Nancy Graves (1939-1995) was a New York sculptor, painter, and filmmaker who used natural history as a reference for dealing with the relationships between time, space, and form.

This Was Home is comprised of three channels, which present three generations of the artist’s family.

People enjoy my company connects the privatisation of telecommunications with techno-optimism, euphoria and online communication in the lead-up to the millennium.

Threads of Belonging depicts the daily life of Layton House, a fictional therapeutic community, where doctors live with their schizophrenic patients.

In Fagtasia Solstice, Brenda and Glennda attend a Radical Faerie event in New York City to commemorate the Summer Solstice.

In this video the artist states that a public work demonstrates what qualifies as art within his conception. Like Beached, it was also shot in a marshy area near the sea and in sequences separated by dissolves.

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. 

Ever listen to Loveline? Well, here's an episode with a 24-year-old Korean American guy who's never been kissed. They're offering free concert tickets to any girl who'll come in and take a chance.

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.

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.

They called him Umbrella Boy when he started his business. After repairing umbrellas on the same city block for over fifty years, he became Uncle Umbrella, a man who earned the respect and affection of his neighbors and customers.

stammering forward backward GIANT is a re-edit of George Stevens' 1956 film Giant - an epic story of Texas, oil and racism.

Part of the paraconsistent sequence series.

Set in Medellín, Colombia, Como crece la sombra cuando el sol declina (Like Shadows Growing as the Sun Goes Down) features tireless car traffic, jugglers at intersections, and employees on breaks, focusing on precise movements marking

This video documents the history of U.S. community television and public access TV, using rare video clips from across the nation.

As a "Post-Mexican” performance artist operating out of the US for over 20 years, one of my conceptual obsessions has been to constantly reposition myself within the hegemonic maps.

This is a later reworking of original video documenting the goings-on of the village, Tlocalula, Mexico in 1973. Uses footage from Oaxaca 2004 in the background.

Set in East Berlin in 1977, this short experimental documentary interviews the Dadaist artist Hannah Höch as she reflects upon her experiences living and working during in 1920s Berlin. Höch compares

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

Pixilated, an archaic word meaning enchanted, bewitched, magical, insane, and the stop frame animation of objects and people.

In Woodstock Festival 1969: First Aid, the Videofreex interview visitors and volunteers in and around the first aid tent about the level of health and hygiene at Woodstock.

Robert Cumming (b. 1943) is an American photographer/sculptor/bookmaker who borrows from the artifice of theatrical sets to construct his elaborate and often absurd images. He has also published several books of photography and narration.

One plus one is two. Two plus two is four. Four plus four is eight. Eight plus eight is sixteen. Sixteen plus sixteen is thirty-two.

A woman is standing barefoot on a tile floor.  In slow motion, the investigative camera circles around her.  Her breasts are bared and liquid runs down her legs.  Bit by bit, every part of her body is shown, except her face, which remains

As a foulness shall ye know Them. Their hand is at your throats, yet ye see Them not; and Their habitation is even one with your guarded threshold. The wind gibbers with Their voices, and the earth mutters with Their consciousness.

This arresting early work conveys a tension that emanates from what Tanaka posits as life's basic dualities: male/female, past/present, known/unknown.

Concentrating on abstract shapes and color value, Animation 2 is a record of images manipulated through computer animation.

DIRECTOR’S STATEMENT/SUMMARY: This film centers around one performance, when Holland-based musicians, The Ex, visited New York to play a concert.

I made this piece within my first year of using Facebook. Dozens of people I’d thought I’d never hear from again were suddenly accessible to me in mystifyingly dynamic, flattened form.

"On my mother’s side there are two lands I come from, separated by the Atlantic ocean, all those fathoms deep. The lands of my grandma and grandpa. I had been through the lands of my grandfather, that is where I still live.

"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...

In 1971, graduate student Gloria Orenstein receives a call from surrealist artist Leonora Carrington that sparks a lifelong journey into art, ecofeminism, and shamanism.

As a well-known painter and collagist, teacher at the School of the Art Institute of Chicago and mentor to the Chicago Imagists, Ray Yoshida (1930-2009) had far reaching influence. In this interview, Yoshida offers a tour of his home, showing us the unique dolls, masks, trinkets and tattoo art from which he drew inspiration. Describing his own stylistic progression from the late 1950s to the early 1970s, Yoshida also talks about the collage aesthetic and persistence of visual complication in the Chicago Imagist style, demonstrating its various permutations by showing off his collection of works by former students at SAIC. A lover of curiosities, Yoshida also describes discussions he had with Chicago artist Roger Brown about opening a museum for their vast collections of oddities.

— Kyle Riley

Holt's terrain is her Aunt Ethel's home in New Bedford, Massachusetts, presented in still images and excerpts from letters to the artist from her aunt.

A fast-talking and fabulous teen recounts his experiences as an out and loud Toronto queer.

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

As with his predecessor Ernie Kovaks, everything is fair game for ridicule in Dibble’s gentle and eccentric humor.

On December 8, 1984, Linda Montano began a 7-year performance titled 7 Years of Living Art, based on the seven Hindu chakras, and performed public and private vows and tests of personal endurance.

This is "limbo" in which the objects of capital are found. Part of Hauntology Films Archives series.

Characteristic of much of Gillette's work—which treats video as a field of light, movement and reflection—Muse extends beyond optical sensation to engage the viewer in metaphysical contemplation.

Part of paraconsistent sequence series and the hauntology series.

Morel's Yellow Pages focuses on secretive and destructive actions and image making. The title references The Invention of Morel (1940), Adolfo Bioy Casares’s science fiction novel, which informs the work.

A meditation on the elusiveness of Jewish history set against the backdrop of contemporary Poland.

A short encounter between the artist and a man on a North African street is slowed down, forcing the viewer into an intimate relationship with the subject and the shifting emotion seen in his face.

Live in San Diego is my first live performance. David Antin, my mentor when I was a graduate student at the University of California at San Diego, encouraged me to perform in front of an audience. Why?

In a city post-apocalypse, young men communicate only through smart devices. They make home out of urban debris. They can’t speak to each other, but are still able to dream.

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

Colorful lines follow the gestures of a conductor leading the orchestra until he disappears just at the point of crescendo. As the music slows, he starts to reappear. A sketch as a tribute to Walt Disney. 

Repurposing an ancient confessional video diary made about 40 years ago, this 11-minute narrative creates a poignant and humorous conversation where both ‘selves’ question, enlighten, and warn one another about things in life that really matter.

“‘I will not make any more boring art,’ John Baldessari wrote over and over again in a work done in 1971. The impulse for the piece, he says, came from dissatisfaction with the ‘fallout of minimalism,’ but its implications are far greater.