In this interview Cecilia Dougherty describes her work and her explorations into family interactions, outsider psychology, role-playing, lesbian sexuality, and popular culture.

Known as one of Italy's most important filmmakers, Pier Paolo Pasolini was first and foremost one of its poets.

I worked on Trio A alone for six months in 1965. The dance consisted initially of a 5-minute sequence of movement that would eventually be presented as The Mind is a Muscle, Part I at Judson Church on January 10, 1966.

Our Non-Understanding of Everything is a series of 16 videos that explore how the structures of architecture, semiconductors, and circuits become forms of expression refl

A series of intimate video-8 vignettes depicting the fierce love between Malverna and Sandi, 88 and 22, grandmother and grandson. The two playmates dress up drag-esque for this moving portrait of a woman’s lifetime struggle with gender and sexuality.

A thirty-three minute video odyssey documenting one woman's search for the miracle of the Virgin Mary. A must-see for recovering Catholics and their families and friends worldwide.

I moved three thousand miles from the east coast to join the feminist art program at CAL ARTS in 1973.  I had only been in LA three weeks when Judy Chicago took us to a "Menstruation" art exhibition at Womanspace Gallery.  The exhibit included

Guerilla Girls are artist activists who have dedicated themselves to informing the public of the gender and racial inequalities that persists in the art world.

Begun as a consideration of the upgrading from manual to digital film editing techniques, Transitional Objects explores the anxiety and loss inevitable in such a transition while also suggesting the consequences of other life transitions.

An evening-length collaboration work with the celebrated avant-garde pianist Margaret Leng Tan. The stage set is by Eiko & Koma and the lighting is by David Ferri.

In imaginary landscapes where trees talk and frogs turn to handsome princes, Pizzly Bear is a story of a cross between a Grizzly and Polar Bear.

A Perfect Pair posits the idea that individual consumers are walking billboards for the products they use; product slogans and brand names peeking out from every crevice and cranny of the actors’ bodies.

Untitled (shaving performance 2010) is a document of a privately held performance, in which Hubbard used a straight razor to remove the hair from the lower half of Burns’ body.

Jack Tworkov (1900-1982) was an important member of the first generation of Abstract Expressionist painters and was, for a number of years, head of the Yale University art program.

Forming a loose trilogy with Rankus’s two previous works (Naked Doom and She Heard Voices), Nerve Language furthers his visual investigation into the ambiguous mingling of inner and outer worlds.

A cinematic firestorm of found footage and pilfered Hollywood images, Mike Hoolboom’s hallucinatory Tom – described by the filmmaker as, "Cinema as déjà vu, or déjà voodoo" – pays mesmerizing experimental tribute to the life and work of friend

A selection of Love Tapes — a collection of video recordings of 2,500 people from diverse backgrounds who share their personal feelings about love.

This tape exemplifies Snyder’s early experiments with the image processor. Articulated patterns of alternating wavelength and amplitude of both sound and light are arranged to produce abstract compositions.

This is a gaze of the body and a notion of spectator that the 90´s decade constructed, this is the audiovisual legacy of the 90's for our actual audiovisual control world.

Theo Cuthand and his mother Ruth Cuthand have a candid conversation about Theo's last hospitalization for Bipolar Disorder in 2007.

“Nicky is seven.

Masked men prowling in the bushes and not touching anything but satin, dandelions and flesh.

During Videofreex member David Cort's travels to Jerusalem, a scene was shot in a hospital where a female patient is having electrodes attached to her body.

Cupid’s arrow pierces the heart of five individuals.

The film suggests a link between three political figures from the history of Mexican resistance: the Soldadera (woman guerrilla fighter), the Zapatista (member of the Zapatista Army of National Liberation), and the Normalista (students from the Ayotzina

Burns and Discenza continue to battle invisible forces with the use of various children’s toys, cars and a mechanical digger, a paddling pool, rubber rings and ladders. Eventually they escape the scene of their distress in a hatchback car.

Gaijin = A non-Japanese person. In 1984 I celebrated my eighth birthday on my mother's island.

46+ years after Debord wrote "...the heart of the unrealism of the real society...," a nine-year-old child is instructed to repeatedly recite thesis #6 from The Society of the Spectacle. The recitations are re-mixed at one-second intervals form

Nancy Graves (1939-1995) was a New York sculptor, painter, and filmmaker who used natural history as a reference for dealing with the relationships between time, space, and form.

Part of a trilogy of works known as the Video Wallpaper Series in which George tests out his new audio/video digital mixer and creates a range of impressions of people and places.

The union of humankind and the camera is a long and sordid tale. This lyrical dance illustrates the inseparable nature of the two.

Community Action Center is a 69-minute sociosexual video by A.K. Burns and A.L. Steiner which incorporates the erotics of a community where the personal is not only political, but sexual.

A Letter for Phil suggests an institutional critique in the form of a correspondence signed by “Matt/Rose/Tom/Isac.” The video juxtaposes two angles of the typewriter—one showing the typed text in realtime, another showing hands of the wr

This is the flowers under attack. An entire ecosystem under attack. This is the omen of the bugambilia. This is the pulsation of the nervous trance of petals in the anthropocentric times. Part of the Hauntology series.

Pat Ward Williams’s socially charged works confront issues of race, often dealing specifically with African American history and identity.

George Kuchar experimented with in-camera editing effects more and more in his later career, and Snapshots is no exception.

On December 1^st 1990, watched by the world's media, construction worker Graham Fagg of Dover climbed through a hole in a chalk wall 40 metres below the seabed of the English Channel, shook the hand of Philippe Cozette of Calais, and shouted "

Meet local San Francisco artists and the pets of the culturally inclined, as George prepares to take a trip.

This compilation features 11 of Jem Cohen's collaborations with musicians.

John Smith, throughout his 40-year career, has approached the moving image from film, video and installations, generating a tremendous body of work that’s as diverse in its topics as it is in its methods.

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

Interrupting the nightly news in an act of guerrilla television, Gómez-Peña returns to the persona of a Chicano-Aztec veejay—"The Mexican who talks back, the illegal Mexican performance artist with state of the art technology"—to elaborate the complicat

Kirsten Stoltmann's video, I Spill My Guts Everyday for Nothing, is exactly that, a portrait of the artist spilling her Guts with a blank expression on her face. Again, Kirsten emerges as an empathetic anti-hero, who, in her own need for c

Cool sheets and warm male bodies ignite the screen with antics that go from hot pink to black and blue as they romp, stomp, spit and strut their "goods" before your eyes.

Jennifer Bartlett (b. 1941) is a writer and painter who makes large paintings with enamels on fabricated panels. She uses an overall grid structure on which she repeats images in a variety of styles ranging from lyric abstraction to childlike representation.  Near the end of this interview with Kate Horsfield, she reads the chapter “Dreaming” from her book The History of the Universe (1985). “I decided: 1) I didn’t want to stretch a canvas again, 2) I wanted to be able to work on a lot of things at once. I didn’t want to exercise my own taste, which seemed boring and hideous. I wanted something modular, a constant surface."

A historical interview originally recorded in 1976, edited in 2010 with support from the Lyn Blumenthal Memorial Fund.

History haunts the border town of Columbus, New Mexico when riders on horseback cross the border to commemorate Pancho Villa's 1916 raid.

Dead Body Pose absurdly touches the contemporary bubble, encapsulating both connectivity and spirituality, a connection fueled by the global capitalistic consumption of the self.

Over 6,000 gold prospectors invade the reserve of the Nambiquara of Sararé, and loggers raid the mahogany-rich forests, which are threatened by extinction.

Chance observations of New York's Chinatown, commissioned by the Museum of Chinese in the Americas. 

"A sleepwalker's circumnavigation of one of the less homogenized parts of the city."

--Jem Cohen