Mr. Thomas is in the back garden, performing his new moves in the glorious sunlight, making things happen. Somewhere between ritual, a white suburban war dance and 1970's "keep fit" exercise to lovely music, Mr.

Impetigo is the story of passion and possession in a steamy nocturnal landscape. The title is a reference to the poem A Man All Grown Up is Supposed To, by Terry Stokes.

The film suggests a link between three political figures from the history of Mexican resistance: the Soldadera (woman guerrilla fighter), the Zapatista (member of the Zapatista Army of National Liberation), and the Normalista (students from the Ayotzina

Pagan and Christian souls clash in this student-collaborated mix of the defrocked and the deflowered.

In the Post Pony Trilogy, Coonley serves as frustrated host to a series of flawed lessons on currency markets and current events. His heartbreak over a missing pony sidekick presents an obstacle to achieving his pedagogical goals.

Ron Gorchov (b. 1930) is an American artist who has been working with curved surface paintings and shaped canvases since 1967.

Water and oil form the undercurrents of all narrations as they activate profound changes in the planetary ecology. After the oil peak, ever dirtier, remote and deeper layers of fossil resources are being accessed.

"Brite Tip explores the indoctrination of children and police through an assortment of cross-fades, wipes, and other stock transitions. A highly danceable essay on breastfeeding."

—Gavin Smith

In this elegant demonstration, Sandin explains the mistake of using common language concepts and spatial relations to describe what actually can happen on the video screen.

Super 8mm film transferred to digital video. Installation composed of footage from three separate sequences that interweave frame by frame. Shot in the interiors of empty homes in Amman, Jordan. Sound composed of recording of food ingredients for unspecified dishes looped repetitively over ambient noise from film transfer to digital video.

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.

Now Let Us Praise American Leftists is an experimental video animation that seeks to eulogize and ridicule the American leftist movement of the past century.

“Many artists developed systems or took on languages to structure their compositions. For this score, Nelson Henricks chose to appropriate English musical notation, which uses letters from A to G to identify the notes of the scale.

Joan Fontcuberta was born in Barcelona in 1955. His work has been widely exhibited internationally. Fontcuberta uses photography as a conceptual medium, often testing the limits of the image’s credibility.

Jem Cohen assembles images that demonstrate the economization of public space; the stock exchange on a LED display board, the company logo on cars, the mobile phone as tool of e-commerce.

In 1992, Tran came across a New York Times article about a group of hysterically blind Cambodian women in Long Beach, California, known as the largest group of such people in the world.

This video presents a history of alternative spaces in New York City during the late 1960s and early 1970s, focusing on two galleries that no longer exist.

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.

This video was made as the end-credit sequence for a film version of Ron Vawter's performance piece, Roy Cohen/Jack Smith, by Jill Godmilow. Ron was an extraordinary actor and extraordinary man.

During my stint as an entry-level acquisitions scout at a now-defunct art house distribution company, I amassed a small collection of VHS tapes from a vast pool of unsolicited submissions.

"We buried ten Cadillacs in a row alongside Interstate 40 (the old Route 66), just west of Amarillo, Texas; each car represented a model change in the evolution of the tail fin.

In 1971 Robert Smithson (1938-73) was invited to create an earthwork in the Netherlands on the occasion of the recurring outdoor exhibition Sonsbeek.

A search for a non-existent image, a desire to create an image where there is none,“ leads to Rea Tajiri’s composition on recorded history and non-recorded memory.

Commissioned by Lower Manhattan Cultural Council (LMCC) for the occasion of Eiko receiving the Sam Miller Performing Arts Award. Premiered at LMCC’s A Toast to Downtown on December 9, 2020. Shot at LMCC’s Arts Center at Governors Island.

A great example of early 1970s counter-cultural activity and the influence of Buckminster Fuller. The video, shot in Woodstock, NY in November 1971, includes footage of a communal meal being eaten in the woods, and of children playing in the mud.

50 doves fly out of a window, one by one. Some escape in a rush, some take their time and seem to be hesitating. The Dove symbolizes new hope and new beginnings after a disaster, as in the biblical story of the flood.

A fragmented, experimental biography of the 19th-century poet and writer Isabelle Eberhardt, whose brief, unusual life ended abruptly in a flash flood in the desert.

Part of the paraconsistent sequence series.

Footage from a performance produced at Forum en Scene in Middleburg, Holland of the players continually enacting the same tasks. Nothing To Lose opens with a young, androgynous sailor standing between two buildings, while the song Nothing To Lo

Wojtasik's Nine Gates explores the possibility of transcendence through sexual passion: averting the gaze from the objectification of the other, the female body or the obscure enemy, to the vast and microscopic details of the body unknown to th

"Blight was made in collaboration with composer Jocelyn Pook. It revolves around the building of the M11 Link Road in East London, which provoked a long and bitter campaign by local residents to protect their homes from demolition.

Edited from over seven hours of interviews with Houstonian Beverly (last name withheld), Telephone Dating: A Quest for That One Special Man is about the oftentimes frustrating s

Using highly-manipulated and over-processed images, Latham investigates the process of video as inherently fragmented. Weaving together various people’s impressions of the artist and her work, the work demonstrates important parallels between video, storytelling, and the formation of identity — all processes of active fabrication that blend “lies” and truth in the construction of a certain reality, history, or past. Labeling an image of herself talking as “her most recent explanation,” Latham addresses “the construction of her video personality” as an identity outside of herself.

In this 2013 interview, experimental animator and School of the Art Institute of Chicago alumna Jodie Mack discusses the developments that have taken her from an interest in musical theater and playwriting to organizing microcinemas and DIY filmmaking.

Mack describes her interest in early cinema history and the relationship between its technologies and spectacle, particularly the manner in which video production incorporates planned obsolescence. Referring to the “scavenger nature” of her work, Mack discusses her interest in waste and her desire to use reclaimed materials in her work. Using fabric and paper to create shifting fields of color, Mack references corroded and glitched digital media in her work. Her use of quotidian materials reflects upon the role of abstract animation in everyday life, and serves to draw audience awareness to the spectacle of televisual technology.

– Kyle Riley

5% is a ten-minute work that questions the cult of pop stardom, deconstructs music industry practices, considers the problematics of live performance, and suggests other, more anonymous working strategies.

Television Delivers People is a seminal work in the now well-established critique of popular media as an instrument of social control that asserts itself subtly on the populace through “entertainments,” for the benefit of those in power—the cor

On Photography People and Modern Times is the outcome of three years of research on photography conducted by the artist in Lebanon, Jordan and Egypt during the founding years of the Arab Image Foundation (AIF).

Vision of Anahúac: Traveler, you have reached the most transparent region of the air.

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

Sharon Lockhart is a photographer and filmmaker. Her photographic and filmic works interrogate the inversion of the static image as cinematic and the manipulation of the moving image into a static/stop-motion frame.

Two women, miles apart in spacial terms, chat about their art and motivational meanderings amid images of Chinese potstickers and fresh pasta.

Book Report explores themes of sexual assault, the weaponization of language, and the futility of escape.

The third in a film triptych, Lefkosia was shot from within UN controlled territory on the border between south Cyprus and the Turkish occupied North.

Through the testimonies of five women, this video lays out the complex problem of anorexia, detailing how the disease develops as a response to both personal and societal pressures.

An audiovisual experience of the current Mexican war.

This humorous video begins with two women—one white, the other Asian—attempting to fit into a Japanese bathtub.

An homage to early videoworks by William Wegman, starring Man and Fay Ray's stand-ins.

"Anne McGuire shows that men are dogs."

--Ed Halter, New York Underground Film Festival (2003)

Robert Irwin (b.

Breakfast of Champions is an installation created in 1991 by the artist duo Ligorano Reese, comprising Nora Ligorano and

Kalan / What Remains is a dance film shot in Istanbul reflecting on excerpts from the novel Kalan by Leyla Erbil.

Dance: Leyla Postalcıoğlu
Music: Cenk Ergün, Jeff Snyder, Jason Treuting