Part of the paraconsistent sequence series.

This sensualist's dream follows Louise Brooks look-alike Rodney O'Neal Austin on his search for the Beloved.

Originating from personal affection toward Seoul, Twelve Scenes portrays the spectacles in daily life by juxtaposing urban space in a twelve month sequence.

Skip Sweeney was an early and proficient experimenter with video feedback. A feedback loop is produced by pointing a camera at the monitor to which it is cabled.

A newsletter meets home movie, made by an experimental filmmaker who was constructing a paper mâché skeleton but whose leg (the filmmaker’s) suddenly went wrong. It got fixed, but (spoiler alert) that’s just kind of incidental. 

This tape was originally an installation at the Whitney Museum of American Art, part of which included the video collaboration Channels of Desire.

Gravity is a long passionate film kiss in which kissing scenes from different films are woven in each-other by switching every three frames between two scenes. Deep passion becomes a stranglehold as cinematographic high points pile up.

In his New York City landscape, Cohen finds inspiration in disturbance. Looking to life for rhythm and to architecture for state of mind, he locates simple mysteries.

"The human ear. A gatherer of energy. A gatherer of sound. RPMs and BPMs. Satellites go up to the sky."

“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.”

An audiovisual experience of the current Mexican war.

Impetigo is the story of passion and possession in a steamy nocturnal landscape. The title is a reference to the poem A Man All Grown Up is Supposed To, by Terry Stokes.

Our Non-Understanding of Everything is a series of videos that explore how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural env

In the early 1990s, I went to a reading by Leslie Scalapino at Intersection for the Arts in San Francisco.

Resisting the regime of the counter-shot, this experimental short fiction film follows the story of Alex on the eve of Le Pen’s defeat in the 2002 French presidential election.

Ron Gorchov (b. 1930) is an American artist who has been working with curved surface paintings and shaped canvases since 1967.

Forest Mind is a video work that emerges from the artist’s longstanding interest in the human interaction with the natural world.

This short is a romp through the life and times of transvestite jazz musician Billy Tipton, who was discovered at his death to actually be a woman.

The interior of a trash processing plant. The rhythmic intensity of the machinery as it deals with an endless river of refuse becomes a reflection on the madness of unbridled consumption. 

As two heavily made-up women take turns directing each other and submitting to each other's kisses and caresses, it becomes increasingly obvious that the camera is their main point of focus.

Palace of Pope is an experimental video composed of found photographs, original text and sound art.

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.

At a garbage transfer station in suburban Connecticut, seagulls make a home for themselves among the mountains of trash, skillfully co-existing with massive bulldozers, trucks and masked workers.

Juliana Huxtable was born in Texas and studied at Bard College, NY.

This film is about a five-day seminar designed to teach executives to "sell themselves" better.

Award-winning videomaker Kip Fulbeck brings his blistering pace, comedic skill, and critical eye to bear on the Hapa and Asian American male experience—parodying the relationships between sex, love, and martial arts movies.

“To take back the gold that was stolen from us – this is the object of our actions.”

This video presents a history of alternative spaces in New York City during the late 1960s and early 1970s, focusing on two galleries that no longer exist.

Donigan Cumming’s improvisational style traverses the boundaries of tragedy and comedy, drama and documentation. In After Brenda, Cumming redefines the genre of popular romance.

In this interview, Los Angeles-based artist and filmmaker Ryan Trecartin (b. 1981) discusses his personal interests and motivations, as well as the larger cultural and philosophical concerns that shape his videos and their reception. Trecartin is known for his construction of non-linear narratives, campy costumes, and excessively visceral characters and environments. One of the most compelling aspects of this interview is his insistence that language and its verbal articulation, rather than the visual, anchor his process. Trecartin identifies the influences of 1990s retro-rave culture, hip-hop videos, and editing software tools on his work. He notes that the accelerated disintegration of high and low culture has played a major part in his growth as an artist.

The seemingly groundless debate as to whether a river is "riley" or "roily" can be interpreted as an example of language's descriptive failure.

Covid Messages is a video in six parts, based around broadcasts of Prime Minister Boris Johnson’s COVID-19 press conferences. The work focusses on the British government’s attempts to el

“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 man is shot inside an empty room and he moves and takes on positions continuously out of center.

Eiko performed unannounced in the Cathedral of St. John Divine, New York City as an artist in residence in 2016-2018.

Camera by Alexis Moh.

Jeremy Blake (1971-2007) used digital media to create works that function on a flexible spectrum between being more painting-like or more film-like.

Paul D. Miller (b. 1970) is a conceptual artist, writer, and musician better known as DJ Spooky.

That Which Is Possible is a portrait of a community of painters, sculptors, musicians and writers making work at the Living Museum, an art-space on the grounds of a large state-run psychiatric facility in Queens, New York.

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

I live in the Hudson Valley near the Hudson River. Historically, Muhheakunnuk, a river that runs both ways was a waterway for the colonization of North America.

Filmed in June 1998 at the Whitney Museum of American Art and produced by the New York Public Library for the Performing Arts/Dance Collection. Breath is a creative archive project of Eiko & Koma’s living installation of the same

The violent overreaction to 9/11 and to the revolutions of the 1960s cannot be explained only with fear and politics.

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.

Part of the paraconsistent sequence series.

This experimental video breaks many the silences surrounding lesbians and AIDS. Interweaving the voices of two friends—an HIV+ Latina lesbian and an HIV- Jewish lesbian—the video juxtaposes two very different yet overlapping experiences.

A short portrait of artist Anne Truitt (1921-2004).

In 1972, Robert Morris and Lynda Benglis agreed to exchange videos in order to develop a dialogue between each other’s work. Morris’s video, Exchange, is a part of that process—a response to Benglis’s Mumble.

Distracted Blueberry follows a performance art band through a series of poetic encounters. Masculine tropes are undone to form a relationship between male sexuality and the human death drive.

At the epicenter of Green’s extensive multimedia installation Partially Buried in Three Parts (1996-1997), Partially Buried (1996) and Partially Buried Continued (1997) explore a web of genealogical traces, initiated by a refl

Photographer, theorist, and lecturer Victor Burgin lives and works in London.