In a remote area of northern Spain, the wind has a name: Tramuntana. Tramuntana takes what it wants—clothes, trees, boats, and the people of the landscape who live with the endless threat of being carried away by its force.

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.

28.IV.81 (Descending Figures) comprises footage Harris shot at a performance of Christ’s Passion, staged as an attraction in a Florida amusement park…This flimsy display of devotion is shown up by something g

In Dani Leventhal’s Platonic, geometric specters twirl in space; pet cats foam at the mouth; a little boy mistakes his junkie dad for a superhero; and a confused adolescent worries he has sired a centaur. Platonic references both the ancient philosopher’s metaphysics of ideal Forms, which simultaneously exist outside our perceptions and yet give rise to them, and the related meaning in common parlance of non-romantic love.

Transit journeys through the East End of London, quietly observing the shifting architectural and social landscape.

In Music on Triggering Surfaces, Bode constructs an interface between audio and video systems.

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

"Combining the comical with the absurd, I created six funny faces to animate the images of Japanese vowels while differentiating between 'image', 'letter', and 'voice'."

— Takahiko iimura

Fiber artist Claire Zeisler discusses her techniques, ideas on art, and training; the conversation is inter-cut with images from her 1979 retrospective at the Art Institute of Chicago. “I... realized I cannot change my techniques too often.

In this 1993 contribution to the On Art and Artists series, artist Art Jones describes his entry into the world of activist media, and the genesis of his belief in the potential for a democratized street-level media. Hailing from the Bronx, Jones recalls his personal dislocation during college, when he began studying film and video at SUNY Purchase. At that time, Jones experienced a cultural isolation, which he mobilized to fuel his practice. This willingness to confront issues of representation and absence, asserting the validity of his own subjecthood, would become a defining characteristic of his work.

In this silent video, still images of stores and residential buildings in New York City appear within a cutout template, based on the “giftbox heap” formed by the New Museum silhouette.

Shot by Mary Curtis Ratclif at the O.K. Harris Gallery on Prince and Green Streets, New York, this tape focuses on performer “Ricky Jay” as he performs card tricks at his magic table for an enthusiastic audience.

My Mother’s Place is an experimental documentary focusing on the artist’s mother, a third-generation Chinese-Trinidadian who at 80 still has vivid memories of a history lost or quickly disappearing.

In an upmarket house surrounded by an idyllic garden, there is no trace of human presence, even though a family obviously lives there. Voices, sounds and superimposed text create a feeling of disquiet whose origin continually escapes us.

Crosswinds  is part of the fieldtrip series. By definition a crosswind is any wind that has a perpendicular component to the line or direction of travel.

Eric Fischl's early works were large-scale abstract paintings. While teaching in Nova Scotia, Fischl began to shift from abstraction to smaller, image-oriented paintings, beginning with narrative works that investigated a fisherman's family.

These are the ghosts of a haunted civilization, a culture of progress that hides the social and political horror behind the streets. These are the haunted figures in the Capitalocene era. A sinister dance of macabre abstraction.

Stop action animation on a single canvas, exploring the idea of pluralism through autobiography.

This title is also availble on Ezra Wube Videoworks: Volume 1

This is a short direct to camera piece, originally commissioned for a screening of My Summer with Raúl at Antimatter (BC).

Subtitled A Rebellion against the Commodity, this engaged reading of the urban black riots of the 1960s references Guy Debord’s Situationist text, “The Decline and Fall of the Spectacle-Commodity Economy,” Internationale Situationniste

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

Dream Nightmare is from Martine Syms’ Kita’s World series. Kita enacts the performances of everyday life in a hyper-digitized world.

In a piece commissioned by Remy Martin, Birnbaum adopts the language of commercial advertising, using the body, gestures, and glances of a heavily made-up woman to create a scene of glamour and romance—while slipping in a disparaging narrative that touc

The four‐part cycle Parallel deals with the image genre of computer animation. The series focuses on the construction, visual landscape and inherent rules of computer-animated worlds.

Right after the first Iraq war, the filmmaker visits his family in Iraq.  He tries to reconstruct the war from different points of view, all depicted on the same screen at the same time: U.S.

Forti uses the camera as a research tool to record the movements of three grizzly bears pacing anxiously behind the bars of their cage in the Brooklyn Zoo. The collected visual information becomes part of the basis for Forti's movements in Solo No.

Former East/Former West was shot in Berlin three years after German reunification. Comprised largely of street interviews conducted in various parts of the city, the video documents Berliners' feelings about their national identity.

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.

"In Some Dark Place, filmmaker Cecelia Condit explores the dislocations of identity and memory that aging forces upon us, without losing sight of life's beauty."

— Milwaukee Film Festival, 2016

In Deux Pieds, video is used to create dance illusions, effects impossible to achieve in dance except via video technology.

In Islands, Fung deconstructs the 1956 John Huston film Heaven Knows Mr. Allison to comment on the Caribbean’s relationship to the cinematic image.

That Which Is Possible is a portrait of a community of painters, sculptors, musicians and writers making work at the Living Museum, an art-space on the grounds of a large state-run psychiatric facility in Queens, New York.

A video recording of a computer-generated abstract animation that is keyed, wiped and matted by electronic oscillators and feedback. The sound of the electronic oscillators is delayed and pitched to produce modulations.

"The life of objects intrigues me. Apparently inanimate, they adopt the souls, actions and lifestyles of their keepers. Here, a bed testifies to what goes on behind the closed door of a decent family's bedroom."

—Ximena Cuevas

American sculptor and land artist Robert Smithson made art as a meditation on transition and change.

Communists Like Us is an ambient music video made from a few seconds of archival footage of Mao Zedong applauding and members of the Red Guard chanting.

In this video, the artist tries to overcome the effects of distance, and reflects on geography represented in exile due to war, and on the psychological distance represented in each one’s approach to her womanhood.

Southern California visual artist Jud Fine seeks to promote democracy in art—the idea that anyone can be an artist. This video presents the artist and his work in a style that reflects the multi-layered dimensions of his artwork.

Executive Producer, Suzanne Lacy; Director, Steve Hirsch; Editor, Doug Gayeton.

From the performance Freeze Frame: Room for Living Room by Suzanne Lacy, Julia London, Ngoh Spencer, and Carol Leigh, San Francisco, 1982.

"A group of students and teachers gather in an historical mansion in the woods of West Virginia for a week-long retreat in spoken Latin. I observe and I participate while navigating the errata with my camera."

— Sky Hopinka

In this collection of videos, Susan Mogul casts her diaristic lens to the nature of motherhood.

Best known for her drawings and prints, Nancy Spero (1926-2009) worked as an oil painter on both paper and canvas and with installations. As both artist and activist, Nancy Spero's career spanned fifty years. 

This is the flowers under attack. An entire ecosystem under attack. This is the omen of the bugambilia. This is the pulsation of the nervous trance of petals in the anthropocentric times. Part of the Hauntology series.

Pulling Up Roots is the emotional journey of a woman who is navigating the tenuous strain between the past and the future.

Short Circuit is an experimental documentary—a semi-autobiographical rant that challenges the obsolescence of human labor at the vortex of the machine and digital ages.

Audio-visual recordings of zoo-animals are woven into a fine web of actions and reactions, that finally spiral into a collective animalistic concert.

This 12-minute video by Tom Palazzolo and Chicago writer Jack Helbig tells the story of the recently discovered Chicago street photographer Vivian Maier.

Clarke works with four men (Paul, Solomon, Eli, and Leslie) making masks for their video image. The video was made through the Arts in Corrections program at the California Institution for Men in Chino, California.

A hyper-collage endurance test of sado-masochistic proportions, mixing an anthology of corporate video music with a feng shui video.

Exploring climate change, the destruction of nature, and industrial pollution, these four works by Paweł Wojtasik paint horrific yet meditative landscapes of global infrastructures including meat production, waste treatment, and laboratory experimentati