“The syntactic structure and lateral movement of Arcade match its fairground equivalent.

A performance about the artist’s experience in the aftermath of an accident.

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

This is the howl, gaze, and agitation of the Coyote into the mountain. The Path of the Coyote.

In collaboration with Iris McCloughan.

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.

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.

Cambodian Stories is Eiko & Koma's multi-disciplinary collaboration with Reyum Painting Collective, young painters who study and work at the Reyum Institute of Arts and Culture in Phnom Penh, Cambodia.

A speculative portrait of a Dutchman living in the Surinamese jungle, fixing canoe motors, who is accused of eating the locals' children.

This eight-minute video is part experimental video art, part sketch comedy routine, and part informational lesson on the advantages and disadvantages of owning Sony's latest video technology.

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.

A holiday video of good cheer and feline ferocity, this annual tradition of videotaped festivities centers on the oriental and occidental tidbits that make the season worthy for bipeds on wheels as they pedal from one calorie laden event to another.

This is the story of two young girls who dig up a tiny woman from the back garden.

"Three months in an architects’ firm in Berlin. From the architecture down to the tiniest door handle, a questioning of matter and the verb."

— Harun Farocki

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.

"You are invited to Jim’s party! Snake optional."

--Cinematexas Festival (Austin, 2001)

"Three more sing-alongs, this time with swans, a snake, and the Red Army Chorus."

--L.A. Freewaves Festival

BZV is a film about the result of labor.  It has a couple using their hard earned wages in search of furniture, citizens’ leisurely water skiing and fishing. BZV was shot in and around Brazzaville, The Republic of Congo.

Magic Thinking is a multi-platform film installation steeped in the current moment when climate catastrophe, the COVID pandemic, and the rise of fundamentalism combine to contribute to an apocalyptic aura.

Planetary battle over the porous body of the earth. This is the battle of the Earth.

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.

"I just can't resist trying to empathize with animals and plants.  I think that in the process of attempting to learn what it's like to be an animal or plant, I learn more about what it means to be human."
--Sam Easterson

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

American sculptor and land artist Robert Smithson made art as a meditation on transition and change.

Robert Cumming (b. 1943) is an American photographer/sculptor/bookmaker who borrows from the artifice of theatrical sets to construct his elaborate and often absurd images. He has also published several books of photography and narration.

“Nicky is seven.

A bruise on her face. The woman has white makeup, bright red lips and dark-rimmed eyes, which are largely covered by her hair. Without uttering a word, she hits her face, head and upper body.

An elegy to the popular demands against ominous social and political events in the recent Mexico.

A wonderful and humorous example of early image processing, Parry Teasdale and Carol Vontobel perform to camera as their faces are morphed together, forming an image of one person. 

There’s lots cooking in the city-by the-bay and the waters smell good too as the viewer sails off to Sausalito for home-made bread and gets an ocular whiff of oriental cuisine.

Broken up into "chapters," Phosphoresence features an array of abstractions created by manipulating television images. At times almost painterly, the resulting images are set to an ambient electronic soundtrack.

A grinding mortar and pestle vignette analogously describes the evolution of digital resolution; from a single color to a high definition image to an infinite splitting of that image back into the pixels themselves.

A psychedelic portrait exploring epistemologies of Seminole alligator wrestlers. Considered a staple of Florida tourism, alligator wrestling has been performed by members of the Seminole Tribe for over a century.

From the performance by the same name, by Suzanne Lacy, Stan Hebert, Councilwoman Sheila Jordan, Frank Williams, Officer Terrance West, Mike Shaw, and Annice Jacoby, Oakland, 1995-6. Suzanne Lacy worked alongside youth activists, city council

In 50 Blue a young man (the artist’s brother) pushes an elderly disabled man (the artist’s father) in a wheel chair through a muddy landscape. It is a long and exhausting trip to an unknown destination only discovered at the end.

Each year, crowds of Turkish, Australian and New Zealander tourists travel to Gallipoli, Turkey for a modern day pilgrimage.

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.

We will live to see these things... is a documentary video in five parts about competing visions of an uncertain future. Shot in 2005/06 in Damascus, Syria, the work combines fiction and non-fiction.

Throughout the video, Benglis asks "Now?" and "Do you wish to direct me?" and repeats commands like "Start the camera" and "I said start recording." As in On Screen, she makes faces and sounds in reply to the images on a monitor; at one point s

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

1.1 Acre Flat Screen is a 45-minute video about a year-long effort to improve a lot of 1.1 acres of desert land in Utah, which we purchased on September 4th 2002 on eBay.

This video is an unabashed fan letter to poet Eileen Myles. As in Laurie, my desire was to romanticize the poet, but not through her writing so much as through her reputation as the natural born child of the New York School and the Beats.

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

Double Sigh is a video in which my mother reenacts a moment from my adolescence. In confronting the viewer directly, my mother's anger, frustration and sadness are imposed on the audience.

– Julia Hechtman

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

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

A video poem about the nature of social relations and mass media, Half Lies exposes the seemingly innocuous ways we distort truth.

An ex-student of mine opens up in the privacy of her home and shows me her etchings (watercolors) as we talk of art and things that slip under the fabric of daily attire. - George Kuchar

‘ODDS AND ENDS’ is a dazzling patchwork of moods, lost and found, for the eye to savor.