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

Laurie was inspired by Laurie Weeks’ uncanny ability to simultaneously embody her characters and write them from a clear distance.

Portuguese House is a journey throughout Lisbon, visiting the houses built by African communities from the Portuguese ex-colonies that have already been demolished.

One plus one is two. Two plus two is four. Four plus four is eight. Eight plus eight is sixteen. Sixteen plus sixteen is thirty-two.

Plowman's Lunch is called a documentary because its intent was to explore actual occurrences—be these the building of the work, or what befalls the players.

A primer in satellite system operation, Send/Receive extends the critique of media as commodity by asking questions concerning the people's right to access satellites.

Thai conceptual performance video artist Kamin Lertchaiprasert (b.1964) anchors his work through a commitment to the core principles of Buddhism and his definitive goal to create “life-specific” rather than “site-specific” art. For Lertchaiprasert, the purpose of art is to reclaim the meaningfulness of human activities and collaboration. The artist describes how his techniques of production and his choice of medium ranges from environmental works, to formal sculptures made from recycled materials, to the use of relational aesthetics in the creation of collaborative workshops. With reference to cultural and religious differences between East and West, Lertchaiprasert also posits how the philosophy of art under Buddhist ideals can be a matter of survival, helping us to better understand the essence of being alive. -Faye Gleisser

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

In this wide-screen travelogue the viewer shares in the excitement of a Texas film festival, the cuisine of the not so rich and famous, and the thrill of attending exclusive enclaves of energized art.

Vice President Mike Pence eagerly plays cheerleader in chief for Donald Trump.

Seven homosexuals, ages ranging 28-85, and strangers to one another, convene in a Los Angeles bookstore.

A film about haircuts, clothes, and image/sound relationships.

The filmmaker and his friend, both Lebanese, meet two Israelis their own age in Paris, and spend some playful time with them.

A short story about new bodies, the power of denial, and a state of no sunshine. Two infantile bodies float in a cyberspace ball, connected by two subconscious bodies in the background.

Wittnerchrome, Exacto Knife, Typewriter

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 reflecting hierarchies,

Part of a cable TV series called Communications Update that aired on public access in New York City from 1979 through 1992, these tapes provide an early example of television made by artists.

Realizing the words by Jacques Derrida.

Gibbons presents a Son of Sam-like relationship between a man and his dog in which the man takes the dog to task for the terrible things he has made him do. Shot in Pixelvision.

Featuring overlaying monologues, Phil Morton brings up a wide range of philosophical and mundane topics: self-exploration, evolution, personal values, frustration, exhaustion, spirituality, video making, etc.

Julie Ault is an artist, curator, and founding member of the artist collective Group Material, which has organized exhibitions on themes such as the U.S.’s involvement in Central America, AIDS, education, and mass consumerism.

A short Flicker Film adulterated by some extra images shot in Malawi, Africa. FF was in answer to an assignment given by artists Melissa Dubbin and Aaron Davidson who created the soundtrack to which I was asked to make a “Future Film”.

A Kafkian vision of the New World. The arrival of Karl Rossman to the contemporary Babylon under the spell of the paranoid avant-garde. Kinetic coexistence of the archaic forms in dissolution.

This video consists of raw footage from a Women’s Liberation Rally in New York City, shot on March 7th 1970, in celebration of International Women's Day. The first two thirds of the piece consist of footage of the crowd and speakers.

Through the memory of a high school classmate, footage from a film for teenagers called Be Popular, a video dating tape, and performances by political and entertainment figures, So, You Want To Be Popular? examines how cultural stereot

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.

A compilation of five of Sadie Benning’s early works. In Jollies, Benning gives a chronology of her crushes and kisses, tracing the development of her nascent sexuality.

A detective is hired to find the original copy of a lost ancient book. The book recounts the tale of a plague. A form of radiation, unknown at the present time, activates a virus.

What Could Go Wrong depicts fire trucks, ambulances, fire alarms with sonic distress that document every current disaster….floods, fires, war, food scarcity and police torture are accompanied by Linda Mary Montano singing 7 ballads.

The vacuum cleaner becomes the device of the feminist 'liberation', or the monster that devours us.

— Insite 2000 program, San Diego Museum of Art 

Screened in the 1997 Whitney Biennial, the video Ladies, There's a Space You Can't Go is both a deconstruction and a distortion of an episode of Sally Jesse Raphael titled My Daughter Dresses Like A Hooker.

Rirkrit Tiravanija’s work explores the social role of the artist, and that role’s ability to create interactive spaces for people to come together.

1970 marked the publication of Gene Youngblood’s now-formative Expanded Cinema – a text that was instrumental in legitimizing video and new media as viable and serious artistic forms.

"Renwick recounts a sad time in her life, when a friend was dying and she suddenly became aware of the presence of crows... [Renwick] craft[s] a lyrical and moving essay that works its magic through poetic accretion rather than narrative logic."
— Holly Willis, L.A. Weekly

This experimental documentary chronicles Janice Tanaka’s search for a father she has not seen since she was three years old.

Leafless is a poem of textures about becoming familiar with a significant other’s body in reservation with its landscape.

This is a gaze of the body and a notion of spectator that the 90´s decade constructed, this is the audiovisual legacy of the 90's for our actual audiovisual control world.

Phil Morton and Dan Sandin introduce video equipment and editing techniques to St. Olaf College students—a private liberal arts college in Northfield, Minnesota.

This turgid potboiler was made with my class at the San Francisco Art Institute. It steam-rolls a series of overheated episodes to a colorful climax of redemption and moral rectitude.

A reflection on the deep and the creatures that attempt to fathom its resources (such as baked salmon and rubbery crocodile meat).

Twilight deepens, Night descends and moods sink into madness.

“Ursonate 1986 is the result of a transference process which utilizes computer and video technology to transport a 1932 phonetic poem, Ursonate, by the German artist Kurt Schwitters into a contemporary context.

A love letter to the Internet from a feral cat in Brooklyn.

Partially Buried Continued is a meditation on ways in which one’s associations to history, location, and genealogy become tangled in a subjective web which makes it complicated to separate history from fiction.

A buoyant character struggles with hazards in a cloudy gray environment in this animation inspired by the Dylan Thomas poem Lie Still, Sleep Becalmed. The look of the entire animation is shades of gray.

While moving through the streets of Paris, a brother and sister confront their incestuous past under the watchful eye of their female taxicab driver.

In a garden of roses and memorabilia from darkest Africa, a man and woman ponder the joy of cooking and the companionship of cats. Goodies for the guts abound in this visual essay on feline friendship and far away places.

Judy Chicago (b.1939) creates large-scale, collaborative artwork has brought greater prominence to feminist themes and craft arts such as needlework and ceramics.

Blind man: “It is bad to be alone.”

The Creature: “Alone, bad.”

—The Bride of Frankenstein

It can be so bad to be alone that even an artificial heat is better than none.