A performance by A.K. Burns and Ulrike Müller.

The title is also available on A.K. Burns: Early Videoworks. 

Among the leading pioneers of the eco-art movement, the collaborative team of Newton and Helen Mayer Harrison (often referred to simply as “the Harrisons”) have worked for almost forty years with biologists, ecologists, architects, urban planners and ot

White Sands is an experiential film installation on the visible and invisible manifestations of the nuclear industry on the land, air, water and people of New Mexico.

Part of a trilogy known as the Video Wallpaper Series in which George uses his new audio/video digital mixer to create a range of impressions of people and places.

Why Not A Sparrow is about a girl who enters a fairy tale land where the distinction between human and other animal species is blurred. In this kingdom, survival and extinction are on the tip of every birds’ tongue.

The colorized abstractions of Moog Images were created by feeding Moog synthesizer oscillators into the video inputs of a television monitor.

Burrow-Cams features footage from cameras that have been placed inside underground animal habitats (dens, burrows, etc.).

Recognizing the extreme inadequacy of information on AIDS prevention, cosmetologist DiAna DiAna, with her partner Dr.

A promotional vehicle with lane-changing tendencies, but both hands kept on the wheel at all times.

¡Macho Shogun! was created by Reed Anderson and Daniel Davidson over a single weekend some time in 2000.  It's your basic monster-robot / destroy-city kind of video that we wanted to make when we were kids but never did.

Fantasy Suite was the last standard definition video I made from VHS tapes.

This video is a moving personal documentary about Danny, a friend of Kybartas who died of an AIDS-related illness in 1986.

The city of Kinshasa and its liberation architectural spaces are here embodied through a journey of a woman that walks alone through the ghosted spaces of history.

Veronica Majano depicts the character of a street in the Mission District of San Francisco.

In this video, made soon after the death of his mother Stella, we accompany George to the wake, and on to a trip to Albert Maysles holiday home on Fisher's Island.

Syms’s 4-channel installation — avaliable through VDB as a single channel video — follows the central character (an aspiring artist also named Martine Syms) on a journey home from the dentist after receiving “laughing gas.” Mixing multiple points of vie

Interrupting the nightly news in an act of guerrilla television, Gómez-Peña returns to the persona of a Chicano-Aztec veejay—"The Mexican who talks back, the illegal Mexican performance artist with state of the art technology"—to elaborate the complicat

This is the invocation to the gods, the incense to the gods. A kinetic dance to the gods.

A woman sets out to photograph moments of intimacy.

"Inspired by Ralph Hocking's fish biting video.  Eighty-seven stones thrown, volumes shifting of water sound, a real time performance event. Holding the camera and throwing 87 stones into the frame. 1/2" reel to reel Sony portapack." 

A voice for which an event impossible to internalize remains distant. An event that in its distance does not cease to make the narration of something that should not take place anywhere foreign.

In this irreverent and hilarious videotape, renowned street performer Stoney Burke leads us on a subversive tour of the 1992 Republican National Convention in Houston’s Astrodome.

Until his untimely death from AIDS in 1992, Tom Rubnitz produced short, humourous videotapes featuring some of New York’s most outrageously talented musicians, artists and drag queens.

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.

With an all-female cast, featuring Suzie Bright as John Lennon, Cecilia Dougherty's Grapefruit plays with the romanticized history of the iconic Fab Four, gently mocking John and Yoko’s banal squabbles and obsessive rituals of self-display. Based obliquely on Yoko Ono’s book, the piece works on many levels to reposition this mythic tale of the Beatles by casting '80s women in mod drag—effectively mapping the lesbian sub-culture onto heterosexual mass culture.

A synaesthetic S16mm portrait made between French Polynesia and the French province of Bretagne, Color-Blind recruits the restless ghost of Paul Gauguin as an uneasy spirit guide in excavating the colonial legacy

Blumenthal constructs a loose narrative around the sexual evolution of a woman (played by Yvonne Rainer) through a stunning collage of images appropriated from TV and film. Certain images come to dominate this effusive stream—tall buildings, sex scenes, an Elvis movie, the courtroom, fireworks. Doublecross pits the indeterminate, disruptive power of the erotic against the rigid, normalizing structures of family, law, marriage, popular culture, movies, and music—societal institutions that codify sexual relations.

“I hung back, held fire, danced and lied. I was not going to come crawling out of my ruined house, all bloody, no, baby, sing no sad songs for me.”

—James Baldwin, “The Black Boy Looks at the White Boy,” Esquire (May 1961)

Can You Move Like This: Black Fire films by Kevin Jerome Everson and Claudrena N.

Petrolia takes its name from the redundant oil drilling platform situated in the Cromarty Firth, Scotland.

Founded in 1997, the Arab Image Foundation preserves the legacy and collection of photographer Hashem el Madani and the Sheherazade photo studio.

In Bad Grrrls, Glennda and Fonda LaBruce attend a Riot Grrrl conference on New York’s Lower East Side. At the conference, they conduct interviews with punk women, performers and artists, including Penny Arcade and Sadie Benning.

Adopting the movements of various animals, Forti begins the performance by walking hypnotically in circles. She falls to the floor and begins a cycle of walking and crawling that becomes an open metaphor for evolution and aging.

"Weeks before the 2006 midterm elections in the U.S., Venezuelan President Hugo Chávez came to the United Nations and blew everyone's minds with his "smells of sulfur" speech about Bush.

An experimental documentary that asks “What is Hip Hop?” Media Assassin deals with popular magazine coverage of the black music scene and efforts to define the new musical forms emerging since the late 80s.

giroscopio is a short experimental film by two artists, one in Pennsylvania and one in Puerto Rico, each in pandemic lockdown, each disoriented. Objects seem to control them; their bodies are unbalanced, unwieldy, comical.

Presenting his bare torso to the camera, Nauman meticulously applies, and removes, layers of white and black pigment, to his face, arms, and chest.

Inspired by Tennessee Williams’ The Roman Spring of Mrs.

Accidental Confessions combines scenes from a demolition derby with statements taken from automobiles insurance claims.

Turner Prize winning conceptual artist Jeremy Deller works across many different mediums, creating highly political and frequently collaborative works.

In okay bye-bye, so named for what Cambodian children shouted to the U.S. ambassador in 1975 as he took the last helicopter out of Phnom Phenh in advance of the Khmer Rouge, Rebecca Baron explores the relationship of history to memory.

"'I am nice. I... am nice. I am... nice," repeats the narrator, in this personal and highly poetic exploration of the construction of self. Mirra favors repetition as the device for reconstructing the stage of development when a child learns its name.

Part of paraconsistent sequence series and the hauntology series.

The city today is as rationalised and regulated as a production process. The images which today determine the day of the city are operative images, control images.

Museum collections of various kinds are the object of artist Dana Levy's ongoing, consistent study in the past decade.

“To master the one-minute time span requires considerable discipline, and few pieces, if any, had been shaped as genuine miniatures—most having the appearance of being extracts from larger works.

A fireworks display heralds the appearance of our heroine. She walks a hotel corridor with balloons held aloft and champagne on call. But then she stumbles. The perils of success.

Black and White Tapes derive from a series of performances Paul McCarthy undertook in his Los Angeles studio from 1970 to 1975.

The everyday performance of domestic labor is teleported into a surreal game world where an emotionally responsive AI chatbot provides no answers.

Shooter explores the idea of overt manliness, exposing it to be a flaccid gesture and an exercise in posturing.