The image comes up suddenly and then continues unwavering: a young person (Mirra) dressed in a black watchcap and pea coat stands at the edge of a large body of water and sings a sea shanty, occasionally flinching to emphasize certain lyrics or fend off

"Fusco revives and embodies the chimpanzee animal psychologist Dr. Zira from the original Planet of the Apes films of the late 1960s and early 1970s.

Behind the yellow gates is a realm that sparkles like diamonds under a desert sun.

In 1966, the Syrian government's Ministry of Endowments solicited plans for a building to replace a 14th-century Mamluk mosque in Martyr's Square in the center of Damascus. A young architect proposed a design for a 5-star hotel and new mosque.

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?

Part of paraconsistent sequence series and the hauntology series.

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

A Week in the Hole chronicles a factory employee’s adjusting to the materials, time, space and personnel during his first day of work.

A Creative Capital 2001 Grantee.

Cast: Maurice Printis.

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.

This work attempts to further the critical dialogue surrounding the strategies of repetition and re-enactment. The Apparent Trap is a work that reminds the audience of the psychoanalytic implications of these strategies.

A collection of five computer and feedback-generated animations.

A brief visit with a graduate student in the painting department of the art college where Kuchar teaches and the discussion that follows the unveiling of his work.

In response to BLM events and to the whole world of injustice, slaughter and abuse... a small comment.

–– Ken Kobland

If asked to say what this work is about in one word, the answer — which is woven into the electronic musique concrète soundtrack — would be a Joycean one: it’s a “collideorscape.” The imagery is a return to materials Rankus dealt with as a young man in

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 this series I composed a series of portraits on my audio/video digital mixer, ranging from impressions of places and people to renditions of feelings their work inspired, and domestic-type gossip from the kitchen and bedroom.

Letters in the Dark was originally shown as a two-channel video installation, accompanied by photographs at the Benrubi Gallery, New York, in 2016. In 2024, Hall decided to make it available as a single-channel work.

These five short videos introduce Judy, a paper maché puppet who ruminates on her position in society.

First there is a stop at Salt Lake City and a massive dose of theological imagery that prepares the viewer for the hellish landscape to come—a land of igneous outcroppings and noxious emissions peopled by mammals of exquisite bulk.

In 2002, my troupe, La Pocha Nostra and I were invited to conduct a workshop at Columbia College in Chicago with 15 students and faculty from different departments.

Made with Stanton Kaye, and the only Lynda Benglis video with a discernible plot, The Amazing Bow-Wow follows the adventures of a talking, hermaphroditic dog given to Rexina and Babu by a carnival barker.

Separation of the (Earth by Fire) is a multi-disciplinary project that includes print collages, audio, and video.

A pile-up of events pertaining to cinematic expositions begins its whirlwind of activity in the south and then moves west with the sun to the “golden state” for all that glitters on a silver screen.

The Videofreex conduct first person interviews on the final day of the Woodstock festival, documenting detox efforts, clean-up logistics, and helicopter retreats. 

Blending live action staged as if in a dollhouse with rarely seen archival footage from the National Archives, the fantastically true story of how America entered WWI is told.

This portrait is not simply an account of Simone Weil’s life, but rather the skein of her ideas. The “unoccupied zone” is therefore only marginally meant to refer to the southern part of France under Vichy.

First Ramon, and then Rufina moved to San Diego County in 1980, unable to raise their family as landless sharecroppers in Mexico.

Pop-Pop Video: Kojak/Wang takes a shootout from Kojak and extends the shot and counter-shot into a potentially endless battle.

X-Mission explores the logic of the refugee camp as one of the oldest extra-territorial zones.

Acconci's open mouth is framed by the camera in an extreme close-up, bringing the viewer uncomfortably close. A desperate sense of strained urgency comes across as Acconci gasps, "I'll accept you, I won't shut down, I won't shut you out....

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

A nostalgic glazier shows off his knowledge and expounds his theories. Taking glassmaking processes and history as its central theme, Slow Glass explores ideas about memory, perception and change.

A performance by A.K. Burns and Ulrike Müller.

The title is also available on A.K. Burns: Early Videoworks. 

Skip Blumberg of the Videofreex conducts an interview with Charles “Cappy” Pinderhughes, the Lieutenant of Information of the New Haven branch of the Black Panther Party.

Dear features the interior world of two teenage Chinese girls in New York City, whose diary entries reveal their concerns related to growing up as immigrants amidst the ever-gentrifying landscape of Chinatown.

Alone in an Oklahoma motel room with a mute companion, the talkative one speaks the language of memory as pussycats feast from a canned cornucopia.

McGuire constructs a murky black and white soap-opera world of endless, timeless, and placeless limbo, where the characters talk to each other entirely in clichés, bad poetry, and other contrite forms of speech — a short TV show in which nothing is reso

Burrow-Cams features footage from cameras that have been placed inside underground animal habitats (dens, burrows, etc.).

Created at Eiko & Koma's home in the Catskills and set to Gamelan music, Grain was first presented during a month-long season in an East Village loft.

"Superimposing the stories of two women—the filmmaker’s late grandmother and the amateur filmmaker Joan Thurber Baldwin—Home When You Return explores the psychogeographies of mourning through a variety of

The San Francisco Art Institute's 100th anniversary is absorbed into this portrait of alumni in the heat of creation and pasta softening.

Fantasy Suite was the last standard definition video I made from VHS tapes.

Elizabeth Murray (1940-2007)  was an American painter, printmaker and draughtsman.

A cross-generational binding of three filmmakers seeking alternative possibilities to the power structures they are inherently part of. Each woman extends her reach to a subject she is outside of.

And They Came Riding Into Town on Black and Silver Horses looks at how media representations shape our perception of violence and violent crime, in effect creating racist stereotypes.

In this video, made soon after the death of his mother Stella, we accompany George to the wake, and on to a trip to Albert Maysles holiday home on Fisher's Island.

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.

Painter/mixed media artist David Dunlap creates installations and performances that draw from the notebooks he has kept since the mid-’70s—giving three-dimensional, public form to his intimate thoughts and diaries.

Made in Germany, October 14th, 2004

While the Iraq war continues, a day's sightseeing and the features of a German hotel provoke a stream of thoughts about events large and small.

Part of the paraconsistent sequence series.