A trip to Boston to visit a local filmmaker in his studio is followed by a journey to the cinematic facilities of SUNY College in Purchase, NY, and then to the kitchen and living quarters of my mother in the Bronx.

A shot-for-shot remake of the climax of Tokyo Story (Yasujiro Ozu, 1953).

“The syntactic structure and lateral movement of Arcade match its fairground equivalent.

The whole story takes place in the mise-en-scene of the artist's studio. The delicate psychological allegory of "a day in the life of..." anchors the displacement of (filmic) reality and the alienation of the (player's) self.

Derived from Ernie Gehr's Serene Velocity, Lossless #4 is the result of a digital file's debugging routine that reveals vectors describing apparent movement in the frame.

Three nuns in dark sunglasses sit at a table playing cards while a nurse is inteviewed about "what death looks like” on the soundtrack.

Steve Kurtz is a founding member of the Critical Art Ensemble and Associate Professor of Art at University of Buffalo. His areas of focus are contemporary art history and theory as well as post-studio practices.

A love letter to the Internet from a feral cat in Brooklyn.

[A] postcard-sized [film that]…manage[s] to implicate the audience’s ethical imagination…Distant Shores models a necessary imaginative leap simply by juxtaposing footage of a Chicago River cruise with testimony of a migrant’s

It's not my memory of it is a documentary about secrecy, memory, and documents.

In 1995 when TJ Cuthand was 16 they felt like the only lesbian at their Saskatoon high school.

John Smith’s Flag Mountain records a vast flag, the insignia of the Turkish Republic of Northern Cyprus, painted onto the side of the Kyrenia mountains overlooking Nicosia, the divided capital of the former island nation.

The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh.

This is a three-part tape shot in 1975, ’76, and ’78 as Winsor was working on three pieces: 50/50, Copper Piece, and Burnt Piece. The rhythms and rituals of her working process as well as her comments on the work are documented.

A compilation of five of Sadie Benning’s early works. In Jollies, Benning gives a chronology of her crushes and kisses, tracing the development of her nascent sexuality.

Three aimless millennials in a go-nowhere band are recruited as willing pawns by a shadow revolution, an insurrection led by an unlikely anti-government cabal of Buddhist sovereign citizens, telepathic Native American separatists, hardline&nb

A primer in satellite system operation, Send/Receive extends the critique of media as commodity by asking questions concerning the people's right to access satellites.

A portrait that follows Nan, my uncle who lives with his elderly parents, during the last two years that the three share the same house together.

Baldessari has Ed Henderson examine obscure movie stills and attempt to reconstruct the films’ narratives.

Easy Living ingeniously depicts leisure life in suburban America with a cast of little plastic dolls and miniature model cars—the toys that shape American children's ideas about success and adult life—focusing on a typical day in the life of an

Elizabeth Murray (1940-2007)  was an American painter, printmaker and draughtsman.

Shot in the northeast United States landscape, Willie and Brewsie reflects on the contemporary resonances of the last novella written by Gertrude Stein in 1946 entitled Brewsie and Willie.

In this interview, Kori Newkirk (b.1970) describes his interest in the space that exists between categories. Hailing from the Bronx, earning a BFA at the School of the Art Institute of Chicago (SAIC), and finally settling on Los Angeles as his base of operations, Newkirk has always been motivated by a desire to eschew provincialism. In this conversation, he discusses the idea of regional identity, his complex relationship with the Los Angeles art community, and how his experience as a student at SAIC helped him move beyond the boundaries of a simple material definition of painting.

Flesh and blood souls breathe forth the colors of doubt, guilt and a hope for "peace of mind" in a world without moral directions...

"Brite Tip explores the indoctrination of children and police through an assortment of cross-fades, wipes, and other stock transitions. A highly danceable essay on breastfeeding."

—Gavin Smith

Jam #1 highlights the colorizing ability of the Sandin Image Processor. This hour-long video compiles a jam session with a piano and drum set, video footage from movies and nature, and visual feedback.

Plagued by blindness, sloth, and devotion, a troubled scene from Little House On The Prairie offers itself up to karaoke exorcism.

— Michael Robinson

Open Conch is a spell for pleasure and queer desire.

A one-hour heliocopter flight over the suburban sprawl of Long Island to Fresh Kills, the New York City Landfill on Staten Island; accompanied by an operatic audio-mix of bad-mouth talk-radio mayhem and historic nostalgia.

Rosie Cutler, a middle school lunch lady, and TJ Fortune, a outcast student, have an unusual relationship.

Sahara Chronicle encompasses an undefined number of short videos documenting the present sub-Saharan exodus towards Europe.

Tour Without End is an experimental hybrid feature-length video work that casts real-life musicians, artists, and actors as fictional bands on tour; the piece evolves into a cross-generational commentary on contemporary culture and politics in the Trump era. Shot over the course of four years between 2014-18 at over 15 DIY music spaces in and around NYC, Tour Without End functions as a time capsule — made more apparent by the shuttering of many of its locations due to NYC’s rapid gentrification.

The work’s multitude of characters are legendary performers in the downtown NYC arts scene, including: The Wooster Group founder Kate Valk, Jim Fletcher (New York City Players), Lizzi Bougatsos (Gang Gang Dance), Kathleen Hanna (The Julie Ruin), Brontez Purnell (The Younger Lovers), Eileen Myles, Alexandra Drewchin (Eartheater), Nicole Eisenman, K8 Hardy, Johanna Fateman (Le Tigre) Shannon Funchess (Light Asylum), JD Samson (MEN), Gary Indiana, Kembra Pfahler (Voluptuous Horror of Karen Black), Rachel Mason, Tom McGrath, Matthew Asti (MGMT), Becca Blackwell, Christen Clifford, Alessandra Genovese (Crush), Rogelio Ramos (Love Pig), Kenya Robinson (Cheeky LaShae), and Neon Music (Youth Quake).

While on tour for his new book Exo-Psychology: A Manual on The Use of the Nervous System According to the Instructions of the Manufacturer, Timothy Leary gives a lecture at the University of Illinois Circle Cam

My Heart Belongs to Daddy is the third in a trilogy of experimental videos (Mad About the Boy and Can't Help Lovin' Dat Man).

A Body in Fukushima is a film created by dance artist Eiko Otake consisting of still photographs, inter-titles, and an original score.

Joe Sacco is a cartoonist who has contributed to a wide range of comic magazines including Drawn and Quarterly, Prime Cuts, Real Stuff, Buzzard, and R.

Founded in 1997, the Arab Image Foundation preserves the legacy and collection of photographer Hashem el Madani and the Sheherazade photo studio.

This video was made as the end-credit sequence for a film version of Ron Vawter's performance piece, Roy Cohen/Jack Smith, by Jill Godmilow. Ron was an extraordinary actor and extraordinary man.

"You are invited to Jim’s party! Snake optional."

--Cinematexas Festival (Austin, 2001)

"Three more sing-alongs, this time with swans, a snake, and the Red Army Chorus."

--L.A. Freewaves Festival

Petrolia takes its name from the redundant oil drilling platform situated in the Cromarty Firth, Scotland.

Nascentes Morimur grew out of a series of works on autopsy — an earlier video and a number of still images — that were exhibited together as Like a Shipwreck We Die Going Into Ourselves.

The performer interprets a video demonstration of a series of poses with mirrors, not unlike Breder's Bod/Sculpture photo series, but this time in a studio. This performance was later staged several times with Breder directing from off-camera.

Indians In Brazil is an educational series for Brazilian public schools that invites students to experience cultural diversity.

Performance engineers Survival Research Laboratories (SRL) construct machines that live in their own fictional world, acting out scenarios of perpetual torment, exasperated consumption, and tragic recognition.

By asking a group of space physicists the unanswerable, Semiconductor reveal the hidden motivations driving scientists to the outer limits of human knowledge.

Half tongue-in-cheek absurdism and half deadly earnest, Culture Capture: Terminal Adddition continues New Red Order’s ongoing project of “culture capture,” recruiting viewers to participate in a program of practical strategies to counter the “s

This first work in the HalfLifers' Action Series plunges into a world of frantic heroes trapped in a continual crisis of dissolution and reification. An ordinary domestic setting is recast as a psychoactive landscape in which the concept of function becomes situational and fluid. Only through the strategic application of organic and inorganic “devices” can this zone be successfully navigated and the mission be saved.

Banshee is a duet between Margaret Leng Tan playing The Banshee (Henry Cowell) and Eiko's Night With Moths (camera by Rebekkah Palov) in a performance of The Duet Project: Distan

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.