“Fouteen-year-old bone collector Maxine Rose is looking for validation from her heroes, amongst them the primatologist Jane Goodall, Archbishop Desmond Tutu and the New Zealand teen pop star Lorde.

The third in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed here—Jean Lamar, Hung Liu, Lorna Simpson, and Kathy Vargas—discuss their work and its cultural contexts. Moderated by Lucy Lippard. 

A man explains global currency markets without the help of his formerly trusty rockin’ talkin’ pony, who is missing. Without the pony, the world is as disorientating as it is depressing. The audience is invited to help make order of the chaos.

“Drawing on the ancient Nahuatl concept of the animating soul or life force, Tonalli engages the ritualistic powers of the cinema, summoning fire, flowers, and many moons into a frenetic and mesmerizing in-camera collage.

Spanning 500 years of colonial destruction, Nosferasta tells the story of Oba, a Rastafarian vampire, and Christopher Columbus, Oba’s original biter, as they spread the colonial infection throughout the “new world.” Formally a vampire film and

Ensconced in my urban Los Angeles bed, I recount growing up "safe" on suburban Long Island. A cameraman from KCET filmed and lit the piece. This is the only film I ever made that was not filmed by a colleague, friend, or myself.

Riffing on relations between grief, love, bodies, and embodiment, this short film features two former professional Ringling Bros. and Barnum & Bailey Circus clowns.

This Is Not Beirut is a personal project that examines the use and production of images and representations of Lebanon and Beirut, both in the West and in Lebanon itself.

Best known for her carved wooden heads wrapped in black leather affixed with zippers, glass eyes, enamel noses, spikes and straps, Nancy Grossman (b.1940) is accomplished in draftsmanship, assemblage, and relief sculpture as well as carvings.

This is a later reworking of original video documenting the goings-on of the village, Tlocalula, Mexico in 1973. Uses footage from Oaxaca 2004 in the background.

Upon entering the harbor, the voyager leaves the exceptional condition of the boundless sea--this traversable space of maritime immensity--to come ashore in an offshore place, in a container world that only tolerates the trans-local state of not being o

Musica Electronica Viva at Baggie’s is a quintessential Videofreex work in its documentation style and explicit discussion of the Videofreex project.

In this interview, extreme performance artist and 1990s culture warrior Ron Athey (b.1961) discusses the genesis of his provocative performance style and the memories and desires that continue to motivate his practice. Athey describes how his particular approach to performance developed dually from his religious upbringing and exposure to devotional theater, as well as from his later interest in the DIY grandiosity of the Los Angeles punk scene.

In this video diptych, Snyder uses image and music to depict opposing forces in semi-abstract terms.

In the second part of the Classics Exposed series, a neurotic scholar (Gibbons) leads a "buggy" ride tour through historic Charleston where, according to the professor, Franz Kafka wrote The Metamorphosis after taking a wrong turn on h

A historical interview originally recorded in 1983.

Interview by Joan Livingstone.

Two guys with their heads in the clouds and their feet in the mud of the world, can not be Angels until their earthbound urges are tamed.

A documentary video about the B.I.T.

Playing Dead is a film about lying still to stay alive. A news reporter queries the survivor of a brutal attack.

Merce by Merce by Paik is a two-part tribute to choreographer Merce Cunningham and artist Marcel Duchamp.

This tape documents a cultural exchange between the Parakatêjê (Gavião) of Pará and their “relatives,” the Krahô of Tocantins.

Over a montage of family photographs, Freed’s narration questions the consistency of memory and self over time, with Freed displaying a quizzical and sometimes hostile relation to her past.

"It was as if I was living by the Nike slogan Just Do It."
— George Barber

suicide is 70 packed minutes of a fictional filmmaker's crazed ruminations on travel, family history, death and sex as she traverses a world of malls, airports and train stations, chronicling her fiercely hopeful search for a reason to continue

lovehotel uses excerpts from the book Fleshmeat by Australian Internet artist Francesca da Rimini, detailing her life online from 1994 to 1997.

Chief Pedro Mãmãindê (who directed the proceedings and the shoot itself) describes the necessity of strengthening the girls of his village by secluding them after their first menses.

Sentences is a beguiling, hypnotic meditation on the poetics of space.

"I'm not finished. I don't know how long it's going to take. As far as I'm concerned I'm officially dead."

In Ontogenesis, Tanaka interweaves electronically altered images of American patriotism–the Statue of Liberty, Uncle Sam, waving flags–with footage of the Vietnam war, bombs dropping, and 1960s political figures (L.B.J.

In 1985 the great soprano Leontyne Price sang the title role in Verdi’s Aida as her farewell opera. After the ‘O patria mia’ aria, the audience breaks into a four-minute applause.

As the cacophony of grieving opens onto the deep quiet of mourning, this poetic journey explores mortality as the psychic space of dwelling.

A very special episode of television's Full House devours itself from the inside out, excavating a hypnotic nightmare of a culture lost at sea. Tropes of video art and family entertainment face off in a luminous orgy neither can survive.

In the fall of 1974 Doug Hall and Jody Procter began to develop a presidential archetype, which they called "the Artist-President." Procter wrote the speeches that Hall delivered "presidentially" in performances.

Rosie Cutler, a middle school lunch lady, and TJ Fortune, a outcast student, have an unusual relationship.

Co-commissioned by the Next Wave Festival, The American Dance Festival, and the Lied Center at the University of Nebraska, Land is a collaboration with Native American musician Robert Mirabal and painter Sandra Lerner.

A performer walks through footage of a pigeon on rooftop of Hotel Principal in Oaxaca. The corporeal form takes flight.

Shot over one day, this program records the events and protests in Washington DC on May Day, 1971.

An example of what Reeves terms “video poetics,” layered images of a deserted village in the Spanish countryside play counterpoint to poetry by Cesar Vallejo and Pablo Neruda.

White Balance (to think is to forget differences) is an effort to uncover the geographies of power, the frontiers of privilege.

BIT Plane is a highly compact spy plane, wingspan 20 inches, radio-controlled, video-instrumented and deployed over areas of scenic interest. Due to its refined dimensions, BIT plane is able to enter territory inaccessible to other aircraft.

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.

Craig Owens (1950-1990) was a critic who wrote and lectured extensively on contemporary art. He showed particular interest in the issues of photography, postmodernism, feminism, and Marxist thought. A former associate editor for October and senior editor for Art in America, as well as professor of art history at Yale University and Barnard College, his writings were collected in Beyond Recognition: Representation, Power, and Culture (1994). Owens died of an AIDS-related illness in 1990.

This is the hauntological image of the sacred Mesoamerican snake. The contemporary flickering of his shamanic presence. Part of the Hauntology series.

Feathers: An Introduction is a self-portrait centered on the story of Latham's grandmother’s comforter which, old and worn, scatters feathers everywhere.

In this interview with Melika Bass, a Chicago-based filmmaker and installation artist, Camilo Restrepo discusses how he became a filmmaker and how he chooses to document his native home of Colombia.

Laurel Klick and I were members of the feminist art program at CalArts and became close lifelong friends.

 A.K. Burns’ early video works use ritualized performance, finite gestures, dueling and duality to explore power relations and the body.

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.

Red Chewing Gum is a video letter that tells a story of separation between two men, set within the context of the changing Hamra, a formerly booming commercial center.

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.