Shot by Mary Curtis Ratclif at the O.K. Harris Gallery on Prince and Green Streets, New York, this tape focuses on performer “Ricky Jay” as he performs card tricks at his magic table for an enthusiastic audience.

An example of what Reeves terms “video poetics,” layered images of a deserted village in the Spanish countryside play counterpoint to poetry by Cesar Vallejo and Pablo Neruda.

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

Christmas Eve. A man alone finds someone he can talk to.

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.

Its dream-like unfolding, amid the imposing titular Mexican landscape, results from a randomizing strategy modeled on the "Exquisite Corpse" parlor game adopted by the Surrealists of the 1920s.

A meditation on the nature of “Nature” and the uncertainty of “Cause and Effect.”

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

In this interview, American artist, independent curator, writer, and experimental filmmaker, Vaginal Davis reflects on her initiation into the punk rock and art scenes of Los Angeles during the 1980s and 90s, her stylistic influences, and her ongoing efforts to theorize queerness and visuality. Caught between the opposing poles of Hollywood classicism and the rawness of punk, Davis defines her unapologetically gender-bending, campy, and at times aggressively critical performances as scenarios, rather than spectacles or entertainment.

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 reflecting hierarchies,

Three basic compositions are played and recombined in Collage: a hockey game; arms swinging across the screen; and a hand holding one, two, then three oranges.

A woman is lying on her back on the floor.  She seems to be tied down on the ground, but she is holding her ankles with her own hands.  She wears only tights and a pair of high-heeled red shoes.  Her hair-covered face makes her an anonymo

“Nobody likes you if they think you’re rude- you better act the way you should.” But we didn’t.

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 reflecting hierarchies,

“Images from the maximum-security prison in Corcoran, California. A surveillance camera shows a pie-shaped segment of the concrete yard where the prisoners, dressed in shorts and mostly shirtless, are allowed to spend half-an-hour a day.

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.

George visits his mother in the hospital on Halloween and contemplates the autumn colors.

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

In Lossless #5, a water-ballet crafted by the famed Busby Berkley is compressed into an organic mitosis, within which we detect the spirit of a "buggy" Brakhage ghosting about the integrated circuit.

Video Data Bank is proud to present the pioneering work of Bio Artist Eduardo Kac. This three-disc box set features art works that expand the limits of locality, light, and language.

"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.

Spanish artist Jaume Plensa (b. 1955) creates sculptures and installations that intend to unify individuals through their relationship to memory, the body, and spirituality.

I borrowed this absurd phrase from a sign posted on the conductor’s booth in the Washington, D.C. subway. The language of civil service here borders on unintentional parody, with its blankly polite tone and bureaucratic single-mindedness. I.G.G.B.S.R.A.U.C. revisits my 1992 tape Nation, and features a dense chorus of faces and voices. These strangers ask us to consider the question, 'Who is the public?'
— Tom Kalin

Breder painted the words of Donald Kuspit’s poem in white on scraps of paper and then floated them down Old Man’s Creek, the site of many legendary Intermedia performances near Iowa City.

Originally from Canada, Agnes Martin (1912-2004) moved to the U.S. in 1931. Martin lived in Taos, New Mexico from 1954 to 1957 and then moved to New York, where she established her name as an important minimalist painter.

I was fourteen when I put on my first wig. It was, I believe, my sister’s idea. So she and my mother and I went – I forget where…Simmons and Co.? – some elegantish salon with gold lame drapes where they did not do such splendid work.

Since 1977, Mierle Laderman Ukeles has been a volunteer artist-in-residence at the New York City Department of Sanitation, allowing her to introduce radical art into a public system.

He is mute flesh that the stroking of fingers can bring to sing.

-- Mike Kuchar

The pieces comprising Germán Bobe: Early Works express romantic exuberance painted in the electric vibrancy of cathode rays as well as longing restraint illuminated in soft sepia-tones and black and white chiaroscuro.

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

This video captures the playfulness of the Videofreex as they frolic in the first snow of 1971.

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.

2 Spellbound is a frame-by-frame re-editing of Alfred Hitchcock’s 111-minute psychoanalytic thriller (1945) into a seven-and-a-half-minute dance video.

Told through recollections of youth, learning, lore, and departure, this is an imagined myth for the Xąwįska — or the Indian Pipe Plant — used by the Ho-Chunk to revive those who have fainted.

[This] is my first attempt to construct a video piece using one set of generative intervals for both sound and color.

Netherlands, January 29th 2006/January 29th 2007

This compilation contains many of Teddy Dibble’s best comic vignettes. Everything is up for grabs in these visual and linguistic puns, including video dating, telephone operators, New Years Eve celebrations, fruit, and the theory of evolution.

This Was Home is comprised of three channels, which present three generations of the artist’s family.

Private Parts is a document of a police raid on an alleged pornographic photography exhibition organized by Rhode Island School of Design students and hung in the Electron Movers* gallery at 128 North Main Street in Prov

The Soft Science “Cinema of Attractions” is a series of short movies by scientists. Commission and concept by Rachel Mayeri, electronic compositions and musical accompaniment by Joe Milutis.

Media artist Cyrille Phipps has been involved with numerous alternative media and lesbian activist projects, including Dyke TV and the Gay and Lesbian Emergency Media Campaign.

An intrepid academic travels the world, asking people if it is OK for someone to stab a friend in order to test the sharpness of a knife. If one person says it's OK and another says it's not OK, can both respondents be right?

Addressing the tear that Lucio Fontana cut in the canvases of his Spatial Concepts, the performer, Russ Nordman, rejoins and repairs the split screen.

Art Spiegelman was born and raised in New York, and began working as a cartoonist while still in High School. He attended the State University of New York in Binghamton, where he studied Philosophy.

A documentary presenting an overview of Eduardo Kac's trajectory, including interviews with the artist and with art critics Annick Bureaud, Christiane Paul, and Arlindo Machado.

The Erosions series develop the concepts of oxidation, wear and entropy from an audiovisual and cinematographic perspective.

Hey Bud revolves around the suicide of Bud Dwyer, a government official who killed himself before a television audience.

In Spank an eight-second film clip has been re-edited, frame by frame, into a 7 1/2-minute video, tranforming discreet gestures into suggestive, pulsating sequences.

3 Peonies is a brief, poetic 16mm film of a simple sculptural action.

Zachte Berm (from Weiner’s film Plowman’s Lunch) sits with her back to the camera in front of a large mirror—her face, covered with shaving cream, is seen in its reflection.

Blind Huber is a film interpretation of a poem by the American writer Nick Flynn loosely based on the life of Francois Huber, the blind 18th Century beekeeper, who sat before a series of hives for fifty years unlocking an unknown world.