An experimental video about immigration.

“‘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.

As regional character disappears and corporate culture homogenizes our surroundings, it's increasingly hard to tell where you are.

“Criminality may present itself as a kind of saintly self-mastery, an absolute rejection of hypocrisy.”

—Angela Carter, The Sadeian Woman and the Ideology of Pornography (New York: Pantheon Books, 1978)

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

An intrepid academic travels the world, asking people if it is OK for someone to stab a friend in order to test the sharpness of a knife. If one person says it's OK and another says it's not OK, can both respondents be right?

The sonic fabric of 2nd Person, [originally] a multi-channel video installation, is formed through an array of women’s voices orchestrated as parallel tracks in a musical composition.

A dreamlike journey, a disintegration into a fluid human-animal-plant-machine consciousness, Pirouette follows a sound artist who records horse sounds using her own body, while a cellist on the street invades her imaginary.

Stardust is the second part of the trilogy where Nicolas Provost investigates the boundaries of fiction and reality by filming everyday life with a hidden high resolution camera and turning the cinematic images into a fiction film by using cine

Materials: 3378 hi-con, Laser engraver, Exacto knife

Linda Williams writes on what she calls “body genres”: melodrama, horror, and, most famously, pornography.

The Grandmother recites the Mourners' Kaddish over her granddaughter.

George visits his mother in the hospital on Halloween and contemplates the autumn colors.

This title is also available on The World of George Kuchar.

A black-and-white drama that lays bare the earth-shattering events surrounding the rise and fall of certain members of the communal body in a California town ravaged by subterranean forces.

753 McPherson Street employs both original and found footage to represent a very old, passionate, and sometimes lucrative business — a funeral home, in Mansfield, Ohio.

Jonas's performance piece, an homage to 18th century French outdoor theater, incorporates mythology as well as spontaneously occurring events into the narrative.

These are the ghosts of a haunted civilization, a culture of progress that hides the social and political horror behind the streets. These are the haunted figures in the Capitalocene era. A sinister dance of macabre abstraction.

An homage to early videoworks by William Wegman, starring Man and Fay Ray's stand-ins.

"Anne McGuire shows that men are dogs."

--Ed Halter, New York Underground Film Festival (2003)

Part of the Hauntology Film Archives series.

A Videofreex performance.  Bart Friedman plays the pump organ and David Cort sings.  He asks Bart to "Play something that I can laugh to," and much laughter ensues.  Then, "because of American society," there is a sad song, and much waili

Take a trip into and out of the body to ponder Time’s endless depths where Earth spirits roam and inner Demons lurk, and find secrets that hide behind the "self".

Dorothy doesn't reach her dream of the Emerald City. Rather, she will have already been over the rainbow by the time she arrives at the worst corner in Kansas.

Phil Morton and Dan Sandin introduce video equipment and editing techniques to St. Olaf College students—a private liberal arts college in Northfield, Minnesota.

The filmmaker and his friend, both Lebanese, meet two Israelis their own age in Paris, and spend some playful time with them.

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

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

A significant amount of the hand-drawn animation seen on television today is cartooned in sweatshop-like animation factories in Korea, China, and the Philippines.

In the next chapter of Bobby Abate’s mysterious lo-fi cyborg tale, we find ourselves roaming the set of a 1960’s evening newscast.

Framed is the second installment of the longer piece, Video Bites: Triptych for the Turn of the Century.

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.

A search for a non-existent image, a desire to create an image where there is none,“ leads to Rea Tajiri’s composition on recorded history and non-recorded memory.

suicide is 70 packed minutes of a fictional filmmaker's crazed ruminations on travel, family history, death and sex as she traverses a world of malls, airports and train stations, chronicling her fiercely hopeful search for a reason to continue

On the eve of the 1984 Presidential election, Jenny Holzer used a truck equipped with a sound system and an 18-foot Diamond Vision electronic board to display images, statements, and man-on-the-street interviews.

In 1998, Zaatari interviewed Egyptian photographer Van Leo in Cairo.

In November of 2004, I was invited to spend a couple of weeks in Cinque Terre (a string of towns along the Northern Mediterranean Italian coast).

“Ah! It is so easy to convert others. It is so difficult to convert oneself.”

—Oscar Wilde, “The Critic as Artist” in The Complete Works of Oscar Wilde (New York: Harper Collins, 1989)

A video about the conception of video and of life itself. This work suggests that all that is conceived transcends the division between the external and interior worlds.

In Portuguese with English subtitles.

This final weather diary travels through some rough inner and outer domains.  Social interactions blend more smoothly than the clash of air masses which threaten to clobber a prairie town in a vortex of violence.

A Nazi battalion marches in red in front of the ominous floating hand from THE AX HAS FLOWERED.

Our Non-Understanding of Everything is a series of 16 videos that explore how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies,

Perceptual concerns predominate in my videoworks.

A trip to the Los Angeles film festival leads to a glamorous gauntlet of flashing smiles and flashing bulbs that add the extra “humph” to a reunion of old friends.

Named after Hatice Güleryüz’s haunting short film, with its disturbing yet iconic images, this program presents unsettling situations narrated with both considerable emotional investment and critical distance.

Illustrating the modern woman’s mantra “I shop therefore I am", Barbara Latham’s Consuming Passions examines the passion for sweets as a replacement for a sense of security and a source of erotic satisfaction.

Reeves explores his personal journey to seek the center of existence through the teachings of Eastern religions. India is the source of images for his message about the eternal wheel of existence—life and its continuous process of change.

Taiwanese artist Shu Lea Cheang (b.

In 1975, the Feminist Studio Workshop (I was a member) at the Woman’s Building in LA, the Women’s Interart Center in New York City, and another feminist organization in Washington DC, attempted to set up a video exchange among feminist art organizations

Tom Kalin is a screenwriter, film director, producer, and educator. As a key figure in New Queer Cinema, his work focuses on the portrayal of gay sexuality both in the age of AIDS and historically.

The Erosions series develops the concepts of oxidation, wear and entropy from an audiovisual and cinematographic perspective. This is Barranca (Canyon).

"Emptiness: I just watched your latest video, Colchones Individuales (Single Beds), Volume 1: Desolacion, and I wanted to write you about it. Oddly, Single Beds sums up much of what I have been thinking lately.