Video artist meets a handsome and enigmatic Marlboro Man; video artist gets a sexually transmitted disease.

Modeling Paranodal Space is part three of Zach Blas's Contra-Internet Inversion Practice series.

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.

A call from the beginning, the ancestral water, the everlasting belly from where life cries out.

Body Images is an exploration of the television screen as a graphic surface, and movement, line, shape and time are the elements used as design tools.

Dream Nightmare is from Martine Syms’ Kita’s World series. Kita enacts the performances of everyday life in a hyper-digitized world.

Witness is a perceptual meditation on police brutality—specifically a power dynamic that law enforcement has coined “suicide by cop.” Filmed in Iceland on 8mm film, the film hinges on archival audio—unfolding in real time—of

BAGHDAD IN NO PARTICULAR ORDER is an ambient video essay of life in Baghdad before the invasion and occupation. Men dance, women draw and sufis sing as they await the coming of another war.

These are the remnants of mass culture in the collective unconscious that spill into reality. Part of the Hauntology and Post-Covid series.

Juxtaposing the text of Off Limits, a film made in 1987 about Saigon circa 1968, with the soundtrack and image of the last five minutes of Easy Rider, made in 1968, Tajiri parallel edits these representations to play with the evocation

This film was made from The New York Times newspaper articles. The semi-automated animation process resulted in sentence recombinations that sometimes made sense while randomly emphasizing certain words and images.

“And the poem, I think, is only your voice speaking.”

—Virginia Woolf, The Waves (New York: Harcourt, 1978)

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

This was the epitome of the one-video-a-night project: an un-altered home video clip set to a sped-up Game Boy version of a Roommate song, rendered as Video Art by Duchamp-derived title (suggested by the original wearer of the Pac-Man costume).

Filmed directly from the screen of a smartphone using a language translator app that has been told to translate from French into English, Steve Hates Fish interprets the signage and architecture in a busy London shopping street.

In Greetings from Lanesville, the Videofreex tour the countryside of Lanesville, New York interviewing the local people for a weekly broadcast program all from behind the wheel of the Lanesville TV Media Bus.

A rock. Buildings. Trees. Nothing happens. But something is always moving. People walk by. Time passes by. Seasons change. The Earth’s tectonic plates are in constant but imperceivable motion, which slowly move apart or crash together.

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.

"Weeks before the 2006 midterm elections in the U.S., Venezuelan President Hugo Chávez came to the United Nations and blew everyone's minds with his "smells of sulfur" speech about Bush.

Though difficult at times to understand what is happening due to audio damage, this tape provides rich historical documentation of a protest on Wall Street in May of 1971.

Do Not Circulate, an experimental short film, attempts a structuralist and materialist approach to unraveling the entrails of a collective media memory.

Washington, D.C.-based African-American artist Sylvia Snowden paints what she calls “figural or structural abstract expressionist” works.

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.

In Biemann’s film, she traces the routes and reasons of women who travel across the globe for work in the sex industry. By using the latest images from NASA satellites, the film investigates the consequences of the U.S.

Goodbye Thelma synthesizes footage from the 1991 film Thelma & Louise with footage of the author’s own making to create a mysterious, and at times disturbing, exploration of traveling alone.

Perils is a homage to silent film—the clash of ambiguous innocence and unsophisticated villainy—dramatizing the theatrical postures of melodrama to confront and examine our ideas of romance, action, and drama.

This experimental documentary meditates on the space between two bodies and explores three key bodies in transition: the erotic "cruising" body, the transgender body, and the pregnant body.

In the second part of the Classics Exposed series, a neurotic scholar (Gibbons) leads a "buggy" ride tour through historic Charleston where, according to the professor, Franz Kafka wrote The Metamorphosis after taking a wrong turn on h

"Soundings is a meditation on the phenomenology of sound, the translation of image into sound and sound into image through a series of experiments on an audio speaker.

In this video, Glennda Orgasm and Jackie Offie attend Lollapalooza '95 on Randall's Island, New York.

Natural Life is a feature-length experimental documentary challenging inequities in the U.S. juvenile justice system by depicting, through documentation and reenactment, the stories of five individuals who were sentenced to Life Without Parole (Natural Life) for crimes they committed as youth.

The youthful status and/or lesser culpability of these youths, their backgrounds, and their potential for rehabilitation were not taken into account at any point in the charging and sentencing process. The five will never be evaluated for change, difference or growth. They will remain in prison till they die.

Acconci again confronts both the viewer’s and his own expectations of his performance, saying, "I've waited for the perfect time, for the perfect piece, I'm tired of waiting...

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

Opening with jarring violence, Dani Leventhal's Tin Pressed proceeds to negotiate a balancing act between the bewildering tonal variances of daily life — with all of its unnameable and enchantingly fragmented specifics — and the gravitational u

This suite is a set of circular and fragmented compositions, in which a rhythmic and haunted dance hides an eroded lunar landscape. The microscopic rubble of our contemporary civilization. Part of the Lunar Films series.

Allen Ginsberg (1926-1997) was a leading American poet who gained notoriety in the 1950s and ’60s through his association with the Beat Generation and the San Francisco Renaissance.  One of the most controversial poets of his time, his book How

"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

Nathaniel Dorsky’s films are precise articulations of cinematic qualities: the surprise of an edit, the composition of framing, and the flash of the image. Dubbed the “filmmaker’s filmmaker”, Dorsky’s work captures the fleeting moments of everyday life in its poetic chaos in such films as Pneuma (1976-82), Triste (1974-96), Alaya (1976-87), and Variations (1992-98). Using a spring-wound Bolex and 16mm reversal stock film, Dorsky’s films operate in the realm of the purely visual.

La Mesa explores the intersections of memory, identity and queer desire. It recreates fragmented and romanticized stories of a childhood in rural Mexico as told by the artist’s father.

Described by the New York Times as “an extraordinarily personal essay that struggles to explain and understand what went wrong in the director’s relationship with his father, Ray, a car dealer,” My Father Sold Studebakers is an auto-biographica

In Shadow and Substance, cloth as a motif and a total eclipse of the sun are metaphors used to suggest the intersection of the spiritual and physical worlds and the moods, emotions, and colorations that these int

Ming Wong creates videos that explore performance and issues of race and gender. Born in Singapore of Chinese heritage, and now based in Berlin, his work examines cross-cultural experiences by appropriating scenes of iconic world cinema.

Canadian-born artist Miriam Schapiro (b.1923) was one of the great forces behind the feminist art movement in Los Angeles.

A defiant, weird, DIY lament on not keeping calm in toxic times.

Morel's Yellow Pages focuses on secretive and destructive actions and image making. The title references The Invention of Morel (1940), Adolfo Bioy Casares’s science fiction novel, which informs the work.

Freed documents artist James Rosenquist at home in an East Hampton, N.Y studio in March 1972. Rosenquist and his collaborators work on a project entitled 47 Dirty Band Aids with blaring music dominating the environment while they paint.

Meditation is from Martine Syms’ Kita’s World series. Kita enacts the performances of everyday life in a hyper-digitized world.

This is the crude and unnatural state of civilization, an image not yet processed or refined that hides and displays in its intermittence all the crude violence of the anthropocenic industry. The raw and fossil image of the Capitalocene.

Mike Builds a Shelter is a performance comedy with apocalyptic overtones, a narrative extension of Smith's installation Government Approved Home Fallout Shelter/Snack Bar.

In this interview, communications theorist, Gene Youngblood (b. 1942) maps out the various stages of the development of video technology and its philosophical implications for human interaction. The range of topics discussed moves beyond video to offer an extensive and rich survey of American culture from the 1960s to the present moment. In addition to discussing his canonical text, Expanded Cinema, Youngblood shares stories from his early days as a police reporter for the Los Angeles Herald Examiner, where he gained intimate knowledge of the media’s politics of representation. With the acuity of hindsight, Youngblood discusses important self-discoveries, and his life-changing decision to move from the mainstream media into the world of the underground press.