Created in a deadpan presentational style reminiscent of Coonley's faux-instructional Pony videos, the Experimental Philosophy Trilogy fuses a farrago of materials appropriated from stock media archives, chroma-key mischief, and simula

This extraordinary performance carries a wealth of associative meanings in the sexual dynamics of privacy and power -- man and woman pitted against each other in a struggle for mental and physical control.

During Videofreex member David Cort's travels to Jerusalem, a scene was shot in a hospital where a female patient is having electrodes attached to her body.

On September 11, 2021, Eiko Otake performed at 7am and 6pm at Belvedere Plaza in Battery Park City by the Hudson River, directly west of where the Twin Towers once stood. This video work is from the 6pm performance. 

John Smith, throughout his 40-year career, has approached the moving image from film, video and installations, generating a tremendous body of work that’s as diverse in its topics as it is in its methods.

Gallup, New Mexico, in the American Southwest, has hosted the Inter-Tribal Indian Ceremonial annually since 1922.

American figurative artist Alex Katz (b.1927) has produced a remarkable and impressive body of work but is best known for his large-scale, flat, yet realistic portraits of friends and family notable for their relaxed attitudes and uncomplicated bearing.

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

“I am a mannish / Muff-diving / Size queen / With bad attitude / An arse-licking / Psychofag / Molesting the flies of privacy / Balling lesbian boys / A perverted heterodemon / Crossing purpose with death / I am a cock-sucking / Straight-acting / Lesbia

Featuring Arnold and Ahneva from Wendy Clarke's One on One video series, this video dialogue deeply connects the pair through discussion of Black brother and sisterhood.

Plowman's Lunch is called a documentary because its intent was to explore actual occurrences—be these the building of the work, or what befalls the players.

This carefully structured documentary is both a character study of DeVito's grandmother, Adeline LeJudas, and an incisive social critique of patriarchal society.

Detail is indeed a detail. It is an excerpt from Mograbi’s feature film Avenge But One of My Two Eyes, where human conditions face military situations.

A woman stands on top of a hill in Namibe desert in Angola, looking into an extensive horizon of a vast desert, she signals the hope of crossing these borders symbolizing the repossession of the land and the regaining of a lost identity.

John Cage’s work has had an immeasurable influence on 20th Century music and art, and his formal and technological innovations were tied to his desire to push the boundaries of the art world.

Bob Snyder is a Chicago-based composer, video artist, and author who has been experimenting with sound and video synthesis since the 1960s.

This are the scattered fragments, the scattered mineral fragments in its oceanic evolution, an intermittent becoming of geological massiveness. The mineral geology under the spell of an scattered dance. This is the mobilized fossil.

“A night sky fills with light shimmers and flecks, surface markings, heavenly bodies. It’s an ocean, a well, a screen, a mirror, a portal. Blackness/void cluttered by growing ephemera.

Extractions parallels resource extraction with the booming child apprehension industry. As the filmmaker reviews how these industries have affected her, she reflects on having her own eggs retrieved and frozen to make an Indigenous baby.

In this interview, American filmmaker, teacher, and video artist Peggy Ahwesh (b.1954) delves into the key figures and primary texts that have inspired her work in Super-8 and video since the 1970s.  She discusses her early influences as a member of the underground art scenes in Pittsburgh in the late 70s and Soho’s Kitchen in the 80s. Ahwesh’s experimental hand-processing and controversial subject matter can be traced to feminist theory, and her exposure to underground experimental films, including works by Werner Herzog, George Amaro, Kenneth Anger, Jack Smith and her teacher at Antioch College, Tony Conrad.

For 5 months, Clarke held workshops with young women, ages 18-23 years old, who were incarcerated at the Ventura Youth Correctional Facility in Camarillo, California.

"You don't have to go to Hawaii to be in Hawaii. Nor do you have to be sensual to feel sensual. You look the way you are supposed to look. The sensuality of Hawaii completely fascinates me in this video."

—Ximena Cuevas

In Bad Grrrls, Glennda and Fonda LaBruce attend a Riot Grrrl conference on New York’s Lower East Side. At the conference, they conduct interviews with punk women, performers and artists, including Penny Arcade and Sadie Benning.

Mexican video artist Ximena Cuevas documented the preparations and opening of the Marina Abramovic Videoinstalaciones exhibit at Mexico City's Laboratorio Arte ALameda, the first Abramovic exhibition ever to take place in Mexico, in November of

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

This project on family violence, spanned two years and several sites across the country, and involved wrecked cars in sculptural installations. The cars were reconfigured by women and children who suffered violence at the hands of loved ones.

In Tree Song, Eiko & Koma continue their exploration of the body as a part of the landscape and the landscape as an extension of the body.

Made for Madrid Pride 2017, Wonders Wander is a location based mobi-web-serial with four fictional episodes set in Madrid.

“Now too late, he understood her. The heart that pumped out love, the mouth that spoke the Word, didn’t count.”

--Toni Morrison, “Beloved”

"The title (Black Sun) is as evocative of solar eclipse as it is of the 'dark spleen' which doctors, all through Antiquity, used to attribute to melancholic and suicidal drives, especially as they affected artists.

Timely concerns about the future of video, artists’ complicity in the money making system of the ‘establishment,’ and the effect of the camera’s presence on personal encounters, is discussed and debated in this late night video produced by David Cort, C

Set in Charlottesville during the early 1990s, an aspiring writer finalizes stories for the latest issue of Pride, a student-run newspaper at the University of Virginia.

Madi plays an interactive on-line computer game in the privacy of her apartment.

Filipa César is an artist and filmmaker interested in the fictional aspects of the documentary, the porous borders between cinema and its reception, and the politics and poetics inherent to the movi

Burrow-Cams features footage from cameras that have been placed inside underground animal habitats (dens, burrows, etc.).

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.

50 doves fly out of a window, one by one. Some escape in a rush, some take their time and seem to be hesitating. The Dove symbolizes new hope and new beginnings after a disaster, as in the biblical story of the flood.

The filmmaker continues his investigations in human and dog behavior, befriending a trainer, a dog with PTSD, and further ingratiating himself into the puppy play kink community.

An investigative documentary on police brutality that uses the Rodney King incident as a springboard to analyze the inner workings of the LAPD under the leadership of former police chief, Daryl Gates.

Caught by video on a mountainside, Swiss cows compose and orchestrate a bell sonata.

Archives recovers the formal community that mobilizes the diagrammatic experience of archives, a formal community that claims the sensory nucleus where hypertrophic rhythms, abstract machines, monuments and memorials, digital servers, corporate

Rirkrit Tiravanija’s work explores the social role of the artist, and that role’s ability to create interactive spaces for people to come together.

Red House is an animation that playfully explores metamorphosis in relation to the stability and structure of housing.

Appropriated network-TV footage of Jimmy Carter’s "I see risk" speech from the 1980 Democratic Convention meets Reagan’s gloomy inaugural ride through D.C.: "If you succumb to a dream world, you’ll wake up to a nightmare."

In this interview, American writer, artist, performer Eileen Myles (b.1949) discusses the various philosophies that motivate her work, including the language of film, embodied performance, and the alienation evoked by bodily vulgarity. Myles links her wide range of artistic and literary practice with notions of abstraction, improvisation, and the mythology of gender, which she explores in relation to her own identity as a working, middle-class lesbian woman. She reflects on the significance of geographical locations, both New York City and San Diego, on her art, and shares how her past struggles with addiction have shaped her life and practice.

Frances, a young Gay Indian (2 Spirit), played by Lacey Hill, is struggling with the aftermath of a gay basing. Through her friendship with her ex Jean, she gathers the strength to go out in public again.

Resisting the regime of the counter-shot, this experimental short fiction film follows the story of Alex on the eve of Le Pen’s defeat in the 2002 French presidential election.

Through distorted audio and visual representations of interviews with music journalists, this video critiques the mass media’s treatment of the rap group Public Enemy, and accusations that their lyrics are anti-Semitic.

Developed in collaboration with and performed by DonChristian Jones.

Cacheu is a 10-minute shot of a lecture, performed by Joana Barrios, revolving around four colonial statues, which are stored today at the Fortress of Cacheu, one of the first bastions constructed by the Portuguese in 1588 in order to facilitate slave trade in the West African country of Guinea Bissau. Barrios evokes symbolic conflicts by tracing back different contexts in which the statues make an appearance: on a pedestal during Portuguese colonialism, dethroned and broken in pieces after Independence in the film Sans Soleil by Chris Marker, as background ghosts in Mortu Nega by Flora Gomes, and finally displayed at the Cacheu fort. The montage is a process that takes place before shooting, so that the image production is a result of a performative assemblage between text, acting, projected image and the framing of the camera by the director of photography, Matthias Biber.