This are the scattered fragments, the scattered mineral fragments in its oceanic evolution, an intermittent becoming of geological massiveness. The mineral geology under the spell of an scattered dance. This is the mobilized fossil.

Part of an ongoing video correspondence with sculptor Robert Morris, Mumble brings together repeated scenes and gestures, featuring Morris and Jim Benglis (the artist's brother), and a narrative of irrelevant, confusing, and often purposefully

Phalloi Phaerie emerges from the wood. Forest nymphs with carnivorous flowers begin their mating rituals in a playful, polymorphously perverse return to arcadia.

A short production I concocted with the students from the School of the Art Institute of Chicago and a tour through the old Playboy Mansion in Chicago where I bedded down for several days, alone and confused.

High Five usually comes across as absurd and silly, and generally gets a laugh when shown. I appreciate this response and agree it is quite ridiculous on the surface.

A performance by A.K. Burns and Ulrike Müller.

The title is also available on A.K. Burns: Early Videoworks. 

An intimate interview with filmmaker, videomaker, film critic, poet, lecturer, and curator Jonas Mekas.

This is an over-the-top Video bouquet audaciously delivered by flamboyant "Pan" – like poets determined to paint the world pink.

Using the opening of Godard's film Alphaville as a foundation, Lord constructs a vision of the evolving global city during the last years of the 20th Century.

Appropriated network-TV footage of Jimmy Carter’s "I see risk" speech from the 1980 Democratic Convention meets Reagan’s gloomy inaugural ride through D.C.: "If you succumb to a dream world, you’ll wake up to a nightmare."

Arlene Raven (1944-2006) was a feminist historian, theoretician, poet, and art historian who has published numerous books on contemporary art and written criticism for The Village Voice and a variety of other newspapers, art magazines, exhibiti

“Criminality may present itself as a kind of saintly self-mastery, an absolute rejection of hypocrisy.”

—Angela Carter, The Sadeian Woman and the Ideology of Pornography (New York: Pantheon Books, 1978)

Inspired by an unaccomplished personal project, in this animation, I’m exploring ideas of intention, extension, and failed romanticism.

This is a Sign (by Bob Snyder and Sara Livingston) is a contemporary daydream, with the kinds of conceptual twists and turns that daydreams often have.

An image of the curandero in Tlocalula, Mexico.

In this interview American filmmaker, poet, and lyricist, Cecelia Condit gives shape to the contours of her work process. The artist describes the influence of her relationship with her mother, her long-term investment in the macabre, and her ongoing desire to confront death through art. While covering a broad range of topics, Condit’s discussion of her work and interests returns to several defining themes: aging, grotesqueness, and the notion of movement, both in terms of her own past as a dancer and the notion of the body in decay. With a particular emphasis on the production and context of her videos, Annie Lloyd (2008), and All About a Girl (2004), this interview offers insight into the artist’s fascination with aging, sweetness, and storytelling, while also articulating her joyful sense of discovery within the art-making process. No longer working with scripts, Condit presents herself in the interview as a scavenger–much like the crows she incorporates into her work–assembling videos which straddle the line between strange and silly. – Faye Gleisser

It’s the first day of autumn, and Gibbons can already smell death in the air.

Hidirtina (Sisters) is based on a mythology from Eritrea and northern Ethiopia. It is part of a larger story collection project that began in 2004.

Prestidigitation before the age of the pixel. Very lively stop motion and open shutter piece, shot on Super 8, with all effects done in camera – but transferred to video for ease of viewing.

In October 1969, the Videofreex visited the home of wealthy political and social activist, Lucy Montgomery, as she was hosting the Black Panther Party of Chicago during one of their most fraught times – the period just after Chairman Bobby Seale was wro

Subtitled A Rebellion against the Commodity, this engaged reading of the urban black riots of the 1960s references Guy Debord’s Situationist text, “The Decline and Fall of the Spectacle-Commodity Economy,” Internationale Situationniste

RECKONING 4 is the second in a series of investigations into (among other things)

An examination of venture capital, Nothing Ventured documents the tough negotiations that take place when entrepreneurs and bankers meet.

As Laurie and her child's father lie in bed, taking an afternoon nap, a large balloon resting on her belly inflates under the sheet and explodes.

Zaatari’s contribution to Lebanon’s Pavilion at the Venice Biennial 2013. This video offers a portrait of a public school and a tribute to those refusing illegal military orders.

Jennifer, an intelligent but insecure 14-year-old student at a boarding school, seduces her married dormitory counselor, a photographer who has offered to teach her about his art and winds up shooting her in the nude.

A major figure among underground filmmakers, Stan Brakhage (1933-2003) boasted a prolific career that spanned more than 50 years and 300 films.

Naked is a "living" environmental installation created for and commissioned by the Walker Art Center in Minneapolis, where EIko & Koma were "on view" all the hours the museum was open for the month of November 2010.

Frozen in time and place, yet celebrating birthdays left and right, I ponder the technology that sends me out into the world via magnetism—a magnetism that not only attracts images and sound but also the particles of nothing that become something when a

The Duet Project: Distance is Malleable is a mutable and evolving series of experiments in collaboration. Negotiating differences of race, time, culture, ethnicity, religion and gender, the artists seek to maximize the potentials of t

Colectivo Los Ingrávidos (Tehuacán) is a Mexican film collective founded in 2012 to dismantle the commercial and corporate audiovisual grammar and its embedded ideology.

“Trolling for news we call it,” says Bart Friedman a minute into this video, as he pushes down a road the Lanesville TV News Buggy – a baby carriage filled with video equipment, spilling over with wires.

Luis Cruz Azaceta (b.1942) creates paintings and mixed media works which use the recurring theme of the displaced individual. Marked by his own exile from Cuba—he emigrated to the U.S.

Blood percolates beneath the hot skin of sweat soaked men as they wrestle with primal urges that rip open hearts, tie the gut in knots and turn emotions inside out.

Anhedonia doesn't play to the back of the church. It shoots directly to the point with poetry and images that evoke controversy in one mind set and passion in another. Depression and suicide are met head on with Cuthand's honesty.

Petrolia takes its name from the redundant oil drilling platform situated in the Cromarty Firth, Scotland.

Using “found” imagery shot in a SoHo playground, the first part of the Damnation of Faust trilogy explores the possible relations between childhood play and a woman looking on from outside.

In 1995 when TJ Cuthand was 16 they felt like the only lesbian at their Saskatoon high school.

"I asked the inmates in my Art Group on the HIV/AIDS unit - Del Norte to talk about their experiences from the womb to the present moment. Here are their stories."

–Wendy Clarke

Bitter with a Shy Taste of Sweetness contrasts the fragmented past of the filmmaker growing up in Baghdad with his surreal California present.

Filmed by Jingqiu Guan on November 7, 2022 at Royce Hall Rehearsal Room during the creative residency sponsored by UCLA Center for the Art of Performance (CAP). This video was used for the performance on November 20, 2022 at UCLA.

Freed overlays the signal from two cameras pointed toward one another. Each camera is panned around to reveal a domestic environment.

Like a generation of viewers, I was profoundly affected by Deliverance.  But I have always been troubled by the hegemonic structures of gender proposed by Boorman and Dickey.

This very funny video plays with the identification of the camera as phallus, as an instrument of power and domination intruding upon reality; never an innocent bystander, it is always the organizing locus of events.

Cohen shot Little Flags in black and white on the streets of lower Manhattan during an early 90s military ticker-tape parade and edited the footage years later.

Night. The moon is a rock. The ears are stopped. A chair balances on the roof of a house. A silver box composes itself: a mysterious instrument. A marble rolls around in somebody’s head. Two rocks spin.

Both Vermont Landscape and Pond Life followed two opera collaborations with composer Steve Re

“The tape ultimately addresses all the big questions — death, origin and family, religion — as well as the small discomforts of the body, only to reverse their order of importance.”

Pulling Up Roots is the emotional journey of a woman who is navigating the tenuous strain between the past and the future.

According to Harun Farocki, today's photographers working in advertising are, in a way, continuing the tradition of 17th century Flemish painters in that they depict objects from everyday life - the "still life".