A portrait of Luce Vigo, film critic, educator, and the daughter of pivotal French filmmaker Jean Vigo.

The innocence of creating a mirror, only to repeatedly crush it underfoot.

Pandora is one who communicates to the human world the powers of the night. These are glimpses of her visions.

Executive Producer, Suzanne Lacy; Director, Steve Hirsch; Editor, Doug Gayeton.

From the performance Freeze Frame: Room for Living Room by Suzanne Lacy, Julia London, Ngoh Spencer, and Carol Leigh, San Francisco, 1982.

stammering forward backward GIANT is a re-edit of George Stevens' 1956 film Giant - an epic story of Texas, oil and racism.

This mock-virtual environment is a playground for the imagination.

In this experimental travelogue, efforts to sound human and look natural instead become artifical.

The artist's mother comments about the status of women while reading a doll house sized book titled Encyclopedia of Famous Women.

Paulette Jones Morant waxes poetically about being one of the first Black Women scholastic athletes at the University of Virginia.

This film is the result of an intimate time spent between the filmmaker, who lives today in Belgium, and his father who is a former political prisoner. It looks at the complex political system of Egypt under Nasser.

Thornton asks viewers to question how one sees “space" — whether literally or figuratively — and what is being revealed? Images of a sonogram session grant viewers access to what is typically reserved for medical analysis — “inner space.”

John Smith, throughout his 40-year career, has approached the moving image from film, video and installations, generating a tremendous body of work that’s as diverse in its topics as it is in its methods.

In 1972, Robert Morris and Lynda Benglis agreed to exchange videos in order to develop a dialogue between each other’s work. Morris’s video, Exchange, is a part of that process—a response to Benglis’s Mumble.

Forest Mind is a video work that emerges from the artist’s longstanding interest in the human interaction with the natural world.

My Mother’s Place is an experimental documentary focusing on the artist’s mother, a third-generation Chinese-Trinidadian who at 80 still has vivid memories of a history lost or quickly disappearing.

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.

This is our proposal: Make the rich pay for Covid-19.

In a motel in El Reno, Oklahoma, George observes the weather and copes with leaking air conditioning, food shopping, loneliness, television, and eating, among other things.

I could not remember anything about my childhood before the age of twelve. I made a decision to remember.

1968 was the opening of the Summer Olympics in Mexico City, ten days after the massacre of students and civilians by military and police on October 2 in the "Plaza de las Tres Culturas, Tlatelolco."

Sadie Curtis (1931-2012) was a Navajo woman descended from five generations of weavers. Filmed inside her hogan, Sadie talks about learning to weave as a child and how she gained fame from the creation of an American flag in the Navajo style.

Cheang has taken her camera to the streets for a candid glimpse of lesbian public sexuality.

Bar hopping in the City of Angels.

Part of paraconsistent sequence series and the hauntology series.

The latest in Muntadas and Reese's series documenting the selling of the American presidency features political ads from the 1950s to ads from the 2004 campaigns, and highlights the development of the political strategy and marketing techniques of the T

In this impressionistic piece, O’Reilly provides a gripping portrait of personal trauma, while detailing the severe mental and physical confusion following two incidents.

"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

Timely concerns about the future of video, artists’ complicity in the money making system of the ‘establishment,’ and the effect of the camera’s presence on personal encounters, is discussed and debated in this late night video produced by David Cort, C

Swamp Swamp and Wurmburth are each comprised of a series of tightly cropped shots of small, hand-made table-top sculptures or "sets".  Paint and many other materials that behave like paint (i.e.

Richard Ross discusses his interest in photographing museums—their display of objects, frames, the entire context—in order to question our definitions of the museum.

Applying the same economy used in César's other films — one shot which uses the duration of an entire 16mm film reel — Porto 1975 is a tracking shot that unfolds at the social housing complex Cooperativa das Águas 

A specific period of late-night TV channel surfing is dissected and manipulated through fast forward and freeze frame.

Pitayas are the sacred Mesoamerican fruits that grow on Mexican nopales, an ancient plant. This is the colorful body, the vibrant blood and the radiant skin of the open life.

Inspired in part by the cover of "Megatron Man," Patrick Cowley's archetypal 80s disco album, Robot Love is a celebration of the playful, synthetic, party-driven, disposable culture of disco.

VDB TV: Decades
1980s: Problematizing Pleasure / Punk Theory

This is a three-part tape shot in 1975, ’76, and ’78 as Winsor was working on three pieces: 50/50, Copper Piece, and Burnt Piece. The rhythms and rituals of her working process as well as her comments on the work are documented.

An audiovisual being who has the power to shape shift. Part of shamanic materialism. 

Paris, as in other metropolitan European cities, is rejuvenated by the influx of border crossing urbanites.

A caricature of a professor teaching English to non-native speakers. Her mannerisms, her accent, the content of her speech—all are absurd, in the tradition of an Ionesco character.

An audiovisual experience of the current Mexican war.

Crossings and Meetings explores the image and sound of a walking man, expanding a simple image into increasingly complex permutations and arriving at what Emshwiller calls a "visual fugue" in time and space.

Part of the paraconsistent sequence series.

It’s summer time in New York City and the relatives are coming out of the woodwork. Cats live and die amid the high humidity and more exotic species of God’s goodness parade distressingly on the hot asphalt of a shopping mall.

Feminist artist Lynda Benglis is known for her sculptures, video performances, paintings, and photography. Her work in the 1970s was controversial, delving into issues of gender roles within and outside the art world.

The house in the film is Maison de l'Armateur, "the ship owner's house", one of the few houses in Le Havre, France that remained in tact after the city was completely destroyed in the allied bombings of D-Day, 1944.

¡Macho Shogun! was created by Reed Anderson and Daniel Davidson over a single weekend some time in 2000.  It's your basic monster-robot / destroy-city kind of video that we wanted to make when we were kids but never did.

Filmed entirely in Sweden, VIEWFINDER is a surreal sound-film that entangles gestures of place, belonging, and monument.

In this interview, political and social theorist, Terry Eagleton (b.

Veronica Majano depicts the character of a street in the Mission District of San Francisco.

The Spender House in Essex was designed in 1968 by Richard and Su Rogers (Team 4) for photographer and artist Humphrey Spender. The film is a biographical portrait of both architecture and inhabitant.