In these "plays" for the camera, the lushness of an afternoon tryst with it’s perfumed colors is displayed center stage.

Featuring a swirling spiral from video feedback, this video provides a contemplative visual space for viewers. The spiral appears on and off against colorful oscillation patterns. 

Approximates a small child’s fantasy world in the dark. In a series of close-ups, the nightlight is transformed into a meditative star-spangled sky. An improvisation, edited inside the camera and shot on a single reel.

“Think of it as a prologue to a sleazy thriller. A sort of shaggy-dog plot of voyeuristic atmospheres.” This video is about the voyeuristic license of the camera: exposing, uncovering, glimpsing things obscured and revealed.

Made collaboratively with the filmmaker's mom Deborah, I Can Hear My Mother’s Voice documents her process of learning how to use the filmmaker's video camera.

“It Did It explores my fictional character's story before and after I took Prozac. I used the scientific method to self-evaluate whether or not I needed anti-depressants while demonstrating how it affected my storytelling.”

Space Ghost compares the experiences of astronauts and prisoners, using popular depictions of space travel to illustrate the physical and existential aspects of incarceration: sensory deprivation, the perception of time as chaotic and indistinguishable, the displacement of losing face-to-face contact, and the sense of existing in a different but parallel universe with family and loved ones.

Physical comparisons such as the close living quarters, the intensity of the immediate environment, and sensory deprivation, soon give way to psychological ones: the isolation, the changing sense of time, and the experience of earth as distant, inaccessible, and desirable. The analogy extends to media representations that hold astronauts and prisoners in an inverse relationship: the super citizen vs. the super-predator. Astronauts, ceaselessly publicized, are frozen in time and memory whereas prisoners, anonymous and ignored, age without being remembered.

In this interview, Brian Holmes, an influential art critic, activist and translator, discusses social forms of alienation, human ecologies of power, and the impact of technology on geopolitical social networks. Holmes reflects on his ongoing study of the ways in which the rhetoric of revolution has been institutionalized, as well as artists’ resistance to such cooption. For him, artists working in collectives have the potential to create a new artistic milieu that is not aligned with the dominant model of production. This argument is born out in his published collection of essays, Hieroglyphics of the Future (2003).

Smothering Dreams is a tough, scathing condemnation of war and our country's fascination with violence. Reeves draws on his own experience as a U.S.

These are the dancing bodies in an agitated rapture: prelude to trance, invocation of the gods, consecration of intermittence.

Based on a photograph taken in the mid 1970s of two African Americans playing foosball.

Pirated satellite feeds revealing U.S. media personalities’ contempt for their viewers come full circle in Spin.

Based on a set of drawings that depict George W. Bush's administration as wounded soldiers in the war against terrorism, RE:THE_OPERATION explores the sexual and philosophical dynamics of war through the lives of the members as they physically engage each other and the "enemy." Letters, notes, and digital snapshots "produced" by the members on their tour of duty become the basis of video portraits that articulate the neuroses and obsessions compelling them toward an infinite war.

Gray Hairs is a visual and aural poem to Man Ray, featuring close-up shots of the dog’s body and a soundtrack of panting, sniffing and licking.

In the midst of the 2011 revolution in Cairo, a few beduins listen to their car's radio near Jericho, a place which looks like the end of the world.

For the past 20 years Alexis Smith's mixed media work has explored primal American myths: the open road, the bad/good guy/gal, the quest for romance, and the search for paradise.

In(sul)ar marks the dichotomy between reality and fiction, by creating meta-images of an imagined island, where time and space are confused with each other.

German filmmaker Valeska and her crew—soundwoman Constanza and cameraman Albert—arrive at Maple Tree Farm during the Thanksgiving holiday of 1971 to film a piece for German TV on the Videofreex.

I loved and was haunted by Jon Krakauer’s book Into the Wild and found Sean Penn’s cinematic adaptation to be absurdly overwrought. My original plan for condensing it was to string together all of its grandiose slow-motion shots.

Color Schemes was exhibited in its installation form (with a self-service washing machine) at the Whitney Museum in 1990.

Circle's Short Circuit is an experimental feature-length work with neither a beginning nor an end—the film can be viewed from any random point.

“We are hoping that in presenting this story in such a minimal way it would become evident that this Freudian logic is a conceptual and visual cliché. We want our audience to have an emotional response to the work, but at the same time realize that they’re being manipulated.” —Bruce and Norman Yonemoto

Broadcasters across Ireland and Britain have entered into a blackout strike. The workers are transmitting a programme bringing censored voices back onto the airwaves.

"...Roy has set in and spread across the fabric of their lives."

— Mike Kuchar

In One Man Ladies, Glennda Orgasm is joined by Vaginal Davis as they meet women on the streets of New York City to discuss Laura Schlessinger's book Ten Stupid Things Women Do to Mess Up Their Lives.

“When I moved to Hudson Valley, NY state in 1984 after being tied to Tehching Hsieh in his ART/Life: One Year Performance, I began meeting remarkable elders over 80, and sometimes 90, years old.

The historic Great Blizzard of 1978, one of the most severe blizzards in U.S. history, hit southern New England with paralyzing effects.

The death that happens to others, the death that is in you already, the life that is in this death.

An absurdist demonstration of how the alphabet works.

Pat Steir is an American painter and printmaker whose work has resisted artworld currents and factions for decades, while expanding its reach and maintaining enthusiastic critical support.

To be a man, to be a hero, to be a wife: these conflicting voices inhabit the body of a documentary filmmaker as he re-enacts the climax of a Western morality play, 3:10 to Yuma.

"Let Each One Go Where He May is the stunning feature debut of celebrated Chicago-based filmmaker Ben Russell.

This alternative commercial promotes the aggressive democratic use of home video equipment to record local news of community activism and other events that don’t make the headlines for political reasons.

Set in a campy western mining town, Stinkhorn tells the tale of a lady blacksmith named Dusty and her naughty trickster paramour, Blaze.

Respite consists of silent black-and-white films shot at Westerbork, a Dutch refugee camp established in 1939 for Jews fleeing Germany.

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

"The life of objects intrigues me. Apparently inanimate, they adopt the souls, actions and lifestyles of their keepers. Here, a bed testifies to what goes on behind the closed door of a decent family's bedroom."

—Ximena Cuevas

A Two Spirited woman surrounded by spy signals and psychiatric walls attempts to make sense of love, global paranoia, and her place in the history of colonialism.

Elizabeth Murray (1940-2007)  was an American painter, printmaker and draughtsman.

Part of paraconsistent sequence series and the hauntology series.

... There is a garden in the dark hunger of his psyche where forbidden fruit grows.

— Mike Kuchar

Displaying a broad range of Golden Age Hollywood animation, Manifestoon is an homage to the latent subversiveness of cartoons. Though U.S.

In Islands, Fung deconstructs the 1956 John Huston film Heaven Knows Mr. Allison to comment on the Caribbean’s relationship to the cinematic image.

In this experimental interview with Jill Ker Conway, Freed outlines a portrait in chalk on a black surface as the soundtrack conveys Conway describing her fascination with the way ones visual self appears on camera and the way an artist perceives their

Rosa Barba produced a science fiction film based on interviews with local residents and individuals involved in the land suppletion project for Maasvlakte 2. Barba asked the interviewees to imagine what this new land could look like in the future.

The introductory title to The Blindness Series, aletheia presents an indexing of categories investigating different aspects of blindness as metaphor.

In this conversation, Cathy Lee Crane (b.

The earliest of Benglis's videoworks, Noise calls attention to the assemblage element of video by allowing the image to disintegrate into static between edits.

This film is an appropriation from the 1953 movie Gentlemen Prefer Blonds.

The filmmaker accepts the challenge of the philosopher and changes not only a table but also chairs, shoes, jugs, teapots and almost everything else lying around his house.