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.

Jem Cohen assembles images that demonstrate the economization of public space; the stock exchange on a LED display board, the company logo on cars, the mobile phone as tool of e-commerce.

Planetary battle over the porous body of the earth. This is the battle of the Earth.

Super 8mm film transferred to digital video. Installation composed of footage from three separate sequences that interweave frame by frame. Shot in the interiors of empty homes in Amman, Jordan. Sound composed of recording of food ingredients for unspecified dishes looped repetitively over ambient noise from film transfer to digital video.

This tape documents Nancy Cain’s birthday party and captures the inner workings of the Videofreex’s social ethos.

Made collaboratively with the filmmaker's mom Deborah, I Can Hear My Mother’s Voice documents her process of learning how to use the filmmaker's video camera.

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.

Riffing on relations between grief, love, bodies, and embodiment, this short film features two former professional Ringling Bros. and Barnum & Bailey Circus clowns.

A pair of de-iced dove wings are on the floor next to his bed, states the poet who is deeply in love, and falling deeper, in this pictoral poem.

Out of the mouths of rural boys, finding the incomparable Mulla Nasrudin in Afghanistan.

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.

This black and white drama of romance, adventure and outer space intervention was mounted at the San Francisco Art Institute.

"When we show you pictures of napalm victims, you'll shut your eyes. You'll close your eyes to the pictures. Then you'll close them to the memory.

In Laser Games with Shirley Clarke, the Videofreex visit the apartment of independent filmmaker Shirley Clarke.

Logging and approximating a relationship between audio recordings of the artist and his father, and videos gathered of the landscapes they both separately traversed.

Part of the paraconsistent sequence series.

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.

"Beginning in 2020, in response to the cultural and political upheavals that were playing out in the United States, I started making a series of videos to help me understand and cope with what was going on around me.

This feature-length video follows several inflicted characters and recounts the ways in which they find resolve.

Crush is the story of a man who wants to turn into an animal as told by the man himself, and one or two observers.

The New Year is upon everyone in Bay City. Music plays, strangers mingle, friends get raunchy and the calories pile on as the sky comes ablaze with pyrotechnic pizzazz.

“The second in a planned trilogy of films about desire and domesticity that began with Strangely Ordinary This Devotion (2017), Come Coyote examines issues around queer reproduction, intimacy, and motherhood.

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.

This tape deviates from the more purely formal investigations of Snyder’s earlier work; it has no soundtrack and uses camera images exclusively.

Eco-artists Helen and Newton Harrison define truth as a series of interactions that anyone may join. The Harrisons choose survivalist subjects because we have so encroached upon this environment, we must give it every advantage we can.

RECKONING 3 is the first in a series of investigations into:

1. Terror and wonder in big-budget virtual worlds

On December 1^st 1990, watched by the world's media, construction worker Graham Fagg of Dover climbed through a hole in a chalk wall 40 metres below the seabed of the English Channel, shook the hand of Philippe Cozette of Calais, and shouted "

These are icebergs in the night, spilling and melting their dense materiality over the frame of Western rationality. A hyperkinetic reminiscence of the last night of the Titanic.

Roger Brown's (1941-1997) quirky, stylized paintings were influenced by such disparate sources as comic strips, hypnotic wallpaper patterns, medieval panel paintings, and early works of Magritte. His work is epitomized by a series of claustrophobic urban scenes with their drop-curtain-like gray clouds and cardboard-box apartment buildings, suggesting an amalgamation of boyish enthusiasm for model making and adult despondency. In 1996 he donated his apartment, complete with all of his belongings, artworks, writings, and automobile to the School of the Art Institute in Chicago, where it is on public display.

He is mute flesh that the stroking of fingers can bring to sing.

-- Mike Kuchar

Screened in the 1997 Whitney Biennial, the video Ladies, There's a Space You Can't Go is both a deconstruction and a distortion of an episode of Sally Jesse Raphael titled My Daughter Dresses Like A Hooker.

An insert square of a man running is superimposed over a magnified mouth that speaks to him — first in nurturing encouragement, then with a no-win Mommie Dearest kind of criticism. Originally presented as an installation on six monitors, Deadline focuses on “the stress man feels in the urban environment,” using a range of digital video effects to stretch, compress, flip and fracture the image.

Our Non-Understanding of Everything is a series of 16 videos that explore how the structures of architecture, semiconductors, and circuits become forms of expression refl

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.

The 1970s witnessed unprecedented artistic development of non-traditional media – chief among them were textiles and fabrics.

Nancy Graves (1939-1995) was a New York sculptor, painter, and filmmaker who used natural history as a reference for dealing with the relationships between time, space, and form.

Rescue Series is a HalfLifers project that attempts to articulate deep-seated anxieties about the loss of functionality or purpose through a series of spontaneous “crisis re-enactments.” As these fears overwhelm the psyche, the simplest and mos

“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.

Over grainy, black and white images of a woman giving birth, Montano reads the story of a nun’s sexual self-discovery—recounting Sister Joan’s growing awareness of her body’s sensuousness and sexuality.

Vera is an assisted self-portrait of consumption. The subject is a woman whose passions and compulsions are of spending and loss, taste and subjectivity.

"It is only shallow people who do not judge by appearances" wrote Oscar Wilde.

Forest Law underlines the persistent fact that we are yet to learn to live otherwise in an age defined by the colossal consequences of a new socio-geological order we ourselves have created through irresponsible interactions with Earth

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.

This film is an appropriation from the 1949 movie On the Town.

To the background of village celebrations a father questions his daughter about a suspected lover. She cleverly deflects him with her answers but the passions rise, the villagers take sides and what began as harmless banter becomes bitter and angry.

Dead Body Pose absurdly touches the contemporary bubble, encapsulating both connectivity and spirituality, a connection fueled by the global capitalistic consumption of the self.

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!

Feminist artist Lynda Benglis is known for her sculptures, video performances, paintings, and photography. Her work in the 1970s was controversial, delving into issues of gender roles within and outside the art world.

Following the Israeli withdrawal from Ain el Mir in 1985, the village became the frontline. The Dagher family was displaced from their home, which was occupied by a radical resistance group for seven years.

Set in a campy western mining town, Stinkhorn tells the tale of a lady blacksmith named Dusty and her naughty trickster paramour, Blaze.