Despite assurances from local municipalities, a fact of life is that Manholes blow sky high more frequently than most people realize.

Gusella's title creates a pun on the term video "tape" by using a split screen in which one half is the electronic negative of the other. Gusella set up a glass sheet and suspended it from light poles. The glass was covered with black or white tape.

To keep a promise made to her dying mother, a young woman goes off in search of her father, a womanizer she has never met. Along the way, she soon learns that he is dead. But that doesn’t change her plans, she still intends to find him.

This turgid potboiler was made with my class at the San Francisco Art Institute. It steam-rolls a series of overheated episodes to a colorful climax of redemption and moral rectitude.

Horace Bristol discusses his long career in photography, which began with shooting for Life and Fortune magazines in the 1930s. His photojournalism took him to the Dutch East Indies and post-war Japan.

Paul and Veena, two disembodied computer voices, wonder what things mean and what means things. We travel with them to various imagined places in this visually spare video, meditating on the in-between places and negative space where meaning hides out.

There is so much to absorb: the wetness from the sky. The hooded figure in the box. A big plate of pasta, and that chair on wheels. Messages of moral guidance clash with actions that are on a collision course with dilapidation.

2 Spirit Dreamcatcher Dot Com queers and indigenizes traditional dating site advertisements.

Since the Gulf War in 1991, warfare and reporting it have become hyper-technological affairs, in which real and computer-generated images cannot be distinguished any more.

The scales of the snake refract a trance and invocation. In the epicenter, the pyramids join Izcóatl's battle, the Obsidian Serpent propagates an exhortation: all the dances against the war.

"My first digital recording and my first and only recording with Don McArthur's "Spatial and Intensity Digitizer". The digitizer was not working properly. I had no idea. The shift I saw was stunning.

Philip Pearlstein (b.1924) began painting figures in the 1960s and is known as a leading figure in American Realism. Throughout his career, Pearlstein's paintings evolved from an expressionistic style to a meticulously analytical vision.

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.

The title gives a bitter meaning to the uneasy image of a woman who is brushing her hair over her face with fierce movements.

Via Jonathan Pryce in elaborate costuming, Walt Disney’s Pirates of the Caribbean (2003) unwittingly sounded a clear and full-throated argument for the appropriation of so-called intellectual property, for the video remix/rework/quotation, prac

the suggestive nature of word fragments, sentence fragments, story fragments, war. 

Part of paraconsistent sequence series and the hauntology series.

A wide-ranging look at pictures I collect on my walls and in my head. A look at pictures I concoct with my students at the San Francisco Art Institute, and objects d’art collected by those whose picture is taken by my picture-taking machine.

ḤARAM is an essay film portraying the urgent contemporary situation at the Haram Al Sharif/ Noble Sanctuary in the Old City of Jerusalem reflecting on the growing Temple Mount Faithful movement whose goal is to build the Jewish Third Temple on

Gray Hairs is a visual and aural poem to Man Ray, featuring close-up shots of the dog’s body and a soundtrack of panting, sniffing and licking.

This experimental documentary chronicles Janice Tanaka’s search for a father she has not seen since she was three years old.

Gathered together under the title Feral Domestic, these three videos – Strangely Ordinary This Devotion, Come Coyote and

A meditation on the nature of “Nature” and the uncertainty of “Cause and Effect.”

Part of the Long Beach Museum of Art’s Collectors of the Seventies series, this tape enters the home and art collection of Dorothy and Herbert Vogel.

“‘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.

EMR has created a sigil, a magic sex symbol abstracted from the words TRUST ME (NOT) TO HURT YOU that is spread across rituals of the beast.

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.

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?

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

Invoking Eve’s temptation and fall from grace with recurring images of the garden, the serpent, and the apple, Condit provides a look at the trouble beneath the surface in a modern-day suburban paradise.

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.

“It’s spring, it’s spring, and I feel I’m giving birth myself, to something monstrous, something ugly.” Gibbons enters the woods to begin his destructive campaign against spring, snapping the buds off trees while babbling maniacally.

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.

Linda M. Montano: 14 Years of Living Art is a video catalog of the artist’s exhibition, performance and workshop in Montreal in 2003.

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

At the San Francisco Art Institute, a studio awaits the onslaught of creative concoctions perpetrated by a bearded atrocity who now hovers over past malpractices that cast a Technicolor pall over the whitewashed walls.

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 Second Quarter is decidedly European; the “place” (Berlin) is the catalyst for the “action” (the work). The works recited in the film are concerned with barriers and borders, physical and geophysical phenomena.

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.

Summer and smoke (from pork chops) filters into every rip in my tee-shirt as legs and souls are bared for the infra-red-hot digital camera that's ON THE PROWL!

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.

Part of a trilogy of works known as the Video Wallpaper Series in which George tests out his new audio/video digital mixer and creates a range of impressions of people and places.

Part of the Hauntology Film Archives series.

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.

Talk Attacks is a 1983 single-channel video by the artist duo Ligorano Reese. Created during their time in Barcelona, this work delves into themes of miscommunication.

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".

A Walk with Nigel is a video essay that constructs a dialogue between two artists from two different times, between movement and stillness, between speech and silence.

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

White Balance (to think is to forget differences) is an effort to uncover the geographies of power, the frontiers of privilege.

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