Within the historic district of Saida, Lebanon, a boy learns to capture light.

Cast: Husni Tutunji

Camera: Abdallah al-Bunni

Domestic life in south London filtered through stories of weight (and waiting), local history, bad dreams and the ongoing colonisation of the moon.

Original music by Bruno De Angelis.

Pursuing an answer to the title question, Segalove interviews kids, executives, consultants, etc., in order to educate herself as to the ins and outs of the financial world.

Black Code / Code Noir unites temporally and geographically disparate elements into a critical reflection on two recent events: the murder of Michael Brown and that of Kajieme Powell by American police officers in 2014.

Using a pulsing rock soundtrack and music video-style editing, X-PRZ combines archival footage of Malcolm X, advertisements, and corporate logos in No Sell Out to provide a scathing commentary on commodity culture.

In this moment when the believability of our reality continues to stretch - blue people are hoping to enter into our reality environment.

In English, Chinese, Haudenosaunee, and Spanish. This video is originally a 2-channel video installation.

In Deux Pieds, video is used to create dance illusions, effects impossible to achieve in dance except via video technology.

At the age of twenty-four, Taiwanese artist Tehching Hsieh (b.1950), moved to New York, where he has created and documented time-specific, conceptual art performances since the 1970s. In this interview, Hsieh discusses his formative years and philosophical moorings. This dialogue includes description of the artist’s early period of painting, his military service in Taiwan, and the cultural atmosphere of a country then undergoing massive political change. Much of the discussion focuses specifically on Hsieh’s understanding of the relationship of art and life, his investment in “free thinking,” and the politics of documentation. For Hsieh, the ability to think freely is art’s bottom line—he believes the essence of his work lies in human communication. To this end, Hsieh insists that his work, though incredibly personal, is not autobiographical, but philosophical.

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

This video documents the first cablecast of Austin Community Television (ACTV) in which George Stoney and a group of University of Texas students assembled playback equipment on a hilltop at the cable system's head-end.

Memo Mori is a journey through Hackney tracing loss and disappearance.

In this video diary of Breder’s trip, the viewer is given an after-hours tour of the Soviet capital.

It’s a delight; not fragile yet.

It’s not hockey bashing and blades.

Not the escapades, or a snake.

It’s an expanded definition of drawing.

This compilation features several of Cohen’s pieces from the late 1980s and early 1990s: a paean to both the physical and mental aspects of the New York City landscape, an exploration of cinematic genres from narrative to music video, a sensual and roma

Based on a painting depicting St. Bernard receiving milk from a statue of the Virgin Mary.

Words: Donald Kuspit

Performer: Heidi Bartlett

Sound/Camera: Hans Breder

Post-production: Adam Burke

Actions speed up, slow down, and run at regular speed. The usual props are there, as is a wet dog. Subtle nuances are revealed as the behavior of the anxiety-laden protagonists is rendered, for once, in real-time.

In this interview, Brian Holmes, an influential art critic, activist and translator, discusses social forms of alienation, human ecologies of power, and the impact of technology on geopolitical social networks. Holmes reflects on his ongoing study of the ways in which the rhetoric of revolution has been institutionalized, as well as artists’ resistance to such cooption. For him, artists working in collectives have the potential to create a new artistic milieu that is not aligned with the dominant model of production. This argument is born out in his published collection of essays, Hieroglyphics of the Future (2003).

This is a Sign (by Bob Snyder and Sara Livingston) is a contemporary daydream, with the kinds of conceptual twists and turns that daydreams often have.

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.

Greasepaint flows freely as talents of Tinseltown strut their stuff amid the rundown dreams of days gone by.

A meditation on the elusiveness of Jewish history set against the backdrop of contemporary Poland.

This is a tape which analyzes its own discourse and processes as it is being formulated. The language of Boomerang, and the relation between the description and what is being described, is not arbitrary.

A high and low fidelity record of obsessions past and present. A hooded man named Cobra Commander (drawn naked) and a boy with black glasses. A fanged woman named Shadow-La and a girl in a rose colored wig.

Glenn Belverio is an independent filmmaker and drag artist who lives and works in New York City.

Playing Dead is a film about lying still to stay alive. A news reporter queries the survivor of a brutal attack.

Milton Resnick was born in Bratslav, Russia in 1917, and immigrated to the United States in 1922. Resnick was one of the few survivors of the second generation Abstract Expressionists, and is known for his large, thickly painted abstract canvases.

Nang has lived outside the box. Born in a Trinidadian village in 1934, she grew up poor, illegitimate, mixed-race and female, but she survived by defying convention.

Taken almost verbatim from a newspaper, The Arizona Daily Star, the video recounts the story of Ramona Barrrara, a New Mexico woman who saw the face of Jesus in a tortilla when she was rolling her husband's burrito.

Appealing concurrently in this video essay to various

In this episode of Glennda and Friends, Glennda Orgasm and Mark Allen drink at Marie's Crisis Café, a piano bar in Manhattan.

I Was There is a trilogy of experimental documentary films that explores the problem of radiation, our society's fading collective memory of the atomic bombing of Hiroshima and Nagasaki, and the unresolved debate between ethics and science.

A. D. Coleman started writing regularly on photography in 1967 for the Village Voice, at a time when very few critics took the medium seriously.

An experimental investigation into the use of race as an arbitrary signifier.

A winter chill sets in making the furry residents of various dwelling places a center of affection and reflection. The images conjured up are steeped in a twilight worthy of polar pinpoints in the grip of glaciated gloom.

Reportedly shot in the back office at Leo Castelli’s New York gallery, an ashtray is used to demonstrate five different actions related to artistic work. With the camera static, the video opens with the ashtray in the center of the screen.

From the outskirts of Santa Fe, New Mexico, to the innards of a castle of contraptions, this video explores the creative bric-a-brac of several entities who pioneered a wired frontier filled with fire wires and fire water.  Join them as they schmoo

Statement

A last stand for the silent guardians of the old order. Take It Down is a filmic day of reckoning for the Old Confederate South. What is up must come down, like the Confederate soldier monuments standing in court house squares across the South. At long last, a grand inversion! Solarized film makes positives bleed into negatives. The South is renewed.

This film looks to North Carolina to describe the cultural fissure that runs through the South, a legacy of the Civil War. In the context of the divisive Trump presidency and the increasing visibility of white supremacist activism, these Confederate memorials have become sites of conflicting politics and historical narratives. 

Historians agree that a majority of Confederate statues were erected as propaganda tools legitimizing racism in the era of Jim Crow laws. For example, “Silent Sam”, a statue depicted in the film, was erected on the quad of the University of North Carolina campus. In an act of civil disobedience in Fall 2018, students and protestors tore down the statue in a statement against white supremacist oppression.

Alone in my room at the El Reno Inn, way out west from Oklahoma City, I face a big picture window that overlooks the refuse of Route 66 to ponder the fate of trailer trash in Twisterville.

Naked shows a colony of naked mole rats living in a laboratory. This rare and highly socialized species demonstrates modes of behavior that in uncanny ways seem human-like.

Possibly In Michigan is an operatic fairytale about cannibalism in Middle America. A masked man stalks a woman through a shopping mall and follows her home. In the end, their roles are reversed when the heroine deposits a mysterious Hefty bag at the curb. Like Condit's other video narratives, Possibly In Michigan shows bizarre events disrupting mundane lives. Combining the commonplace with the macabre, humor with the absurd, she constructs a world of divided reality.

"A group of students and teachers gather in an historical mansion in the woods of West Virginia for a week-long retreat in spoken Latin. I observe and I participate while navigating the errata with my camera."

— Sky Hopinka

Formally eclectic but heartfelt tribute to the holiday home movie heritage of low gauge formats.

Jonas's performance piece, an homage to 18th century French outdoor theater, incorporates mythology as well as spontaneously occurring events into the narrative.

Filmed by Jingqiu Guan on November 7, 2022 at Royce Hall Rehearsal Room during the creative residency sponsored by UCLA Center for the Art of Performance (CAP). This video was used for the performance on November 20, 2022 at UCLA.

"Actions, states, one B+W video camera, the Paik Abe Colorizer, a video switcher. The two states, a b a b, I put my hand in the camera frame and saw a colored hand shifting.

In her overt challenge to conventional modes of femininity and sexuality, Hester Scheurwater confronts the viewer with her own body.

The fleeting memories of a melting infant – live action, animation and re-photography (through ice).

Mom and Dad highlights causal conservations between Phil and his parents around family life, road trips, and camping in an interview-like setting, where his parents sit against a plain brick wall facing the cameras.

Storyteller recomposes aerial shots from the Las Vegas casino skyline to create a slick, artificial world, reminiscent of science fiction. At first glance, the viewer might think of jewelry-like space ships floating slowly through the universe. When the camera zooms in on buildings and architecture, the detailed glitter and kitsch of the city hypnotically reveals something of pure beauty and madness.

John Malpede is a performance artist and Director of the Los Angeles Poverty Department (LAPD), a performance art and theater group whose members include the city’s homeless.