Matt Wolf returns to Joe Brainard's iconic poem I Remember (1970) in this videowork. His archival montage combines audio recordings of Brainard reading from the poem, as well as an interview with his lifelong friend and collaborator, the poet Ron Padgett. The result is an inventive biography of Joe Brainard, and an elliptical dialog about friendship, nostalgia, and the strange wonders of memory.

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.

A woman stands on top of a hill in Namibe desert in Angola, looking into an extensive horizon of a vast desert, she signals the hope of crossing these borders symbolizing the repossession of the land and the regaining of a lost identity.

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.

In this interview American filmmaker, poet, and lyricist, Cecelia Condit gives shape to the contours of her work process. The artist describes the influence of her relationship with her mother, her long-term investment in the macabre, and her ongoing desire to confront death through art. While covering a broad range of topics, Condit’s discussion of her work and interests returns to several defining themes: aging, grotesqueness, and the notion of movement, both in terms of her own past as a dancer and the notion of the body in decay. With a particular emphasis on the production and context of her videos, Annie Lloyd (2008), and All About a Girl (2004), this interview offers insight into the artist’s fascination with aging, sweetness, and storytelling, while also articulating her joyful sense of discovery within the art-making process. No longer working with scripts, Condit presents herself in the interview as a scavenger–much like the crows she incorporates into her work–assembling videos which straddle the line between strange and silly. – Faye Gleisser

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.

Three aimless millennials in a go-nowhere band are recruited as willing pawns by a shadow revolution, an insurrection led by an unlikely anti-government cabal of Buddhist sovereign citizens, telepathic Native American separatists, hardline&nb

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

Sara Magenheimer earned her MFA at Bard in 2013 and has since shown her work internationally in Canada, Iceland, the Czech Republic, and Denmark.

"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.

... it's not what it used to be.

a personal album and homage, in my own way, to an influential film ... a closet-cleaning scrapbook of beloved photos and oddities ‐ and the gift of fire.

–– Ken Kobland

A young moviemaker discusses the horror film he hopes to open commercially. In the process he opens his lavish apartment to the hungry eyes and tummy of he who rots in the sidelights.

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 silent video, still images of stores and residential buildings in New York City appear within a cutout template, based on the “giftbox heap” formed by the New Museum silhouette.

In January 2001, the KEN BURNS’ JAZZ promotional blizzard hit New York City.

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

Witness is a perceptual meditation on police brutality—specifically a power dynamic that law enforcement has coined “suicide by cop.” Filmed in Iceland on 8mm film, the film hinges on archival audio—unfolding in real time—of

This archival film remixes the systemic violence and power throughout the 1984 National Day Parade, the 1989 Tiananmen Square Protests, and the 2014 Umbrella Movement. 

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.

Mother’s Day in Mexico is considered one of the most important family holidays of the year. Thousands of mothers have nothing to celebrate. They are the mothers of victims of forced disappearances.

China, Beijing, I Love You! is an animated film about extraction of nickel and cobalt along China's Maritime Silk Road.

Twenty Minutes is about the design and usage of the pulley from the era of Leonardo Da Vinci to the early 21st Century.

Cast: Clifton Bazemore, Derek Bazemore. Animation: Aaron Biscombe.

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.

Pulling Up Roots is the emotional journey of a woman who is navigating the tenuous strain between the past and the future.

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

Robert Irwin (b.

Hirsch’s most ambitious film to date and the pinnacle of his trilogy, Nothing New depicts the epic rescue mission of a man whose parachute is caught on electricity power lines.

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

Audio-visual recordings of zoo-animals are woven into a fine web of actions and reactions, that finally spiral into a collective animalistic concert.

A music-filled tour of Christmas good cheer overtakes this gastronomically oriented excursion through the winter season of discontent and yuletime yearnings craving ignition.

Ascensor is an exploration of grief, longing and mysticism through a queer lens. It documents a syncretic ritual that culls from the magical reverberations in Mexican culture to process the unexpected loss of a dear friend.

Turn the lights down / Way down low / Turn up the music / Hi as fi can go / All the gang's here / Everyone you know / It's a crazy scene / Hey there, just look over your shoulder / Hoo hoo / Get the picture?

Identically dressed, and with sibling-like resemblance, performance artists Trevor Martin and Kym Olsen shift between spoken word and athletic dance choreography in a collection of 29 scenes.

Smith’s gentle, recusant comedy is a critique of masculine domination, focusing on the myth of manifest destiny.

Though the use of fairytales and dark fantasies, these works combine the commonplace with the macabre to construct a new world of the subconscious.

Part of paraconsistent sequence series and the hauntology series.

Guillermo Gómez-Peña, Gustavo Vazquez, Daniel Salazar, Patrick Litchy, Jethro Rothe-Kushel

Henry Johnson was an elderly gas station attendant living in Goldsmith, Texas, a West Texas town of four hundred people.

A short animation commissioned for Peter Burr’s touring media project Special Effect connecting Tarkovsky’s Stalker to its original text Roadside Picnic by the Strugatski Brothe

Reflecting upon the figure of “Trickster” in African and Native American culture while recounting the story of his first love, Harris creates a graceful, deeply moving lament for the loss of innocence in a world without magic.

If television is truly the opiate of the masses, then Teddy Dibble is a living room crack dealer. This newly compiled series of television art comedy includes: 

1. The Cough, 03:17

Last Man is made of the raw footage of security cameras that stream online.

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.

Sunday, 6th April 11:42 a.m. is a video about landscape as a complex network of connections that guide relationships between people.

This video is about seduction. The audience is seduced by the female narrator, while at the same time repelled by the seductress' desperate need for love and approval.

flight is a frame-by-frame re-editing of an astronaut walking on the moon into a seven-minute long meditation on technological transcendence. The unstable, stuttering image depicts the astronaut's struggle to separate from his body.

A document of two life processes: the passing of my friend Andre’s 10 year old German Shepherd, Cortàzar, and the tattooing of Cortàzar‘s image on Andre’s chest.

A loosely structured and evocative drama that centers around the search for a lost oasis. Shot in a bizarre Californian landscape, the piece is a contemporary desert fantasy.

Filmed directly from the screen of a smartphone using a language translator app that has been told to translate from French into English, Steve Hates Fish interprets the signage and architecture in a busy London shopping street.