An imaginary room resembling a swimming pool. An actual body of water. Sea creatures carried by the wind. Plastic. A dance film that leaves us primarily in the dark. A dance score for the choreographer Joanna Kotze.

Voice: Maureen McLane

The unstable earth becomes the epicenter of this videotape document which explores—in a fractured way—the relationships between the people, places, and furniture that sit atop the San Andreas Fault.

My Only Idol is Reality is a video work created from an excerpt of Season One of MTV’s The Real World. The piece uses repetition as a framework for abstraction

Eiko edited this video to illuminate, in fast pace, her solo performance project A Body in Places. The red cloth she often uses in her performance is used as a visual link between different places and communities where Eiko performed.

Cyclops / "monitor" / minotaur.

Note: A 20-second video loop self-portrait.

I’m not the only one eating my way through this sunny travelette as several other species dig into the goodies too.

A son discreetly records fleeting moments in his parents’ suburban home. An intimate portrait of a stable life lived according to the rules of society.

“What's junk to some people, is treasure to others,” an idea that motivated the work of humanitarian Dorothy Davis.

An uncompromising look at the ways privacy, safety, convenience and surveillance determine our environment.

Now That I've Lost My Buffalo, I Don't Know Who to Grind is a short animation conceived through the collaboration of three visual artists — Diane Christiansen, Jessie Mott, and Alejandra Trigoso — that stages a volatile theater of bodies in flu

An abandoned rural house, the Ravel Quartet in F major and then rain, wind, snow and fog are the elements of which this video is composed. In an impossible procession, one take presents four atmospheric agents to strike against the house.

In the 1960s and '70s, Hollis Frampton (1936-1984) emerged as one of the most important experimental filmmakers, creating structuralist works such as Zorns Lemma (1970), Poetic Justice (1972), and Nostalgia (1973).

She Mad is an episodic project that uses fragments from the sitcom format to explore the sign of blackness in the public imagination.

In the first of George Kuchar’s Alumni Series, he braces the unusually volatile weather, contending with torrential rain and flooding on his way to visit the apartment of alumni Peter Van Langen.

The film reexamines J. Robert Oppenheimer's speech at Princeton Theological Seminary in 1958.

Made with my production class at the art asylum called the San Francisco Art Institute, this wide-screen drama of run-a-way spectacle and crazed emotion depicts a lurid tale of familial fury and unleashed passions.

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.

Tour Without End is an experimental hybrid feature-length video work that casts real-life musicians, artists, and actors as fictional bands on tour; the piece evolves into a cross-generational commentary on contemporary culture and politics in the Trump era. Shot over the course of four years between 2014-18 at over 15 DIY music spaces in and around NYC, Tour Without End functions as a time capsule — made more apparent by the shuttering of many of its locations due to NYC’s rapid gentrification.

The work’s multitude of characters are legendary performers in the downtown NYC arts scene, including: The Wooster Group founder Kate Valk, Jim Fletcher (New York City Players), Lizzi Bougatsos (Gang Gang Dance), Kathleen Hanna (The Julie Ruin), Brontez Purnell (The Younger Lovers), Eileen Myles, Alexandra Drewchin (Eartheater), Nicole Eisenman, K8 Hardy, Johanna Fateman (Le Tigre) Shannon Funchess (Light Asylum), JD Samson (MEN), Gary Indiana, Kembra Pfahler (Voluptuous Horror of Karen Black), Rachel Mason, Tom McGrath, Matthew Asti (MGMT), Becca Blackwell, Christen Clifford, Alessandra Genovese (Crush), Rogelio Ramos (Love Pig), Kenya Robinson (Cheeky LaShae), and Neon Music (Youth Quake).

Produced in collaboration with MICA-TV, Summer of Love is a public service announcement produced for the American Foundation for AIDS Research. Featuring The B-52’s, David Byrne, Allen Ginsburg, Quentin Crisp, John Kelly, and others.

A three-part series featuring important new works by internationally renowned conceptual artist, Lawrence Weiner, these works continue the themes of role- and game-playing, and the use of language.

Exploring climate change, the destruction of nature, and industrial pollution, these four works by Paweł Wojtasik paint horrific yet meditative landscapes of global infrastructures including meat production, waste treatment, and laboratory experimentati

Photographer, theorist, and lecturer Victor Burgin lives and works in London.

Gaijin = A non-Japanese person. In 1984 I celebrated my eighth birthday on my mother's island.

Known as one of Italy's most important filmmakers, Pier Paolo Pasolini was first and foremost one of its poets.

A series of one-minute interview-based spots Martha Rosler made with the American Indian community during her residence in Seattle from 1991 to 1995.

You never thought that Franco-American relations could be so fun! A French thriller in the tradition of the Marquis de Sade, getting it on with Roger Corman's from-the-hip philosophy.

This is the howl, gaze, and agitation of the Coyote into the mountain. The Path of the Coyote.

Robert Heineken (1931-2006) used technically sophisticated photographic methods to mingle erotic images with visuals from TV and advertising.

In the stillness of approaching night, a cool breeze will caress warm bodies that enter a lush garden in deepening twilight where the rising moon, full and bright, illuminates questions and answers that are deep as th

A one-hour heliocopter flight over the suburban sprawl of Long Island to Fresh Kills, the New York City Landfill on Staten Island; accompanied by an operatic audio-mix of bad-mouth talk-radio mayhem and historic nostalgia.

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.

“In Baldessari’s wonderful Inventory, the artist presents to the camera for thirty minutes an accumulation of indiscriminate and not easily legible objects arranged in order of increasing size and accompanied by a deadpan description — only to have the sense of their relative size destroyed by the continual readjustment of the camera [in order to] keep them within the frame. Who can forget Adlai Stevenson’s solemn television demonstration of the ‘conclusive photographic evidence’ of the Cuban missile sites, discernible over the TV screen as only gray blurs?”

A Tale I Know Nothing About features themes of resurrection, entertainment and death.

In a version of the “teenage diary,” Benning places her feelings of confusion and depression alongside grisly tales from tabloid headlines and brutal events in her neighborhood.

Neither a Sierra snowfield nor a tunnel proves to be the perfect studio space for the improvement of one’s craft. Only practice counts.

Lament is a collaboration with video artist James Byrne. Movement material is adapted from Eiko & Koma's 1984 performance work Elegy. Sound mix by Eiko & Koma.

This real-time video-meets-digital-animation trilogy of shorts features the highly excited and mildly delusional Joe Gibbons, whose springboard becomes a surfboard as he fantasizes about his days as a lifeguard in 1963, when the young Brian Wilson would sit and jot down the songs he would sing while saving lives.

Tom Poole is an organizer of many things.

Advice for Immigrants is an ongoing short video series that presents strange and humorous advice for immigrants around the world.

A selection of Love Tapes — a collection of video recordings of 2,500 people from diverse backgrounds who share their personal feelings about love.

In this video, the unseen narrator describes her inability to communicate to the camera what she wants to say and to whom she wants to say it.

Colonial Transfer vindicates the eidetic chasm that produced the arrival of television in the cinema as well as the absorption, transduction and digital expansion of television and historical film archives, all linked by the negentropic outburs

Dead Body Pose absurdly touches the contemporary bubble, encapsulating both connectivity and spirituality, a connection fueled by the global capitalistic consumption of the self.

This video diary/travelogue centers on a tropical trip to Acapulco where yours truly hits both sand and surf with maximum impact.

Taped in Normal, Illinois, during the height of autumn, a snapshot of a young girl triggers a meditation on dying innocence and sizzling sausages as a low, winter sun ignites the smoke of greasy longings and meat-eating hunger.

After the shrieks and howls of Hymn of Reckoning, I felt that I needed to close out the Oto trilogy with a gentle flashback, to a 1980s sunset beach on a tropical island.

In Woodstock Festival 1969: First Aid, the Videofreex interview visitors and volunteers in and around the first aid tent about the level of health and hygiene at Woodstock.

The temperature in your eyes will rise when you contract ‘FEVER DREAMS’ and experience the haunted mayhem contained therein.

Southern California visual artist Jud Fine seeks to promote democracy in art—the idea that anyone can be an artist. This video presents the artist and his work in a style that reflects the multi-layered dimensions of his artwork.

Millie Wilson is an installation artist whose work proposes a relationship between modernist art practices and modernity’s production of deviance, particularly regarding lesbian stereotypes.