A portrait that follows Nan, my uncle who lives with his elderly parents, during the last two years that the three share the same house together.

Alice Neel (1900-1984) is known for portrait paintings of well-known persons and eccentric New York street types.

The latest in Marie Losier's ongoing series of film portraits of avant-garde directors (George and Mike Kuchar, Guy Maddin, Richard Foreman), DreaMinimalist offers an insightful and hilarious encounter with Conrad as he sings, dances and remembers his y

The artist swings a live-set small game trap near his extended other hand. The trap swings ominously: will it snap his fingers? The end comes quickly!

“The images mix fragments of the real and imaginary in a hermetic effort to express the [Breder's] quest for a visual text that is at once personal reflection and cultural criticism. ” - John Hanhardt, 1989

Oral Fixations is a single channel video installation that evolves over a seven hour time period. The project is a darkly humorous look at a habit of endless consumption and the resulting accumulation of waste.

A portrait of an unnamed city in Italy. Sidestepping the tourist attractions that make the city famous, the film/video posits an almost-imaginary place that draws closer to the reality of its inhabitants.

The crossword puzzle addiction.

For Shigeko Kubota the video image-making process is a cultural and personal experience.

Public Discourse is an in-depth study of illegal installation art. The primary focus is on the painting of street signs, advertising manipulation, metal welding, postering and guerrilla art, all performed illegally.

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.

Minute Waltz is a ballet performance recorded on a time-lapse VHS security surveillance recorder borrowed over a weekend from a local bank.

In these "plays" for the camera, the lushness of an afternoon tryst with it’s perfumed colors is displayed center stage.

A video in two parts (Starstruck and MGM: Movie Goddess Machine), focusing on celebrity culture, identity, and the body.

Approximates a small child’s fantasy world in the dark. In a series of close-ups, the nightlight is transformed into a meditative star-spangled sky. An improvisation, edited inside the camera and shot on a single reel.

Made collaboratively with the filmmaker's mom Deborah, I Can Hear My Mother’s Voice documents her process of learning how to use the filmmaker's video camera.

Alfredo Jaar is a politically motivated artist whose work includes installation, photography and film.  Born in Chile and now living in the U.S., Jaar’s socio-critical installations explore global political issues, frequently focusing on the Third

Space Ghost compares the experiences of astronauts and prisoners, using popular depictions of space travel to illustrate the physical and existential aspects of incarceration: sensory deprivation, the perception of time as chaotic and indistinguishable, the displacement of losing face-to-face contact, and the sense of existing in a different but parallel universe with family and loved ones.

Physical comparisons such as the close living quarters, the intensity of the immediate environment, and sensory deprivation, soon give way to psychological ones: the isolation, the changing sense of time, and the experience of earth as distant, inaccessible, and desirable. The analogy extends to media representations that hold astronauts and prisoners in an inverse relationship: the super citizen vs. the super-predator. Astronauts, ceaselessly publicized, are frozen in time and memory whereas prisoners, anonymous and ignored, age without being remembered.

Klaus Nomi (born Klaus Sperber) was an underground superstar in the East Village arts scene in the 1970s and early 1980s.

In this interview, Brian Holmes, an influential art critic, activist and translator, discusses social forms of alienation, human ecologies of power, and the impact of technology on geopolitical social networks. Holmes reflects on his ongoing study of the ways in which the rhetoric of revolution has been institutionalized, as well as artists’ resistance to such cooption. For him, artists working in collectives have the potential to create a new artistic milieu that is not aligned with the dominant model of production. This argument is born out in his published collection of essays, Hieroglyphics of the Future (2003).

These are the dancing bodies in an agitated rapture: prelude to trance, invocation of the gods, consecration of intermittence.

Based on a photograph taken in the mid 1970s of two African Americans playing foosball.

Estelle Jussim (1928-2004) was regarded as one of the most influential voices in photography and media. An art historian and a communications theorist, Jussim wrote extensively about photographers, movements, and institutions, incorporating postmodern, deconstructionist, and feminist viewpoints in her many writings without being hemmed in by any one critical ideology.  Jussim was the award-winning author of Slave to Beauty and the pioneering Visual Communication and the Graphic Arts, which charted new ground in the investigation of the meaning of images. 

Based on a set of drawings that depict George W. Bush's administration as wounded soldiers in the war against terrorism, RE:THE_OPERATION explores the sexual and philosophical dynamics of war through the lives of the members as they physically engage each other and the "enemy." Letters, notes, and digital snapshots "produced" by the members on their tour of duty become the basis of video portraits that articulate the neuroses and obsessions compelling them toward an infinite war.

"Combining the comical with the absurd, I created six funny faces to animate the images of Japanese vowels while differentiating between 'image', 'letter', and 'voice'."

— Takahiko iimura

In the midst of the 2011 revolution in Cairo, a few beduins listen to their car's radio near Jericho, a place which looks like the end of the world.

In(sul)ar marks the dichotomy between reality and fiction, by creating meta-images of an imagined island, where time and space are confused with each other.

I was an Artist in Residence for three months on Five East, the ward for chronically ill adolescents at Children’s Hospital, Los Angeles. Five East is a series of video portraits.

I loved and was haunted by Jon Krakauer’s book Into the Wild and found Sean Penn’s cinematic adaptation to be absurdly overwrought. My original plan for condensing it was to string together all of its grandiose slow-motion shots.

As a verite documentation of the May 1, 1971 demonstration against the Vietnam War staged in Washington, D.C., Mayday Realtime presents a largely unedited flow of events from the point of view of participants on the street.

The music of John Bender punctuates a flow of processed images.

Broadcasters across Ireland and Britain have entered into a blackout strike. The workers are transmitting a programme bringing censored voices back onto the airwaves.

"I made this video after assisting at a conference where the artists acted like flies in a barnyard. They gathered tropical fruits to make it less disagreeable for themselves."

—Ximena Cuevas

"...Roy has set in and spread across the fabric of their lives."

— Mike Kuchar

Combining Rubnitz’s skillful manipulation of the familiar “look” of TV shows with an extraordinary range of characters, performer Ann Magnuson convincingly impersonates the array of female types seen on TV in a typical broadcast day.

“When I moved to Hudson Valley, NY state in 1984 after being tied to Tehching Hsieh in his ART/Life: One Year Performance, I began meeting remarkable elders over 80, and sometimes 90, years old.

The death that happens to others, the death that is in you already, the life that is in this death.

An absurdist demonstration of how the alphabet works.

"A film about the time of the blast furnaces — 1917-1933 — about the development of an industry, about a perfect machinery which had to run itself to the point of its own destruction. This essay...

To be a man, to be a hero, to be a wife: these conflicting voices inhabit the body of a documentary filmmaker as he re-enacts the climax of a Western morality play, 3:10 to Yuma.

In this humorous short, Astrid Hadad, dressed in traditional folkloric costumes and religious garments, sings and performs to a Chilean love ballad before a painterly background of fantastic landscapes.

"Let Each One Go Where He May is the stunning feature debut of celebrated Chicago-based filmmaker Ben Russell.

Set in a campy western mining town, Stinkhorn tells the tale of a lady blacksmith named Dusty and her naughty trickster paramour, Blaze.

“I thought perhaps you’d like to see a demonstration of the new massage chair that we just got in. It — the reason for its — it looks revolutionary, it doesn’t look really like a typical massage chair, and that’s because I think Mies van der Rohe had a part, or at least he was a consultant, to the firm that designed this…”. William Wegman opens the video short titled Massage Chair with this grand statement to describe what looks like an ordinary plastic chair. At first the artist’s head is cut from the frame, but he eventually sits down to “demonstrate” the extraordinary qualities of the chair. 

La Intolerancia en el Jardín de las Mentiras y el Pecado (The Intolerance in the Garden of Lies and Sin) recounts the rupture of the relationship between friends due to the ambition of the prized object.

Respite consists of silent black-and-white films shot at Westerbork, a Dutch refugee camp established in 1939 for Jews fleeing Germany.

alexia is an experimental video about word-blindness and metaphor.

After a failed attempt to melt down ballistic missiles into bells and site them in the city they had once targeted, 100 homing pigeons were used as metaphors, each carrying a small bell and capsule containing a Soviet or US flag.

A Two Spirited woman surrounded by spy signals and psychiatric walls attempts to make sense of love, global paranoia, and her place in the history of colonialism.