Adam Khalil and Zack Khalil’s debut film re-imagines an Anishinaabe story, the Seven Fires Prophecy, which both predates and predicts first contact with Europeans.

Detour de Force presents the world of thoughtographer Ted Serios, a charismatic Chicago bell hop who, in the mid-1960’s produced hundreds of Polar

A daughter leads her mother on a rope while they take a walk, looking for a place where the mother can bid her final farewell. Before she leaves, they have a picnic, she sings a song, and they chat about the family. An absurd domestic drama played out against the background of a summer’s day by the seaside.

Louise Bourgeois (1911–2010) utilized wood, metal, plaster, and bronze in creating her sculptures.

In this interview, Kori Newkirk (b.1970) describes his interest in the space that exists between categories. Hailing from the Bronx, earning a BFA at the School of the Art Institute of Chicago (SAIC), and finally settling on Los Angeles as his base of operations, Newkirk has always been motivated by a desire to eschew provincialism. In this conversation, he discusses the idea of regional identity, his complex relationship with the Los Angeles art community, and how his experience as a student at SAIC helped him move beyond the boundaries of a simple material definition of painting.

A dissemination of suspended bodies in the liminal space.

This tape documents Nancy Cain’s birthday party and captures the inner workings of the Videofreex’s social ethos.

Made with my production class at the art asylum called the San Francisco Art Institute, this wide-screen drama of run-a-way spectacle and crazed emotion depicts a lurid tale of familial fury and unleashed passions.

George is in Tampa, Florida to do a one-day video workshop, so they make a fast-moving trailer for a non-existent UFO abduction movie.

Stephen Varble (1946-1984) staged gender-confounding costume performances on the streets of 1970s Manhattan, and he became infamous for his anti-commercial disruptions of galleries, banks, and boutiques.

Circles cycle and shift in scale in this video about, through, into and out of Carol Bove’s monumental sculptures starring the exquisitely talented dancer Katie Gaydos.

A big splashy rendering of Hollywood in hot action. The babes, the boobs, the boo-boos and the inner triumphs all brought to the screen by the uncorked youth and uncouth old bats of the San Francisco Art Institute.

In this episode of the Whispering Pines series, Moulton's character Cynthia is confronted with a distorted mirror image that slips between the grotesque and the exotic, depending on her posture.

Wittnerchrome, Exacto Knife, Fishing Line, Sewing Machine

The San Francisco Art Institute's 100th anniversary is absorbed into this portrait of alumni in the heat of creation and pasta softening.

As if trapped inside a nightmare, the main protagonist of Poster Girl is haunted by disturbing visions, thoughts and fantasies, which the viewer is privy to.

In a tape that stands out as one of the earliest examples of the use of appropriated television footage, Freed assembles a collage of images representing American media icons, from Mickey Mouse and Richard Nixon, to The Wizard of Oz and the Rol

1+8 is a film about Turkey’s unique position between West and East and her relationship to her eight very distinct and diverse neighbors.

“I fear nomads. I am afraid of them and afraid for them too.”

—Jane Bowles, “Camp Cataract” in My Sister’s Hand in Mine (New York: Ecco Press, 1978)

A portrait of the American artist Ray Johnson (1927-95), driving force behind the New York Correspondence School of the early 1960s.

Baldessari has Ed Henderson examine obscure movie stills and attempt to reconstruct the films’ narratives.

An homage to Chicago's East 95th Street Bridge, Calumet Fisheries and to a couple of the city's infamous brothers.  The take-out shack, originally glimpsed in the background of a scene from The Blues Brothers, still operates.  It has

As recent state cut-backs force many mental patients out into the real world, Tony Oursler and Joe Gibbons team up to address psychiatric deinstitutionalization from a comic angle.

These are the ghosts of a haunted civilization, a culture of progress that hides the social and political horror behind the Olympic Games. These are the haunted figures in the Capitalocene era. A sinister dance of macabre abstraction.

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.

Another Clapping explores the relationship triangle between a daughter, her mother and the Chinese Cultural Revolution.

This film was made from The New York Times newspaper articles. The semi-automated animation process resulted in sentence recombinations that sometimes made sense while randomly emphasizing certain words and images.

Quoting Confucius, that “food and sex are human nature,” Chinese Characters builds a parallel between the Chinese legend about the search for the source of the Yellow River and contemporary Asian-Canadian gay men’s search for pleasure via their

In an upmarket house surrounded by an idyllic garden, there is no trace of human presence, even though a family obviously lives there. Voices, sounds and superimposed text create a feeling of disquiet whose origin continually escapes us.

Little Spirits is about a young girl who plays a trick on a friend, unaware or uninterested in the possible consequences.

The later 1950s and early 1960s saw the development and proliferation of radically new forms of dance driven by a desire to understand the essentiality of movement divorced from traditional, balletic and modern syntaxes.

Commissioned to be a "promo" for a loud punk rock band, Mr. Kuchar feared that the noise the band made would spoil the mood of his visuals, so he used the sound of a lush orchestra to score the picture and the antics.

Sylvia is a portrait of the civil rights pioneer Sylvia Rivera for her memorial service in 2002, as told by her chosen family immediately following her death.

This tape is, in effect, a ready-made. Produced by the Pepsi Cola Company for its own use, it was accidentally substituted for one of my tapes in 1974.

This is a gaze of the body and a notion of spectator that the 90´s decade constructed, this is the audiovisual legacy of the 90's for our actual audiovisual control world.

“A good example of Baldessari’s deadpan irreverence is the 1971 black-and-white video entitled I Am Making Art, in which he moves different parts of his body slightly while saying, after each move, ‘I am making art.’ The statement, he says, ‘ho

This video diary/travelogue centers on a tropical trip to Acapulco where yours truly hits both sand and surf with maximum impact.

In this video, the artist tries to overcome the effects of distance, and reflects on geography represented in exile due to war, and on the psychological distance represented in each one’s approach to her womanhood.

... 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

Erase the 1940s. The desire to better appearances. To try to record a love story. It's in this way that a facial can become the biggest remaining pleasure.

In this interview, Indian artist Shuddhabrata Sengupta (b. 1968) discusses his role in the initiation of the Raqs Media Collective, a Delhi-based artist collective, active since the 1990s. At the time of this interview, Raqs had been creating documentaries, art installations, and educational programs for eighteen years. Sengupta likens the driving force of Raqs to that of a game of catch, a process generated by a back-and-forth dialogue mobilized through writing and in-person meetings. As children of the late sixties, Sengupta explains how and why the members of Raqs, (himself, Jeebesh Bagchi and Monica Narula) share an interest in investigating mass communication, technologies of visibility, and the significance of memory and travel. It is also for this reason, Sengjupta explains, that the Collective’s work is committed to fostering rigorous research in addition to art-making endeavors.

In 1927 Henry Ford bought land in the Brazilian Amazon and called it Fordlandia.

John Cage’s compositions and performances have had a profound influence on generations of musicians and artists. In this tape, he initiates For the Third Time as author Richard Kostelanetz interviews him.

Subtitled: The Struggle for Western Shoshone Land Land activists Mary and Carrie Dann confront Federal Bureau of Land Management officers determined to impound the women's livestock until they pay grazing fees on land the Shoshone have never so

“Take back the airwaves: Mexico’s video art doyenne Ximena Cuevas books herself onto the tabloid talk show Tombola (Raffle), toying at first with whimsical deconstruction until she turns the whole affair on its head by seizing the televisual flow itself.”

This tape, Harriet, created by Videofreex member Nancy Cain, unfolds much like a short play or literary character study.

The magic life of the objects reanimate the ancestrality of the aesthetic of dream.

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

2@ is part of the Pop Manifestos series, a five-video project realized in collaboration with Cokes' former students Seth Price and Damian Kulash, and originally conceived as part of a series for the conceptual band SWIPE.

In this interview with Carl Bogner, Sky Hopinka (b.