The music of John Bender punctuates a flow of processed images.

Skip Blumberg of the Videofreex conducts an interview with Charles “Cappy” Pinderhughes, the Lieutenant of Information of the New Haven branch of the Black Panther Party.

In his New York City landscape, Cohen finds inspiration in disturbance. Looking to life for rhythm and to architecture for state of mind, he locates simple mysteries.

Juan Sanchez explores his Puerto Rican heritage and the issue of Puerto Rican independence through his work as an artist and writer.

I Wanted You shows a woman who is crawling over the floor. She is wearing only tights and a pair of red shoes with high heels.

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

At sunset a large orchestra, a choir and a group of young people position themselves against the backdrop of a mountain landscape. The musicians play the first section of Mahler's 8th Symphony, moving in precise choreography.

[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

The annual holiday video is off and swinging with this foray into festive chatter and explosive fireworks. Sweet treats are served up along with ice cream and jungle jingles befitting this season of goodwill toward man and beast.

Anne Bancroft and Patty Duke proceed to beat each other while text from psychiatrists and ex-patients discuss the violence in some forms of psychiatric care. Four actions repeat as the struggle for autonomy rages.

"Exhibitons, whether of objects or people, are displays of the artifacts of our disciplines. They are for this reason also exhibits for those who make them, no matter what their ostensible subject.

Phyllis Bramson (b.1941) is a Chicago painter whose post-imagist style emphasizes content and the deeply personal.

Rosler identifies the totalitarian implications of an argument for torture, under certain circumstances, as it appears as a guest editorial in Newsweek magazine in 1982.

One of several videos the artist made with her brother while still in graduate school at the University of Illinois at Chicago. Two Dogs and a Ball is a cover of William Wegman’s piece of the same title from the late 60’s.

The interior of a trash processing plant. The rhythmic intensity of the machinery as it deals with an endless river of refuse becomes a reflection on the madness of unbridled consumption. 

A collection of three remarkable works by Sadie Benning, produced between 1995 and 1998, including German Song, The Judy Spots, and Flat is Beautiful.

"I made this video after assisting at a conference where the artists acted like flies in a barnyard. They gathered tropical fruits to make it less disagreeable for themselves."

—Ximena Cuevas

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.

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.

Linda Montano is interviewed by Janet Dees, Curator at the Mary and Leigh Block Museum, Northwestern University.

A series of one-minute interview-based spots Martha Rosler made with the American Indian community during her residence in Seattle from 1991 to 1995.

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

The secret history of hobo and railworker graffiti.

Sites Unseen is a 16mm film of the Jewish cemetery in Warsaw, a photograph of a great Aunt who died in Treblinka, and my late grandmother eating her morning cornflakes.

Music by Zeena Parkins

Joan Fontcuberta was born in Barcelona in 1955. His work has been widely exhibited internationally. Fontcuberta uses photography as a conceptual medium, often testing the limits of the image’s credibility.

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

The HalfLifers exhume cinema’s favorite incarnation of mindless, decaying mortality, the Zombie, in the hopes of breathing new life into this misunderstood figure.

Featuring a swirling spiral from video feedback, this video provides a contemplative visual space for viewers. The spiral appears on and off against colorful oscillation patterns. 

"Real time digital buffer recording, light bulb, panning camera motor and turntable. Light Bulb, the title says it almost all. Real time recording events.

a woman washes her hair in the kitchen sink while telling her friend about a memory of sitting in a bathtub and watching her aunt get ready to go out. 

Equal Rights for Unborn Drag Queens is a satirical short video in which Brenda and Glennda critique anti-abortion politics, homophobia, and religious fanaticism in the media.

Habit is an autobiographical documentary that follows the current history of the AIDS epidemic along dual trajectories: the efforts of South Africa’s leading AIDS activist group, the Treatment Action Campaign, struggling to gain access to AIDS

In a guided meditation progress is posed as a godly icon for worship. The inseparability of the human labor-spirit connection is probed.

The city today is as rationalised and regulated as a production process. The images which today determine the day of the city are operative images, control images.

Addressing the camera, Segalove confesses to plagarizing her 5th grade report, The Story of Coal.

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

"Inside a Lithuanian synagogue, young Domas Darguzs regales the filmmaker with a whispered, wide-eyed account of mythical events, while the film cross-cuts to images of farm-life.

The sale of a plot of land marks the kickoff of an unlikely road trip in this strange American odyssey. When eteam buys an acre of the Southwestern desert on eBay, the deed fails to arrive and the pair attempt to track down the phantom seller.

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.

Depicting a sailing party gone wrong, McCarthy questions the effects that violence and mutilation, both real and simulated, have on the viewer in contemporary culture.

Cobra Mist explores the relationship between the coastal landscape of Orford Ness and its traces of military history, particularly the extraordinary ruined architecture of experimental radar and the Atomic Weapons Research Establishment.

Film time takes on book time. An homage to a Bette J. Davis’ illustrated text, itself an homage to the small music makers of the insect world.

Camera, edit, sound design: Deborah Stratman

Music: Fontanelle

Images of beauty rituals – both masculine and feminine – focus on the removal of body hair. Scenes of adolescent embarrassment are played out in adult life. Gender confusion lurks behind the curtain. Impoverished aesthetics. Popular music.

Breder used Stavros Deligiorgis’s encyclopedic ability to make associations as an element in this video art and performances, providing a kind of intellectual running commentary in works such as Intertext (1976).

Voice: off is the autobiography of a forgotten man. Brain damaged, body violated, emotions crushed, Gerry who rarely spoke has now lost the power of speech.

The male/female, subject/object investigation in A Bit of Matter and a Little Bit More has no titillating introduction; the appetite is not whetted beforehand.

A commissioned portait of Pamplona, a small city in the North of Spain, shot and edited there in under 2 weeks. The film is a humble set of observations of place, people, atmospheres, and local rituals.

If you lived here you’d be home by now occurs during the years of Williamsburg Brooklyn’s overheated real estate market, just before the 2008 financial bubble burst.

This music video for the band Julie Ruin, fronted by Kathleen Hanna, formerly of Bikini Kill, critiques the cynical music marketeers of corporate America.

Ming Wong creates videos that explore performance and issues of race and gender. Born in Singapore of Chinese heritage, and now based in Berlin, his work examines cross-cultural experiences by appropriating scenes of iconic world cinema.