Flowers for LH reflects on the last play written by Lorraine Hansberry entitled What Use Are Flowers?

Dance: Joey Kipp
Cinematography: Steve Cossman, Cynthia Madansky
Music: Zeena Parkins

A portrait of influential Dutch musician and composer Louis Andriessen, as he talks about composing a new work. Andriessen draws inspiration from the life of Dutch painter Piet Mondrian and his love for ballroom dancing.

The innocence of creating a mirror, only to repeatedly crush it underfoot.

The Political Advertisement project began in 1984, when New York-based media artists Muntadas and Reese produced their first compilation of American presidential commercials, beginning with Eisenhower in the 1950s.

Executive Producer, Suzanne Lacy; Director, Steve Hirsch; Editor, Doug Gayeton.

From the performance Freeze Frame: Room for Living Room by Suzanne Lacy, Julia London, Ngoh Spencer, and Carol Leigh, San Francisco, 1982.

Budlong Memorial Middle School is heating up.

This mock-virtual environment is a playground for the imagination.

As profecias da Orixá Oxum (The Prophecies of the Waterfall Spirit Oxum) was filmed at Iguaçu Falls, Brazil/Argentina, and is intended for viewing in Virtual Reality.

The artist's mother comments about the status of women while reading a doll house sized book titled Encyclopedia of Famous Women.

DIRECTOR’S STATEMENT/SUMMARY: This film centers around one performance, when Holland-based musicians, The Ex, visited New York to play a concert.

Thornton asks viewers to question how one sees “space" — whether literally or figuratively — and what is being revealed? Images of a sonogram session grant viewers access to what is typically reserved for medical analysis — “inner space.”

Inspired by a riff on a popular joke “Everybody wanna be a black woman but nobody wanna be a black woman,” Notes On Gesture is a video comparing authentic and dramatic gestures.

In 1972, Robert Morris and Lynda Benglis agreed to exchange videos in order to develop a dialogue between each other’s work. Morris’s video, Exchange, is a part of that process—a response to Benglis’s Mumble.

Depicting a sailing party gone wrong, McCarthy questions the effects that violence and mutilation, both real and simulated, have on the viewer in contemporary culture.

This is the invocation to the ancestral god of the underworld, the ancient annihilator, which preserves the ritual inertia of the bones and stones.

My Mother’s Place is an experimental documentary focusing on the artist’s mother, a third-generation Chinese-Trinidadian who at 80 still has vivid memories of a history lost or quickly disappearing.

A cactus-strewn desert becomes the backdrop for this series of filmic stopovers that focuses on the living quarters assigned the assignee of this adventurous arrangement.

In a motel in El Reno, Oklahoma, George observes the weather and copes with leaking air conditioning, food shopping, loneliness, television, and eating, among other things.

Relying on the magic echo found in an old power Station in Norway, the artist whistles and marches to the Internationale, a May Day workers’ song.

Cheang has taken her camera to the streets for a candid glimpse of lesbian public sexuality.

"The title (Black Sun) is as evocative of solar eclipse as it is of the 'dark spleen' which doctors, all through Antiquity, used to attribute to melancholic and suicidal drives, especially as they affected artists.

In this impressionistic piece, O’Reilly provides a gripping portrait of personal trauma, while detailing the severe mental and physical confusion following two incidents.

Timely concerns about the future of video, artists’ complicity in the money making system of the ‘establishment,’ and the effect of the camera’s presence on personal encounters, is discussed and debated in this late night video produced by David Cort, C

Toxic pigments of lust stain an artist’s brush as he struggles against lurid colors on the canvas of his life, – a "life" in brick jungles wit sordid, dark alleys on neon-lit avenues where he got lost

Richard Ross discusses his interest in photographing museums—their display of objects, frames, the entire context—in order to question our definitions of the museum.

Une Ville de l'Avenir uses the lens of Alphaville to look at the City of the Future that we live in today. The modernism of La Defense in Paris is the setting for this chilling revisiting.

A specific period of late-night TV channel surfing is dissected and manipulated through fast forward and freeze frame.

In the beginning was the weave, and the transmission of its workings, a curse of mortality—so ends Quantum Creole with the fabulous words of the Papel weaver, Zé Interpretador.

the suggestive nature of word fragments, sentence fragments, story fragments, war. 

This is a three-part tape shot in 1975, ’76, and ’78 as Winsor was working on three pieces: 50/50, Copper Piece, and Burnt Piece. The rhythms and rituals of her working process as well as her comments on the work are documented.

In this episode of the Whispering Pines series, Moulton's character Cynthia is confronted with a distorted mirror image that slips between the grotesque and the exotic, depending on her posture.

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.

Crossings and Meetings explores the image and sound of a walking man, expanding a simple image into increasingly complex permutations and arriving at what Emshwiller calls a "visual fugue" in time and space.

Dark Sun Squeeze is a darkly meditative exploration of a sewage treatment plant, revealing the hidden rhythms and bizarre journey of raw human waste.

This is the contained power of the sacred seeds, the vibration of the ancient seeds of corn and their passage through an ocean of pulsating luminosity. A germinal liturgy of holy seeds.

Feminist artist Lynda Benglis is known for her sculptures, video performances, paintings, and photography. Her work in the 1970s was controversial, delving into issues of gender roles within and outside the art world.

This video was produced as a part of Eiko & Koma's exhibition Time is not Even, Space is not Empty which opened at the Zilkha Gallery in Wesleyan University in the fall of 2009.

¡Macho Shogun! was created by Reed Anderson and Daniel Davidson over a single weekend some time in 2000.  It's your basic monster-robot / destroy-city kind of video that we wanted to make when we were kids but never did.

Body Prep helps fortify and support the body during any level of activity—low, medium, or high intensity. It compares various alternatives to weightlifting with natural and artificial light sources.

A newsletter that turned into a film about hands (fast forwarding through slow times).

In Blood & Cinnamon Mott’s creatures discuss existential crises as they flip and rotate and disappear from view.

--F News Magazine, December, 2010

Veronica Majano depicts the character of a street in the Mission District of San Francisco.

In our 'freelancer' age in general, even before the lockdowns, many find themselves domestically confined, using mostly a computer screen to branch out.

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.

Dykes and trans guys take over the Jackhammer for a punk show.

A shot-for-shot remake of the climax of Tokyo Story (Yasujiro Ozu, 1953).

The performers are seated around a pink octagonal table on pink, violet, and silver cinder blocks. One performer (Robert Stearns) stands up, recites the credits for the piece, and then says, “Do you believe in water?

How Little We Know of Our Neighbours is an experimental documentary about Britain's Mass Observation Movement and its relationship to contemporary issues regarding surveillance, public self-disclosure, and privacy.

Commissioned by the Whitney Museum of American Art and The American Center in Paris as part of their international Trans Voices project, Nation flashes contradictory formulations of language, politics, and medicine across a sharp and c

1933. Berlin. The last year of the Wiemar Republic. Through the lense of her personal "home movies", Leni Riefenstahl records a day in her life with a young Eva Braun.