Dark Sun Squeeze is a darkly meditative exploration of a sewage treatment plant, revealing the hidden rhythms and bizarre journey of raw human waste.

The projection and screens in this installation are access points meant to connect the present to an ancestral past.

Soft Science is a collection of video-curiosities created by artists and scientists. Behind laboratory doors are some of the most astonishing "outsider" art projects around.

This video was produced as a part of Eiko & Koma's exhibition Time is not Even, Space is not Empty which opened at the Zilkha Gallery in Wesleyan University in the fall of 2009.

The video series Not Once began with the recording of personal stories by local Icelanders, about specific locations or a sense of place.

An ex-model struts her stuff amid the dolls of desire that drive the demented to deeds of depravity and decapitation.

Neither a Sierra snowfield nor a tunnel proves to be the perfect studio space for the improvement of one’s craft. Only practice counts.

Mother’s Day in Mexico is considered one of the most important family holidays of the year. Thousands of mothers have nothing to celebrate. They are the mothers of victims of forced disappearances.

In a vile and ingenious way, Acconci pleads with the camera/spectator to join with him, to come to him, promising to be honest and begging, "I need it, you need it, c'mon...

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

“Images from the maximum-security prison in Corcoran, California. A surveillance camera shows a pie-shaped segment of the concrete yard where the prisoners, dressed in shorts and mostly shirtless, are allowed to spend half-an-hour a day.

A cavalcade of characters in conflict with consciousness is conjured up within the confines of Studio 8 at the San Francisco Art Institute and digitized for analysis.

Cloudless Blue Egress of Summer is a two-channel synchronized video installation. A composite of the two channels presented side by side in one video is available from Video Data Bank for educational use only.

19 out of the 41 shots fired in 10-seconds by four members of the NYPD Street Crimes Unit hit the defenseless body of one Amadou Diallo as he stood in the vestibule of the building where he lived in the Bronx.

At the epicenter of Green’s extensive multimedia installation Partially Buried in Three Parts (1996-1997), Partially Buried (1996) and Partially Buried Continued (1997) explore a web of genealogical traces, initiated by a refl

Ireland, October 20th 2007

The filmmaker returns to the city where he made the first video in the series and looks back at the events of the past six years.

Segalove relates a tale from her childhood of a man's exposure with text (“the painter wagged it at me right here”), while an arrow blinks over a shot of the house where she grew up.

Night. The moon is a rock. The ears are stopped. A chair balances on the roof of a house. A silver box composes itself: a mysterious instrument. A marble rolls around in somebody’s head. Two rocks spin.

What are all of these photographers trying to capture, and just who is collaborating with whom? This short piece could be a take on fame and the cult of the personality — or a tourist portrait with the audience as subject.

In this experimental travelogue, efforts to sound human and look natural instead become artifical.

A short breather that smells of ocean salts and barbecued chicken. Friends gather for a celebration in the sun as the surf rolls in and the smoke heads skyward toward who knows what destiny?

A series of numbers that form infamous years that are uttered in a repetitive pedagogical litany. Ominous dates as a correlate of forgotten apolitical portraits. Portraits of a remembered royalty whose wealth was made possible by infamous times.

“In Baldessari’s wonderful Inventory, the artist presents to the camera for thirty minutes an accumulation of indiscriminate and not easily legible objects arranged in order of increasing size and accompanied by a deadpan description — only to have the sense of their relative size destroyed by the continual readjustment of the camera [in order to] keep them within the frame. Who can forget Adlai Stevenson’s solemn television demonstration of the ‘conclusive photographic evidence’ of the Cuban missile sites, discernible over the TV screen as only gray blurs?”

Obscure signs portend a looming, indecipherable slump. An oracular decoding of the landscape.

An examination of venture capital, Nothing Ventured documents the tough negotiations that take place when entrepreneurs and bankers meet.

In Post Queer Pride 93, Brenda and Glennda attend the New York Ci

In this 2013 interview, experimental animator and School of the Art Institute of Chicago alumna Jodie Mack discusses the developments that have taken her from an interest in musical theater and playwriting to organizing microcinemas and DIY filmmaking.

Mack describes her interest in early cinema history and the relationship between its technologies and spectacle, particularly the manner in which video production incorporates planned obsolescence. Referring to the “scavenger nature” of her work, Mack discusses her interest in waste and her desire to use reclaimed materials in her work. Using fabric and paper to create shifting fields of color, Mack references corroded and glitched digital media in her work. Her use of quotidian materials reflects upon the role of abstract animation in everyday life, and serves to draw audience awareness to the spectacle of televisual technology.

– Kyle Riley

Filmed entirely in Sweden, VIEWFINDER is a surreal sound-film that entangles gestures of place, belonging, and monument.

An experimental video for electro-feminist-performance-artists Le Tigre, the early eighties MTV aesthetic unpacks a thoroughly current obsession: the hidden erotics of office supplies.

In the late 1970s, Walter Naegle was walking to Times Square to buy a newspaper when he ran into a striking older African American man on the corner. Walter says that “lightning struck” and his life changed forever at that moment.

Displays of violent weather conditions, electrical storms, tornados, floods, fires and other eruptions are contrasted and equated with equally awe-inspiring images of technology that harnesses or mimics nature.

While moving through the streets of Paris, a brother and sister confront their incestuous past under the watchful eye of their female taxicab driver.

The five videos featured here investigate video as a tool for storytelling and the construction of alternate identities.

If second lives have grown into the landscape of social network space and avatars engage a full range of human emotions and experience, it follows that they would eventually encounter existential questions.

Both Vermont Landscape and Pond Life followed two opera collaborations with composer Steve Re

The seventh in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed here–visual anthropologist Wendi Starr-Brown, Hapa video and performance artist Kip Fulbeck, Japanese-American artist Dorothy Imagire, Chicana mix

In October 1969, the Videofreex visited the home of wealthy political and social activist, Lucy Montgomery, as she was hosting the Black Panther Party of Chicago during one of their most fraught times — the period just after Chairman Bobby Seale was wro

The daily life of the Hunikui village of Sâo Joaquim, on the river Jordâo in the state of Acre. Augustinho, village shaman and patriarch, and his wife and father-in-law, remember the fetters of the rubber plantations and celebrate a new era.

The Dream of the Darkest Hour takes the intrigue and mystery of Bobe's other works but exacerbates it in such a way that it is overpowered by aesthetics and experimental tonality.

Acconci explodes the notion of an artist’s creation, his creative act being the build-up and discharge of saliva, an activity more properly belonging to the realm of necessary and autonomic bodily functions than art.

Found-footage video that addresses American racism and the violence that it spawns. 

A combination of experimental and narrative approaches which explore the commodification of rebellion as it is marketed to youth culture, through the eyes of two drug-dealing, teenage girls from Brooklyn who "accidentally" kill and mutilate their favori

The third video of the installation Touch Parade, which as a whole explores “plastic love” or fetish culture and the assimilation of marginalized sexuality on th

Home Movies Gaza introduces us to the Gaza Strip as a mircrocosm for the failure of civilization.

In My Dinner With Weegee Donigan Cumming weaves together two life stories.

A journey into the centre of Hell; Dante's The Divine Comedy, illustrated by Gustav Dore's wood engravings and animated by scratching directly into the surface of the film. 

Common Mistakes uses four synonyms for the word "mistake" (fallacy, error, accident, and blunder) to present a sample of widely held "truths" that later proved to be misconceptions.

A documentary presenting an overview of Eduardo Kac's trajectory, including interviews with the artist and with art critics Annick Bureaud, Christiane Paul, and Arlindo Machado.

It is a tribute of hyperkinetic colors to the Chilean poet Vicente Huidobro in times of pandemic vortex and post-Cubist quarantine. This is Altazor's color drop. Part of the Harmonic and Hyperkinetic Color Film Series.

In a garden of roses and memorabilia from darkest Africa, a man and woman ponder the joy of cooking and the companionship of cats. Goodies for the guts abound in this visual essay on feline friendship and far away places.