Juxtaposing the text of Off Limits, a film made in 1987 about Saigon circa 1968, with the soundtrack and image of the last five minutes of Easy Rider, made in 1968, Tajiri parallel edits these representations to play with the evocation

“And the poem, I think, is only your voice speaking.”

—Virginia Woolf, The Waves (New York: Harcourt, 1978)

A foley artist creates sounds for a film featuring a dressage horse and dissolves into their own imitation.

Yvonne Jacquette (b.1934)is an American painter and printmaker known in particular for her depictions of aerial landscapes, especially her low-altitude and oblique aerial views of cities or towns, often painted using a distinctive, pointillistic techniq

Shot during an NLP (neuro-linguistic programming) seminar in Berlin, a group fluxuates between guided meditation and discussion on consciousness and self-acceptance.

Using the Islington Gazette and local pigeons as my guides I strolled, re-strolled, and strolled some more along the Essex Road: updown, downup. Paving stones, buses. Railings railings railings. More buses.

In Greetings from Lanesville, the Videofreex tour the countryside of Lanesville, New York interviewing the local people for a weekly broadcast program all from behind the wheel of the Lanesville TV Media Bus.

Detail is indeed a detail. It is an excerpt from Mograbi’s feature film Avenge But One of My Two Eyes, where human conditions face military situations.

A caricature of a professor teaching English to non-native speakers. Her mannerisms, her accent, the content of her speech—all are absurd, in the tradition of an Ionesco character.

Big_Sleep™ explores problems in our archival urges. Via a single-channel desktop screencast, informatic elements ebb and flow—creating and relating interface absences.

Part of the Hauntology Film Archives series.

Though difficult at times to understand what is happening due to audio damage, this tape provides rich historical documentation of a protest on Wall Street in May of 1971.

Washington, D.C.-based African-American artist Sylvia Snowden paints what she calls “figural or structural abstract expressionist” works.

Fashioned out of home movies recovered from failing hard drives, this glitch-art video makes comparisons between different forms of memory - suggesting that, while error and decay may keep us up at night, they might also be the way we put our ghosts to

In Biemann’s film, she traces the routes and reasons of women who travel across the globe for work in the sex industry. By using the latest images from NASA satellites, the film investigates the consequences of the U.S.

In these lunar paths the moon is the celestial body of brilliant colors that crosses with its cyclical and mythical dance the dark space of our present time and in whose dance the moon enters, moves away, approaches and lies on itself in a cycle rhythmi

Mutiny employs a panoply of expression, gesture, and repeated movement. Its central images are of women: at home, on the street, at the workplace, at school, talking, singing, jumping on trampolines, playing the violin.

A minister recounts the perceived catastrophe that is butt sex. Pegging ensues.

The installation created by Monica de Miranda in collaboration with Teatro GRIOT accompanies the play Os Negros. It includes a photographic and video exhibition that abstractly uses the images inspired by the play.

In the spell of one of the most exquisite pop songs I know, with the most rudimentary of animation skills, I sought to produce a smooth and rapid transition from innocuous kindergarten silliness to faux-Lynchian horror.

In Bad Grrrls, Glennda and Fonda LaBruce attend a Riot Grrrl conference on New York’s Lower East Side. At the conference, they conduct interviews with punk women, performers and artists, including Penny Arcade and Sadie Benning.

The sale of a plot of land marks the kickoff of an unlikely road trip in this strange American odyssey. When eteam buys an acre of the Southwestern desert on eBay, the deed fails to arrive and the pair attempt to track down the phantom seller.

"An autobiographical reflection on his unassuming name leads the filmmaker down a wayward path through family photographs, personal archives, and internet searches.

This extraordinary performance carries a wealth of associative meanings in the sexual dynamics of privacy and power -- man and woman pitted against each other in a struggle for mental and physical control.

Using the fictional character of “Vicki” as a foil, this confessional boy story confronts sexual politics head on.

"It is only shallow people who do not judge by appearances" wrote Oscar Wilde.

On September 11, 2021, Eiko Otake performed at 7am and 6pm at Belvedere Plaza in Battery Park City by the Hudson River, directly west of where the Twin Towers once stood. This video work is from the 6pm performance. 

A Yosemite gargoyle climbs two gothic arches.

Long still frames, text, language, and sound are weaved together to unfold the narrative of an anonymous group who fill their time by measuring distance.

Dorothy doesn't reach her dream of the Emerald City. Rather, she will have already been over the rainbow by the time she arrives at the worst corner in Kansas.

A silent 16mm film shot in Nebraska during the total solar eclipse in 2017. The work was shot on film to capture this light-based phenomenon on a light reactive medium, as opposed to on digital video.

In 1958, Allan Kaprow (1927-2006) published an article on Abstract Expressionism entitled The Legacy of Jackson Pollock in which he suggested the separation of the art-making activity from the art itself.

" order to take the next step (not forward or backwards, but only: to go on) it is often necessary (for me) to lean on a picture made by someone else; sometimes a word will do, a gesture, the look on a stranger's face.

A video about the conception of video and of life itself. This work suggests that all that is conceived transcends the division between the external and interior worlds.

In Portuguese with English subtitles.

A performer lip-synchs to archival audio featuring the voice of author and anthropologist Zora Neale Hurston as she describes her method of documenting African American folk songs in Florida.

"There are three scenes in this work, all reflecting a changing sense of time. Each has a voiceover soundtrack with a similar structure, but with different information.

Mel Chin (b. 1951) received national attention when he had to defend the artistic merits of his work Revival Field to the NEA in 1990.

Everglades is a project Levy began while a resident artist in Florida's Everglades National Park.

Red House is an animation that playfully explores metamorphosis in relation to the stability and structure of housing.

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.

In the midst of the 2011 revolution in Cairo, a few beduins listen to their car's radio near Jericho, a place which looks like the end of the world.

Panzano creates a matrix where the three most taken-for-granted elements of any film (camera, subjects, and the spaces they inhabit) are all delicately at odds with one another — allowed to float freely, gauge the terrain, and stake out a compr

This is the apparition, the ghostly flight over our present time of the infamous conqueror Pánfilo de Narváez. The exterminating angel of our times. Part of the Hauntology and Post-Covid series.

Between 1892 and 1927, almost 16 million people came to Ellis Island attempting to immigrate to the United States.

stammering forward backward GIANT is a re-edit of George Stevens' 1956 film Giant - an epic story of Texas, oil and racism.

What Farocki Taught is literally and stubbornly a remake — that is, a perfect replica in color and in English, of Harun Farocki’s black and white, 1969 German language film, Inextinguishable Fire.

Tour Without End is an experimental hybrid feature-length video work that casts real-life musicians, artists, and actors as fictional bands on tour; the piece evolves into a cross-generational commentary on contemporary culture and politics in the Trump era. Shot over the course of four years between 2014-18 at over 15 DIY music spaces in and around NYC, Tour Without End functions as a time capsule — made more apparent by the shuttering of many of its locations due to NYC’s rapid gentrification.

The work’s multitude of characters are legendary performers in the downtown NYC arts scene, including: The Wooster Group founder Kate Valk, Jim Fletcher (New York City Players), Lizzi Bougatsos (Gang Gang Dance), Kathleen Hanna (The Julie Ruin), Brontez Purnell (The Younger Lovers), Eileen Myles, Alexandra Drewchin (Eartheater), Nicole Eisenman, K8 Hardy, Johanna Fateman (Le Tigre) Shannon Funchess (Light Asylum), JD Samson (MEN), Gary Indiana, Kembra Pfahler (Voluptuous Horror of Karen Black), Rachel Mason, Tom McGrath, Matthew Asti (MGMT), Becca Blackwell, Christen Clifford, Alessandra Genovese (Crush), Rogelio Ramos (Love Pig), Kenya Robinson (Cheeky LaShae), and Neon Music (Youth Quake).

Rhythmically chewing their meals, a herd of cattle creates interesting shapes, patterns, and movements in this “keyed” (a process of dividing areas of a black and white image into percentages of gradation) and colorized work.

Silver directs and performs all the roles in this raucous and hilarious music video rendition of Lynyrd Skynyrd’s "Freebird", the infamous Southern rock anthem for an entire generation of 1970s male youth.

Growing up in the early computer age, around machines like the Commodore 64, had a formative effect on Marisa Olson and her subsequent artistic career.