Skim Milk & Soft Wax explores Jewish identity from the point of view of the American filmmaker, who was raised to believe that Israel is the "land of milk and honey".

Toxic pigments of lust stain an artist’s brush as he struggles against lurid colors on the canvas of his life, – a "life" in brick jungles wit sordid, dark alleys on neon-lit avenues where he got lost

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.

Kevin Jerome Everson combines the observational and theoretical in innovative ways that shed light on life in Black America. In doing so, Everson asks us to meditate on the implications of Blackness, labor, and creativity.

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.

I reconcile the violent act.

I drove around the U.S. filming these super maximum-security prison buildings the spring and summer after the World Trade Center bombing.

A grinding mortar and pestle vignette analogously describes the evolution of digital resolution; from a single color to a high definition image to an infinite splitting of that image back into the pixels themselves.

A collection of three remarkable works by Sadie Benning, produced between 1995 and 1998, including German Song, The Judy Spots, and Flat is Beautiful.

George Kuchar’s Acid Redux is a raucous journey into the murky domains of mysticism and liminality.

This is the contained power of the sacred seeds, the vibration of the ancient seeds of corn and their passage through an ocean of pulsating luminosity. A germinal liturgy of holy seeds.

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

Gregg Bordowitz is a writer, AIDS activist, and film and videomaker.

Made from silent black and white tube camera footage of the artist taken by her father in the early 70s, this series of loops—through the examination of particular moments and gestures— is evocative for what it reveals and conceals about their relations

A newsletter that turned into a film about hands (fast forwarding through slow times).

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.

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.

A woman sets out to photograph moments of intimacy.

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.

Documentary of the New York experimental theater company The Wooster Group on tour in Glasgow, Scotland, 2000, installing their production of HOUSE/LIGHTS.

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 video shows the design and choreography of Eiko's three-channel installation on one screen. Each video was shot in California by Alexis Moh and Marjorie Hunt during a creative residency at UCLA in April 2019. 

These three videos from Cecilia Dougherty deal with particular states of mind: that of a participant in a symbiotic relationship, the melancholy felt at the end of a romantic union, and the solitary non-space created by a regular commute.

This short animation explores various ways to narrate an incident that once took place in the mythical Hotel Carlton.

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.

Block is a round-the-clock portrait, shot over a duration of ten months, of a 1960s tower block in south east London. The film is a portrait that developed out of this long duration spent there.

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.

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

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.

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

Fashioned out of home movies recovered from failing hard drives, this glitch-art video makes comparisons between different forms of memory - suggesting that, while error and decay may keep us up at night, they might also be the way we put our ghosts to

Utilizing strategies of condensation and re-assemblage, these three pieces take Hollywood classics as their starting point. The re-editing process shifts and displaces old meanings until new ones are made.

Ever listen to Loveline? Well, here's an episode with a 24-year-old Korean American guy who's never been kissed. They're offering free concert tickets to any girl who'll come in and take a chance.

Part of the paraconsistent sequence series.

"The Camel with Window Memory piece was made one weekend in the early '80's. I pulled out my post card collection and began to look at specific postcards run through the new digital video buffer I had built together with David Jones.

In this futuristic computer-animated landscape, confused relationships between objects and people play out before the backdrop of a lush garden and interactive theatre known as the Big Ghost.

Taking aim at the social standardization enforced particularly on women's bodies, Rosler critiques the politics of "objective" or scientific evaluation that result in the depersonalization, objectification, and colonization of women and Others.

Vera is an assisted self-portrait of consumption. The subject is a woman whose passions and compulsions are of spending and loss, taste and subjectivity.

I was drawn to the early cave paintings of Lascaux and Altamira for as long as I can remember. One day looking thru some reproductions in an art history book with portable video camera in hand I recorded a still of a Lascaux bull.

Repurposing an ancient confessional video diary made about 40 years ago, this 11-minute narrative creates a poignant and humorous conversation where both ‘selves’ question, enlighten, and warn one another about things in life that really matter.

The New York City summer is fueled by the sultry emanations of hot air that tumble off the tongues of potential thespians as they attempt to decipher the gastric guesswork embedded in the prose of the pre-production process.

Old Cat will eventually and pleasantly get to a destination. Shot in the summer of 2009, in a single take, on a lake in Virginia.

Cast: Chad Bowles, Marcus Bowles.

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

In this satirical video the Yonemotos deconstruct the myth of Oedipus within the framework of the myth of Kappa: a malevolent and hedonistic Shinto god of fresh water, whose prankish harassment of young maidens includes hiding beneath outhouses to pinch

Made collaboratively with the filmmaker's mom Deborah, I Can Hear My Mother’s Voice documents her process of learning how to use the filmmaker's video camera.