Parry Teasdale is one of the founding members of the video art collective Videofreex, which was active in the 1960s and 70s.

Shot in black and white Super 8, this lyrical short follows a wandering, disengaged youth through grey afternoons. German Song features the hard-edged music of Come, an alternative band from Boston.

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

Using footage from the legendary Bruce Lee’s last, unfinished, film, Fulbeck turns the subtitled martial arts movie on itself—levelling criticism and commentary with the genre's own tools, and examining the various representative functions of the late a

Another chapter in the parallel-leftist-universe of Jim Finn, this video appears to be part of a communist self-help videotape series made in the early 1990's.

Vanessa is based on the untimely death of Vanessa Jordan. A work about loss and Michelangelo.

Part of the paraconsistent sequence series.

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.

Skating softly, but carrying a big stick, performer Kristin Elliott engages in an interlocking series of skits involving simple, slapstick activities performed by a pristine outdoor pool and in a venetian blind windowed corner of a room.  Bodies of

"What if... Colleen's life, in her own words, has been "wretched." She was sexually abused by her father, betrayed by her husband, separated from her children, driven by her love for a heroin addict to attempted suicide.

Part of the Hauntology Film Archives series.

Ingrid Sischy was editor of Artforum in the 1980s and has been editor-in-chief of Interview magazine since the 1990s. In this interview with Robin White, Sischy discusses Artforum’s priorities, purpose, and goals.

Strap on your seat belts and get comfortable for a 7,000 mile drive. This documentary invites you to travel along with the Center for Land Use Interpretation as they find suggested photo spots across North America.

The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh.

Showcasing a solo organ recital, Victor Solo features seven sets of organ works. A narrator, possibly the organ player, announces work titles before each set.

Prophecies of doom, disaster and political catastrophe envisioned by some of the world’s most famous psychics between the 1960’s and the year 2001 are conjured up through 3D-animation, industrial films, text and historical footage -- the sum of which co

And They Came Riding Into Town on Black and Silver Horses looks at how media representations shape our perception of violence and violent crime, in effect creating racist stereotypes.

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.

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 refl

In this early black and white, reel-to-reel video, small game traps are set to catch the rain.

Since his early days in Ant Farm, Lord’s evocation of the automobile has been the car as avatar, as the spirit of America—that consummate combination of superior organized corporate technology and the pioneering triumph of the willful individual driver.

Wake is a cinematic dance collaboratively created by Eiko & Koma and James Byrne. It was filmed in special sessions during the premiere run of the living installation Naked, at Walker Art Center, November 2-30, 2010.

giroscopio is a short experimental film by two artists, one in Pennsylvania and one in Puerto Rico, each in pandemic lockdown, each disoriented. Objects seem to control them; their bodies are unbalanced, unwieldy, comical.

Painter, Susan Rothenberg (b.1945) is known for her poetic, atmospheric images.

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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.

A simulation of safety and risk writ for both sides of the screen.

"A hand made raster deflection unit was used, inspired by Nam June Paik's video synthesizer system. I also used a TV repair person's test signal grid, early digital. Two b+w video cameras, audio oscillator sweeping up and then down.

The disparate chronicles of a high school wrestling team, a flooded town of aliens, and the love affair between two young men.

In 1991 Montano met a Hindu couple at Ananda Ashram, the meditation center she attends in upstate New York. Since then, the three have become friends. Mr. and Mrs.

Dee Dee Halleck is a media activist, one of the founders of Paper Tiger Television and the Deep Dish Satellite Network, and was a professor in the Department of Communication at the University of California-San Die

The idea of suspension is evoked on shifting registers – as levitation, cessation, preservation, and suspense – and located in sites whose identities slip as we track through a space within a space.

I drove around the U.S. filming these super maximum-security prison buildings the spring and summer after the World Trade Center bombing.

This is an agitprop piece on resistance from the autonomy and indigenous sovereignty that hold in his own name, in his own letters, in his own sparks and embers of letters.

Performance artist/sculptor Ana Mendieta used the raw materials of nature: water, mud, fire, rock, and grass.

In this interview, American cartoonist and author Lynda Barry (b. 1956) describes the philosophy of teaching that has inspired and mobilized her art since the 1970s.

Stephen Varble (1946-1984) staged gender-confounding costume performances on the streets of 1970s Manhattan, and became infamous for his anti-commercial disruptions of galleries, banks, and boutiques.

...a "mordantly nostalgic" sojourn across America. A landscape of mute streets, empty rooms and serene fields; the remains of a civilization which has momentarily disappeared.

–– Ken Kobland

In 1998 I made a sculpture of a decapitated head. I featured it in a photo and video. I thought of the head as a character whose adventures would be documented.

There has to be a way to win is the refrain. Three women fold clothes, stroll and shop as they discuss jealousy, murder and dead bodies. An enquiry into the generosity of women.

Players: Trina Vester, Karin Westerlund, Lise Kelleman.

A collaboration with DonChristian Jones.
Filmed during the Rauschenberg Foundation Residency November 2017.

Dramatically Repeating Lawrence of Arabia is a re-edit of David Lean’s 217-minute orientalist “classic” Lawrence of Arabia into a 15-minute hallucination of repeating masculinized poses, costumes and dramatic gestures.

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.

Sixty-five years after the Allied invasion of Southern France, the director's mother, Cecily Barker Finley, tries to recall her involvement as a social worker aboard a WWII Red Cross ship.

In Laser Games with Shirley Clarke, the Videofreex visit the apartment of independent filmmaker Shirley Clarke.

Matt Wolf returns to Joe Brainard's iconic poem I Remember (1970) in this videowork. His archival montage combines audio recordings of Brainard reading from the poem, as well as an interview with his lifelong friend and collaborator, the poet Ron Padgett. The result is an inventive biography of Joe Brainard, and an elliptical dialog about friendship, nostalgia, and the strange wonders of memory.

In this 2001 interview, filmmaker Jem Cohen discusses the origins of his film philosophy, and the circuitous route he has taken in his pursuit of an anti-narrative film practice outside the mainstream. Cohen sheds light on the many influences that have impacted his sentiments towards conventional film, and his desire to eschew both classical avant-garde and theatrical filmmaking in favor of a model rooted in the tradition of the 1940s New York School of street photography. Cohen also locates his aesthetic as being impacted by the 1970s hardcore and DIY scenes he was exposed to as a youth in Washington, DC.

Part of the paraconsistent sequence series.

Reeves explores his personal journey to seek the center of existence through the teachings of Eastern religions. India is the source of images for his message about the eternal wheel of existence—life and its continuous process of change.

It’s a delight; not fragile yet.

It’s not hockey bashing and blades.

Not the escapades, or a snake.

It’s an expanded definition of drawing.