Part of paraconsistent sequence series and the hauntology series.

With an all-female cast, featuring Suzie Bright as John Lennon, Cecilia Dougherty's Grapefruit plays with the romanticized history of the iconic Fab Four, gently mocking John and Yoko’s banal squabbles and obsessive rituals of self-display. Based obliquely on Yoko Ono’s book, the piece works on many levels to reposition this mythic tale of the Beatles by casting '80s women in mod drag—effectively mapping the lesbian sub-culture onto heterosexual mass culture.

“Jesus Christ, look at the white people, rushing back. White people don’t care, Jack...” - Richard Pryor

Blind man: “It is bad to be alone.”

The Creature: “Alone, bad.”

—The Bride of Frankenstein

It can be so bad to be alone that even an artificial heat is better than none.

A found footage film with no found footage. A study in aphorisms: The Sad Tropics, un-attributed master paintings and mis-attributed artifacts alongside the history of denim. Signs, myths and legacy are questioned and revised.

A historical interview originally recorded in 1983.

Interview by Joan Livingstone.

Fifeville is a film about a neighborhood in Charlottesville, Virginia. It focuses on the details, gestures, and material life of the citizens of Fifeville as they communicate their understandings of the neighborhood’s changing landscape.

Kidlat Tahimik is a Filipino filmmaker, writer and actor who takes his name from the Tagalog translation of “silent lightning.” Known as the “Father of Philippine Independent Cinema,” his contemplative films are associated with the Third Cinema movement

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

Film time takes on book time. An homage to a Bette J. Davis’ illustrated text, itself an homage to the small music makers of the insect world.

Camera, edit, sound design: Deborah Stratman

Music: Fontanelle

In this elegant demonstration, Sandin explains the mistake of using common language concepts and spatial relations to describe what actually can happen on the video screen.

These are the ghosts of a haunted civilization, a culture of progress that hides the social and political horror behind the streets. These are the haunted figures in the Capitalocene era. A sinister dance of macabre abstraction.

Jonas Dos Santos is a performance and installation artist from Brazil who came to the U.S. in 1968. His early work consisted of sculptural pieces in atypical spaces—caves and parks.

Nurit Sharett visited the city of Hebron over the course of a year, teaching video art to a group of young Palestinian women. Over time the artist established firm relationships with three of her students and their families.

Three Tales was commissioned in the late 1990s by different international music festivals to reflect on 20th century life as the new century approached.

Primavera is a frenetic experimental animation that documents the pandemic and the Black Lives Matter protests as they intersect in springtime Brooklyn.

The fragment contains within it an implied reference to something that was once whole. It suggests damage and violence, time and distance.

In this work, Alfred Hitchcock's 128-minute film Vertigo (1958) has been condensed at the rate of one frame every two seconds.

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.

1! is part of the Pop Manifestos series, a five video project realized in collaboration with Cokes' former students Seth Price and Damian Kulash, and originally conceived as part of a series for the conceptual band SWIPE.

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.

White Sands is an experiential film installation on the visible and invisible manifestations of the nuclear industry on the land, air, water and people of New Mexico.

"We buried ten Cadillacs in a row alongside Interstate 40 (the old Route 66), just west of Amarillo, Texas; each car represented a model change in the evolution of the tail fin.

Newly uncovered 16mm footage from US Army archives recorded the bare land of Hiroshima and the questions of war tactics on the human race immersed in the present time.

In Dani Leventhal's video, 17 New Dam Rd., we are invited along on a house visit with a familial group. There's trash in the garden, guns on the sofa, and marshall arts in the living room.

A great example of early 1970s counter-cultural activity and the influence of Buckminster Fuller. The video, shot in Woodstock, NY in November 1971, includes footage of a communal meal being eaten in the woods, and of children playing in the mud.

Notes for a DejaVu is a paramnesic experience of the images where Jonas Mekas still lives and we can hear him comment on the memory of an imaginary trip to Mexico. This film is shot with an expired 16mm celluloid during a popular protest.

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.

If second lives have grown into the landscape of social network space and avatars engage a full range of human emotions and experience, it follows that they would eventually encounter existential questions.

Hal Foster is Professor of Modern Art at Princeton University, and has written and edited numerous influential books on postmodernism, art, and culture.

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.

My film is a simple gathering of New York City street footage.  It was shot with a spring-wound 16mm Bolex on, above, and below the streets of Manhattan and Brooklyn and includes footage of the ticker tape parade for astronaut John Glenn.

A girl with a bad habit of falling for older women befriends a boy lover. This video is an examination of relationships between adults and teenagers. It involves ice cream trucks and bowie knives.

In this reinterpretation of the mikveh — a purifying ritual bath performed by Jewish brides about to marry — the filmmaker and his husband’s immersions are disrupted by a government who refuses to recognize their marriage.

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

A series of one-minute interview-based spots Martha Rosler made with the American Indian community during her residence in Seattle from 1991 to 1995.

Created in a deadpan presentational style reminiscent of Coonley's faux-instructional Pony videos, the Experimental Philosophy Trilogy fuses a farrago of materials appropriated from stock media archives, chroma-key mischief, and simula

Television Delivers People is a seminal work in the now well-established critique of popular media as an instrument of social control that asserts itself subtly on the populace through “entertainments,” for the benefit of those in power—the cor

Which celebrity do you most resemble? For artist Kip Fulbeck, this question starts a rollicking ride that is part autobiography, part family portrait, part pop-culture survey, and all Disney* all the time.

BE CAREFUL KYLE was produced over a few days shortly before Jacob Ciocci and Kent Lambert discussed their work with Scott Wolniak in a webinar for the University of Chicago's Local Produce series.

Another Clapping explores the relationship triangle between a daughter, her mother and the Chinese Cultural Revolution.

As profecias da Orixá Oxum (The Prophecies of the Waterfall Spirit Oxum) was filmed at Iguaçu Falls, Brazil/Argentina, and is intended for viewing in Virtual Reality.

"Oursler’s thematic concerns betray classic Freudian anxieties about sex and death. In Grand Mal, the hero takes a convoluted odyssey through a landscape of disturbing experiences.

In this 2004 interview, Kori Newkirk (b.1970) describes his lifelong apprehension of being rooted in any one place for too long. Asserting that the School of the Art Institute of Chicago was the fifth school he attended in four years, Newkirk begins by describing the fortuitousness of his relocation to Chicago following his expulsion from Cooper Union. Recounting how he fled from the fiber department in favor of painting, Newkirk details how it was a studio visit from Deborah Kass and an exchange program to England that crystallized his burgeoning ideas about “painting without making paintings.”

"Over the course of one year, I periodically shot footage from the front window of my third floor apartment. This material became the basis of Window, a video about knowing. How do we come to know a place or a person?

“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.

Robert Irwin (b.

Part of the Hauntology Film Archives series.

In the spring of 1988, video-maker/activist Gregg Bordowitz tested HIV-antibody positive. He then quit drinking and taking drugs and came out to his parents as a gay man.

Hirsch’s most ambitious film to date and the pinnacle of his trilogy, Nothing New depicts the epic rescue mission of a man whose parachute is caught on electricity power lines.