In 1985, Hollis Sigler, a leading feminist artist in Chicago, was diagnosed with breast cancer, a disease that had also stricken her mother and great-grandmother. This interview with Hollis Sigler focuses on the period of her life beginning with the work entitled Breast Cancer Journals, a series of paintings, drawings, and collages expressing a wide range of emotional responses to the various stages of her struggle with cancer encompassing more than 100 works. Art in America called Sigler’s Breast Cancer Journals “one of contemporary art's richest and most poignant treatments of sickness and health.Taking on a kind of religious conviction, her jewel-colored symbols imbue a death-haunted situation with miraculous, celebratory life.” 

Identically dressed, and with sibling-like resemblance, performance artists Trevor Martin and Kym Olsen shift between spoken word and athletic dance choreography in a collection of 29 scenes.

In the center of the rising Temple, the history, myth, ancestral and infrareal combine their rhythms into the cycle life of ritual cinema. Trance and shamanic visions arise into the ancient Teocalli.  

In Fagtasia Solstice, Brenda and Glennda attend a Radical Faerie event in New York City to commemorate the Summer Solstice.

Videotaped on August 13th 1972, this tape features a number of scenes shot for Lanesville TV, including the Videofreex at the Catskill Game Farm shooting footage of the animals.

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

As a foulness shall ye know Them. Their hand is at your throats, yet ye see Them not; and Their habitation is even one with your guarded threshold. The wind gibbers with Their voices, and the earth mutters with Their consciousness.

With wit and humor, seven-year-old Kendra portrays ten female stereotypes, including an ingratiating Southern belle, a motorcycle-riding tough chick, and a simpering housewife.

A voice for which an event impossible to internalize remains distant. An event that in its distance does not cease to make the narration of something that should not take place anywhere foreign.

The Action Series finds our alienated heroes in desperate attempts to communicate and find a way out of their endless crisis scenarios. The two pieces share a domestic setting, though this is no comfortable home away from home.

A fireworks display heralds the appearance of our heroine. She walks a hotel corridor with balloons held aloft and champagne on call. But then she stumbles. The perils of success.

A dragumentary about a day in the life of a score of drag queens on the lookout for photo opportunities at Lincoln Center, the Guggenheim Museum, Tiffany’s, and in SoHo.

Next Atlantis is a video/sound collaboration between composer Sebastian Currier and filmmaker Pawel Wojtasik.

This first work in the HalfLifers' Action Series plunges into a world of frantic heroes trapped in a continual crisis of dissolution and reification. An ordinary domestic setting is recast as a psychoactive landscape in which the concept of function becomes situational and fluid. Only through the strategic application of organic and inorganic “devices” can this zone be successfully navigated and the mission be saved.

Students reclaim a popular gathering spot on the campus of the University of Virginia.

This arresting early work conveys a tension that emanates from what Tanaka posits as life's basic dualities: male/female, past/present, known/unknown.

The first video work created collaboratively with DonChristian Jones as a part of Eiko's The Duet Project: Distance is Malleable. The video was projected as part of The Value of Sanctuary: Building a House Without Walls exhib

Ree Morton (1936-77) was an American artist working with large-scale mixed media installations.  Her mature career was brief, extending from 1971 to 1977.  However, her output and growth during these years was unusually large.  This was the first of two interviews Lyn Blumenthal and Kate Horsfield conducted with Morton; the second was for the journal Heresies in 1977.

This black and white drama of romance, adventure and outer space intervention was mounted at the San Francisco Art Institute.

For 5 months, Clarke held workshops with young women, ages 18-23 years old, who were incarcerated at the Ventura Youth Correctional Facility in Camarillo, California.

Filmed in the remains of Soweto's historic Sans Souci Cinema (1948-1998), YOLO is a makeshift structuralist mash-up created in collaboration with the Eat My Dust youth collective from the Kliptown district of Soweto, South Africa.

Are gender outlaws considered the new biological terrorists seeking weapons of mass bodily destruction? OPERATION INVERT compares the different regulations mediating botox-related plastic surgery and gender reassignment "sex change." Historical

SPRING is a four minutes and fifty-six seconds experiment with psycho-optics and psychoacoustics to produce a field of moving images and sounds starring Ho Chi Minh, Occupy Wall Street actions and Crocus.

The tapes in Facing the Self: Program 2 are organized around the appearance of the female form, particularly the face.

On September 22, 2018 artists Ligorano Reese installed a 2500 pound sculpture of the word Truth carved in ice on the National Mall in front of the U.S. Capitol.

CHANNELING is an entryway into the spirit realm and the queer body politic: a program of experimental moving image work that calls up the ghosts of the past and the specters of the future.

Each year, more women undergo treatment at hospital emergency surgical services as a result of family violence than rapes, muggings, and car wrecks combined.

In Stitch, computer graphics are altered with image processing effects. Beeps and electronic music provide a soundtrack as abstract structures and evolving shapes and patterns rotate in space.

Two Black University of Virginia hospital employees talking about the job site in a Albemarle County speakeasy.

Combining collage and animation with an Asian-influenced soundtrack, images of women dancing sensually and devotional imagery, Matsushima Ondo compares religious devotion with sexual representation.

In the film Mad Ladders, the prophetic ramblings of an unseen narrator recount fantastical dreams of the coming Rapture, as crystalline imagery of rolling clouds gives way to heavily-processed video of moving stage sets from The American Music

Taped on Prince Street in Soho, New York City, Skip Blumberg creates a one-word performance.

In El Gringo, viewers experience the discomfort of being an outsider when the camera is confronted by a pack of snarling dogs.

This video is a response to Kobland’s experiences as a DAAD (Deutscher Akademischer Austauschdienst) fellow in West Berlin.

Primate Cinema: Apes as Family is a drama made expressly for chimpanzees – and the chimps' reaction to its screening at the Edinburgh Zoo. Chimpanzees watch television as a form of enrichment in captivity.

The two Social Studies videos call into question fundamental assumptions about the cross-purposes of entertainment: to entertain, to present cultural values, to mediate public policies, and to define social relationships.

Hollis Sigler (1948–2001) was a Chicago-based artist. She received degrees from both Moore College of Art and the School of the Art Institute of Chicago.

At the computer, I cut video threads of wind storms and quaking trees.

A surrealistic deep dive into the interactive menus and screens that make up the mediated landscape.

Newton Harrison, born 1932, is one of the earliest and best known social practice and environmental artists.

Produced in Liege for Belgium TV, this tape considers how broadcast television functions in a multi-lingual area.

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.

The video series Not Once began with the recording of personal stories by local Icelanders, about specific locations or a sense of place.

Black Body is a harsh and compelling meditation on the contradictory values assigned to black bodies in American culture: they exist as both desired and feared, abject and powerful.

Based on a painting depicting St. Bernard receiving milk from a statue of the Virgin Mary.

Words: Donald Kuspit

Performer: Heidi Bartlett

Sound/Camera: Hans Breder

Post-production: Adam Burke

Beginning with Phil Morton narrating in a Southern twang, he demonstrates how to flip a video with low cost—72 cents—on modification on the camera.

In Aspect colour, light and shadow shift across the surface of the forest as the duration of a calendar year is condensed into minutes.

An avatar, created through a 3D scan of Syms, navigates a plain and vast virtual landscape, the perspective sometimes floating above, sometimes alongside, as she progresses through a perpetual cycle of death and resurrection.

An island. A mountain. A City of Angels who scoop up the pellets dropped by other winged creatures.

This title is also available on The World of George Kuchar.

The four‐part cycle Parallel deals with the image genre of computer animation. The series focuses on the construction, visual landscape and inherent rules of computer-animated worlds.