"Noted critic Judith Williamson ventures from her English home to a shopping mall in Southern California to proffer some opinions on the working of American culture under capitalism.

This single channel tape was created from a 4-channel live mix of 4 VCRs, an A/V mixer, and a sampler.

Fluid Frontiers is the fifth and final film in the series entitled The Diaspora Suite, exploring Asili’s personal relationship to

Prime Time is a video collage of violent imagery appropriated from American commercial network television. The work features rapid-fire editing (i.e., for analog 3/4" video technology) often used by network pro

five more minutes is an exploration of grief. Two women spend an afternoon recreating lost time. What begins as play-acting breaks open into a world where the tenderness and sorrow of having to say goodbye exist untempered.

Sections 1-30 of an incomplete extended poem describing the artist's connection to the radical black tradition. The completed poem will be formed of 180 sections.

Breder used Stavros Deligiorgis’s encyclopedic ability to make associations as an element in this video art and performances, providing a kind of intellectual running commentary in works such as Intertext (1976).

…..Listen!….. hear the words from warm skin…..’words’ that whisper….’words’ that shout.

A video response to September 11th and the public dialogue captured on radio, including this call-in radio program’s discussion about whether Mohammed Atta’s last meal in a Pizza Hut undermined his proclaimed spiritual motive.

A volcano self-destructs ages ago, leaving in its wake a great emptiness which is filled with all that is cold and blue.

The fourth video of the installation Touch Parade, which as a whole explores “plastic love” or fetish culture and the assimilation of marginalized sexuality on t

Acconci sits with a man and a woman before a microphone. The man and the woman read from two different texts (novels by Mickey Spillane and Raymond Chandler), and Acconci repeats everything the man says.

This is a kinetic tribute to Sylvia Plath at a time of the pandemic vortex, a dissemination of suspended bodies in the liminal space. Haunted figures in the Capitalocene era.

Lighthouse is about the labor system and the factory town in Southern China and how individualism is influenced by the social and political infrastructure.

A soft-focus close-up of mouth and lips is set to the sounds of lovemaking. A soft-porn video on how easy it is to get porn.

Five prayers are sent skyward, and five curses get directed inward by those living in the purgatory of "modern life"... Attend this moody Mass in the church of "thoughts and feelings"... It will uplift you.

This collection highlights three works from Parnes’s 1990s-era, revealing the artist’s innovative use of appropriation and experimental film techniques to comment on the aesthetics and politics of popular culture.

A buoyant character struggles with hazards in a cloudy gray environment in this animation inspired by the Dylan Thomas poem Lie Still, Sleep Becalmed. The look of the entire animation is shades of gray.

From his photo-text canvases in the 1960s to his video works in the 1970s to his installations in the 1980s, John Baldessari’s (b.1931) varied work has been seminal in the field of conceptual art.

The HalfLifers exhume cinema’s favorite incarnation of mindless, decaying mortality, the Zombie, in the hopes of breathing new life into this misunderstood figure.

automatism and (-)(+) feedback is a 3:29-minute video made from shot footage of a 10-year-old child playing Zombie Smash on a handheld device.  The video footage and sound have been repeatedly rescanned and resampled using a telev

Characteristic of much of Gillette's work—which treats video as a field of light, movement and reflection—Muse extends beyond optical sensation to engage the viewer in metaphysical contemplation.

How I Love You is an exploration of sexuality among gay men in Lebanon.

In this interview, Los Angeles-based artist and filmmaker Ryan Trecartin (b. 1981) discusses his personal interests and motivations, as well as the larger cultural and philosophical concerns that shape his videos and their reception. Trecartin is known for his construction of non-linear narratives, campy costumes, and excessively visceral characters and environments. One of the most compelling aspects of this interview is his insistence that language and its verbal articulation, rather than the visual, anchor his process. Trecartin identifies the influences of 1990s retro-rave culture, hip-hop videos, and editing software tools on his work. He notes that the accelerated disintegration of high and low culture has played a major part in his growth as an artist.

Making himself into a “minimalist” prop sculpture in the manner of Richard Serra, Nauman moves through various poses in realtion to the floor and wall.

A modulation of the discourse produces a portrait of the philosopher Slavoj Žižek during a dialogue.

This tape is a media arts collaboration between Joe Leonardi, Cathleen Kane, and radio artist Joe Frank. It is a synthesis of three “dark humored” radio pieces adapted for video.

Removing keyframes from a digital version of John Ford's The Searchers, Baron and Goodwin attack the film's temporal structuring to render a kinetic “painted desert” of the West. The dust kicked up by the movement in the film is pure pixel, unanchored from the photographic realism that used to constrain it.

A combination of experimental and narrative approaches which explore the commodification of rebellion as it is marketed to youth culture, through the eyes of two drug-dealing, teenage girls from Brooklyn who "accidentally" kill and mutilate their favori

A man learns his daughter has been brutally murdered by her husband.

A series of three videotape fragments (Fuse, Timer, Slow Down) presented as visual commentaries on television ads, these pieces are critical responses to the visual speed, narrative style, and format used in the making and del

Satoshi Uchiumi, Japanese abstract painter, believes that the beauty of painting lies within paint itself. He has pursued beauty by painting thousands of colored dots.

The scales of the snake refract a trance and invocation. In the epicenter, the pyramids join Izcóatl's battle, the Obsidian Serpent propagates an exhortation: all the dances against the war.

A classic example of feminist performance videos of the 1970s, which often incorporated autobiography, expansion of self through personae, and assertions of a new identity for women.

Sensemayá is a shamanic composition, an ecstatic dance, and ritualistic spell which distills and exudes the kinetic motion of the ancient snake that inhabits our present dislocated times.

A Palestinian filmmaker is writing a script in his New York apartment during the first Gulf war. As much as he tries to shut himself off from the exterior world, images of past wars in the Middle East come back to haunt him.

In Home Tape Revised, Benglis took a portable tape recorder with her when she visited her family in Louisiana.

Never Rest/Unrest is a hand-held short film about the relentless political actions in Hong Kong, spanning early summer to late 2019.

The dark and sloppy side of touring college towns with your work. An internal expose of external secretions that unfortunately make it to the boob tube in full color.

A collaboration with writer Luc Sante made in Tangier, Morocco, a city where neither of us had ever been.

This video is a 7-minute single channel piece consisting of two monologues: the first is a speech prepared for Richard Nixon in the event of a moon landing disaster in 1969, the second is the final words of the computer HAL from the film 2001.

Two characters speak urgently to camera about their relationship with an intelligent substance they call ‘Animal Expanded’. The man has swallowed it, as he expands it impregnates his home, improving his family.

This classic feminist tape deviates from David Byrne’s and Jonathan Demme’s popular 1980s versions of suburban life, True Stories.

An elegy to Diane Burns on the shapes of mortality and being, and the forms the transcendent spirit takes while descending upon landscapes of life and death.

Charles Simonds (b.1945) majored in art at the University of California at Berkeley. There he discovered an area of clay pits that had once provided the raw material for some of Manhattan's older buildings.

This is the arche-fossil and the presence of the decay-image rate of his radioactive nucleus as an omen of interesting times. Part of the Scattered Geology Audiovisual series.

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.

Uh-Oh! is a love story that revolves around the classic text, The Story of O. Not an adaptation, but rather a critical analysis of masochism that investigates the relationship between love, risk-taking, spirituality, power, and sex.

A portrait of risk and language, DAREDEVILS, presents the experimental narrative of a writer as she interviews a well-known artist and feels the reverberations of their discussion throughout her day.

Utilizing a four-way split screen, Divided Alto documents Landry’s improvised flute performance—focusing on the harmonics of the instrument as he plays double and triple chords.