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

Nobody counts the hours and nobody cares how the years are piling up. Souls begin and end. Then comes the night. A snow landscape of souls.

"When we show you pictures of napalm victims, you'll shut your eyes. You'll close your eyes to the pictures. Then you'll close them to the memory.

In Laser Games with Shirley Clarke, the Videofreex visit the apartment of independent filmmaker Shirley Clarke.

“Mining an ironic vein by turning technology against itself, AlienNATION undercuts the sociological ramifications of modern living.

One minute, two mysteries: The shelf-life of genius and why we try to make pictures when, as Robert Lowell put it, "No voice outsings the serpent's flawed, euphoric hiss.

In i am wise enough to die things go (2023), Syms explores the idea of psychosis through an unnamed protagonist reciting a monologue.

This feature-length video follows several inflicted characters and recounts the ways in which they find resolve.

Filmed from the artist’s window during lockdown, Citadel combines short fragments from British Prime Minister Boris Johnson’s speeches relating to coronavirus with views of the London skyline

A meditation on maritime trade routes, SEA – SHIPPING – SUN is a short film directed by Tiffany Sia (b. Hong Kong) and Yuri Pattison (b.

The New Year is upon everyone in Bay City. Music plays, strangers mingle, friends get raunchy and the calories pile on as the sky comes ablaze with pyrotechnic pizzazz.

If anyone slaps you on the right cheek, turn to them the other cheek also. (Matthew 5:38-40)

Elizabeth LeCompte is the director of the Wooster Group, an experimental theater company that operates out of its own theater, the Performing Garage, in New York City.

“Hey, how’s that TV work?” 

This is a kinetic tribute to Sylvia Plath at a time of the pandemic vortex, a dissemination of suspended bodies in the liminal space. Haunted figures in the Capitalocene era.

The city of San Francisco is awash with talent and some fine eating places too. In this seaport escapade the viewer is detoured by the smell of lamb chops and the sound of loose tongues vibrating with vitality.

C.L.U.E. (color location ultimate experience), Part 1 is a collaborative video and performance work by artists A.L. Steiner and robbinschilds, with AJ Blandford and Seattle-based band Kinski. Inhabiting the intersection of human movement and architecture, A.L. Steiner and robbinschilds (Sonya Robbins and Layla Childs) present a full-spectrum video, set to a score by rock quartet Kinski.

Jonas uses reflections on a lake as a mirror to displace reality, creating a disruption and the illusion of presence.

This rapid-montage music video for John Sex’s song “Hustle with My Muscle” portrays the singer as a ladies’ man with ample endowment to share. “Can you handle all the man below my belt?” he provocatively asks.

Robert Colescott paints expressive parodies of Western masterpieces.

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.

Commissioned by Visual AIDS for STILL BEGINNING: The 30th Annual Day With(out) Art 

A sprawling look at chunks of our country as I travel back east to present some programs, and a peek at the venues that screen underground movies to the youth of today.

Yvonne Jacquette (b.1934)is an American painter and printmaker known in particular for her depictions of aerial landscapes, especially her low-altitude and oblique aerial views of cities or towns, often painted using a distinctive, pointillistic techniq

From the performance by the same name, by Suzanne Lacy, Stan Hebert, Councilwoman Sheila Jordan, Frank Williams, Officer Terrance West, Mike Shaw, and Annice Jacoby, Oakland, 1995-6. Suzanne Lacy worked alongside youth activists, city council

The Action Series finds our alienated heroes in desperate attempts to communicate and find a way out of their endless crisis scenarios. The two pieces share a domestic setting, though this is no comfortable home away from home.

The looped work Culture Capture 001 takes place within the American Museum of Natural History.

Sportello Quattro, filmed during a residency at the American Academy in Rome, is about immigration, work and community among people of color in contemporary Rome, Italy.

Cast: Joseph Bayorha.

As an ominous voice guides us through Best Is Man’s Breath Quality, we are confronted by dense and complex images and sounds that appear and disappear before us.

The desire to own and name land and the pleasures of seeing from a distance color this personal survey of the history of mapmaking in the New World.

"In late December 2020 I began making videos of bouquets of Anemones using a microscope lens. The very limited focal length of the lens requires that the lens touch the subject to obtain focus.

This video is staged as a reading of the great Soviet poet Vladimir Mayakovsky's famous poem A Cloud in Trousers, written 1914-15.

Two guys with their heads in the clouds and their feet in the mud of the world, can not be Angels until their earthbound urges are tamed.

A classic exposé on the disparity of health care services for the rich and poor in America, this incisive investigative report exemplifies the advocacy journalism of the Downtown Community Television Center (DCTV).

If television is truly the opiate of the masses, then Teddy Dibble is a living room crack dealer. This newly compiled series of television art comedy includes: 

1. The Cough, 03:17

"Renwick recounts a sad time in her life, when a friend was dying and she suddenly became aware of the presence of crows... [Renwick] craft[s] a lyrical and moving essay that works its magic through poetic accretion rather than narrative logic."
— Holly Willis, L.A. Weekly

Wrong Place, Wrong Time uses appropriated images from the "reality television" genre to examine the seductiveness of the spectacle of tragedy. This video exists in an area where the division between reality and image are simultaneous.

Three basic compositions are played and recombined in Collage: a hockey game; arms swinging across the screen; and a hand holding one, two, then three oranges.

Operation Atropos is a documentary about interrogation and POW resistance training. Director Coco Fusco worked with retired U.S.

A portrait of New York author Joe Westmoreland. Joe is reading from his short story Sweet Baby Joe. This video was shot in 2014 in Joe's Chelsea loft, and the reading was recorded in 2016. 

A colorful and sinister tale of hypno-therapists delving into the quagmire of UFO abductions, and wallowing in the subconscious muck of their own primal urges.

Freed experiments with kaleidoscopic imagery while capturing images of children and herself around the home.

An uncompromising look at the ways privacy, safety, convenience and surveillance determine our environment.

"We are happy. (Silence.) What do we do now, now that we are happy?"

-- Samuel Beckett, Waiting for Godot

Untitled (shaving performance 2010) is a document of a privately held performance, in which Hubbard used a straight razor to remove the hair from the lower half of Burns’ body.

The tale of a fanatical tool collector who recreates the world according to a logic dictated by his cross-wrench.

Adapted, quite loosely, from interviews with the composer Karlheinz Stockhausen in the late 60s and early 70s.

Glenn Belverio is an independent filmmaker and drag artist who lives and works in New York City.

Psychologically disturbed Professor Herville (Joe Gibbons) analyzes the literary classic Moby Dick. He gives a tour of the Herman Melville Museum and makes much ado about the book’s Oedipial themes.

Polish-American arist Ed Paschke (1939-2004) received his BFA from the School of the Art Institute of Chicago in 1961 and his MFA in 1970. Paschke was known as a member of the late-1960s Chicago Imagist movement, a group of artists who called themselves The Hairy Who, whose expressive style of figurative painting was rooted in outsider art, popular culture, and Surrealism. Paschke's fascination with the print media of popular culture led to a portrait-based art of cultural icons. Paschke used the celebrity figure, real or imagined, as a vehicle for explorations of personal and public identity with social and political implications.