In 2003, Rosler announced an open call for a live re-staging of her 1975 video Semiotics of the Kitchen, to be held at the Whitechapel Gallery in London, for A Short History of Performance, Part II.

Another dream film. Eschewing the hyperkineticism so beloved of Super 8 makers, I locked off my camera and wrote a slow narrative, combining live action and animation.

A re-reading/ re-construction of a Wooster Group theater production: Part I / LSD: Just the High Points, 1978

This film is a reflection on descendants and ancestors, guided by a 50 year old audio recording of my grandmother learning the Pechanga language from her mother.   After being given this tape by my mother, I interviewed her and asked abou

The police phoned. They left a message on the machine. They said he was dead. The video unwinds through stories of sex for rent, unclaimed bodies, cigarette burns, and other monuments of life’s long run from wall to wall.

For over two years we made it our business to document abandoned working gloves on the streets of NYC.

This chaotic fantasy involves an underground empire of Halloween-type entities that bedevil the surface people of earth with yellow rays that cause civilians to go on murderous rampages.

A cinematic place where the mountains crash into each other in a field of magma and fire. A landscape of events.

Between job losses, foreclosures, living with family, and the Cande’s constant desire to return to Mexico, Pancha and Cande work through the strains of their marital relationship in San Diego County.

The Turkish national anthem, regularly sung in schools on Mondays and Fridays, is recorded with Super-8 and video to capture the fragile links that tie young citizens to nationhood.

This tape examines the meaning, impact, and future of the early-1980s avant-garde through interviews with artists (Scott B., Robert Longo, Walter Robinson, Michael Smith), an art dealer (Helene Winer, Metro Pictures), a museum director (Marcia Tucker, T

Work, film, work, film, work – day to day – week to week. This is a home movie domestic comedy experimental film drama. Autobiography too. It’s also part four of an ever-growing trilogy.

An experimental documentary comprised of regional vignettes about faith, force, technology and exodus.

The artist uses wire to suspend a block of ice in a pit-like industrial space. He swings the ice block, which is lit by a similarly swinging light bulb on a separate pendulum.

A personal interpretation of the poetry and letters of T.S. Eliot that explores the ambiguities of language and space in a scenario built around an anagram.

After the ominous attack that the paramilitary and police corporations carried out on September 26, 2014, in Iguala, Guerrero, the student Aldo Gutiérrez Solano remains in a coma until today.

An homage to Walter Benjamin and other time-traveling artists and expatriates that have inspired me, especially Chris Marker. Benjamin, fleeing from fascism in the 1930s, took refuge in Paris where Biblioteque Nacional became his home away from home.

The personal odyssey recorded in The Laughing Alligator combines methods of anthropological research with diaristic essay, mixing objective and subjective vision.

There are approximately 30,000 Filipino guest workers living within the State of Israel. The majority are female and work as caregivers for the elderly or sick.

Live action and animation adaptation of an episode from Lautréamont’s 1868 anti-novel Maldoror.

Ephraim Asili’s five-part series The Diaspora Suite is both a personal and global study of the African diaspora.

The Only Ones Left (three-channel video installation*), featuring actor Jim Fletcher, weaves film noir and mafia genre references with CEO diatribes, while also exposing the conventions of the feature film climax.

"Begun in 1983 and completed in 1992, Between the Frames offers a glimpse into contemporary history that is already past, a portrait of personalities and opinions shaping what and how art reaches a public forum.

The videos in this program invite the viewer to reconsider assumptions about regional and personal identity by offering a wide sampling of portraits: a group portrait, a street portrait, a family portrait, a self-portrait, a portrait of portraiture, and

Shutters click in this clothes-dropping exhibition of photographic exposures sure to quicken the pulse of those in need of extremity expansion.

Structured on the central metaphor of Shakespeare's The Tempest, this work alludes to the position of the individual in (post) modern culture, and the tension between natural and technological power.

Using a psychoanalytic tool from the 1950s, a series of black and white drawings illustrate the adventures of a family of dogs, dramatizing a young girl's appointment with her psychiatrist.

Dan Sandin demos the Digital Image Colorizer, a digital module that was part of the analog Image Processor.

Urban parks consist of two major elements: nature and man-made forms. Parks play an important role in the urban environment, offering relief in everyday life.

A 19th Century etching of a bedroom in the Palace of Versailles is animated and depicts the room in the midst of an earthquake. Every detail, from the moldings to the small figures in the hung paintings, trembles.

Repeating the same activity as featured in Bouncing in the Corner, No. 1—leaning back and bouncing forward from the corner—this time the camera is positioned just above Nauman’s head.

A video letter to artist Nancy Holt, in homage to a shared interest in terminal lakes, framed views, monuments and time.  Filmed on and around the Great Salt Lake, Mono Lake and Meteor Crater.

Dan Carbone sings Debbie and the Demons.

Part 2 of Two Movies by Mike Kuchar.

Shown at the Brooklyn Museum of Art, Brooklyn. The Real Art World Episodes explore the awkward social interaction of the studio visit.

Playing back "visual quotations" of everything from Poltergeist to Blade Runner, Muntadas rescans the surface of the monitor, questioning the "nature" of media—film, television, video, and image.

This science fiction adventure centers on the interaction between a crew of Earthmen and their seduction by the love-hungry Amazons of the red planet, Mars.

"Sodom — for those of you who haven’t been there — is an island about ten miles in length by about two miles in width. There is no depth to it at all.

In La Lucha (the fight), families struggle to cope with frequent deportations and the constant threat of INS sweeps that, in the end, completely dismantle the community. Following up two years later, Hock reports their triumphs and setbacks.

With an amusing sense of drama, The Houses That Are Left illustrates Silver’s technique of building an obscure narrative into a complex net of miscellaneous texts and images.

George stays in San Francisco for this video about local filmmakers and their future projects.

Treating the problem of anorexia nervosa from the parents' perspective, Rosler presents a mother and father speaking about the tragedy of their daughter's death as a result of dieting.

Tripping out on loneliness, The Loner drifts through one daydream about “Her” after another. Oursler nightmarishly fantasizes about the dismal prospect of looking for love in a sleazy singles bar.

Filmed primarily in Alaska, The Aquarium contrasts the openness of the primeval Arctic landscape with the entrapment of captured sea mammals in aquariums. It speaks of the progressive destruction of these animals’ habitat, seeing beyond the alluring spectacle.

Wendy Clarke continues her ongoing project Love Tapes, in which speakers sit in front of a camera and talk for three minutes about their thoughts on love.

A short introduction to the New York City public access television show The Brenda and Glennda Show, hosted by Brenda Sexual and Glennda Orgasm.

Small-town friends watch fuzzy TV, play music, and venture to the video store. Mom bakes a cobbler.

This tape compiles three profiles of performance artists: A Creative Synthesis: George Coates Performance Works (10:00), The Performance World of Rachel Rosenthal (16:00), and Paul Dresher Ensemble (08:00).

"A chamber drama set in the confines of an apartment’s sun room, this video further explores visual themes and obsessions found in my earlier works and adds in a few new ones for good measure.

Woman as Protagonist: The Art of Nancy Spero is an invigorating look at the 40-year career of acclaimed feminist artist Nancy Spero, who, in her own works, is concerned with “rewriting the imaging of women through historical time.” With Spero’s