple video inputs.

Starting with student-recorded VHS footage of two successive Take Back the Night marches at Princeton University, Birnbaum develops a saga of political awareness through personalized experiences. This localized student activity then progresses to, and is contrasted with, the 1988 National Student Convention at Rutgers University. Through this dynamic portrait, Birnbaum posits a series of compelling questions: How can the voice of the individual make itself seen and heard in our technocratic society? What forms of demonstration support this expression? How is a voice of dissent made possible?

Crowds line the streets for the wedding procession of Caroline Kennedy and Edwin Schlossberg in Hyannis Port, Massachusetts.

The archive is not a repository of cultural memory, but of dreams, a bank of dream material. Both memory and archive embrace death, but from contrary positions. The archive is a mausoleum that pretends to be a vast garden.

Ellen Altfest is known for her representational paintings in which she renders every detail of her subjects on a one-to-one scale. The World Must Be Measured by Eye follows the meticulous, repetitive and painstaking creative process o

The daily life of the Panará village during the peanut harvest, presented by a young teacher, a woman shaman and the village chief.

Direction and photography: Paturi and Komoi Panará

Editing: Leonardo Sette and Vincent Carelli

Jacqueline Goss and Jenny Perlin retrace the journey of two 18th-century astronomers tasked with determining the true length of the meter.

Wendy Clarke continues her ongoing project Love Tapes, in which speakers sit in front of a camera and talk for three minutes about their thoughts on love.

Performers throw themselves into an underground passageway. They exit through the mirror, a symmetrical mirror world which exists because of the placement and angle of the mirror as an upside-down place.

a little girl dreams of a new pluralism meanwhile the old war continues V.1  2009, 67:00

"Hell is oneself. There's nothing to escape from and nothing to escape to."

—T.S. Eliot

"La Puerta makes us spin out of control in the long and cruel corridors of an institutional nightmare."

A captivating video about surveillance, identity, watching, and being watched, The Amateurist slides along the edges of horror and satire to create an unsettling portrait of a woman on the brink of a technologically driven madness.

A "young woman who finds herself surrounded by the relics of Western culture" is the subject of Richard Foreman's formal tableaux.