"Presented in seven parts, Beauty Plus Pity considers the potential for goodness amidst the troubled relations between God, humanity, animals, parents and children...

Two bizarrely costumed characters – a human ‘chicken’ in a fat suit, and an elaborate folksy creature called an ‘authenticity fetish’- meet and debate their plight.

This dreamlike, poetic video provokes the viewer to question the nature of the most human of experiences.

Produced in 1974, and restaged in 2002, near Pilot Butte in southwestern Wyoming.

The artist makes a pilot light using ice, which he has fashioned into a magnifying lens to start a small fire.

Naked is a "living" environmental installation created for and commissioned by the Walker Art Center in Minneapolis, where EIko & Koma were "on view" all the hours the museum was open for the month of November 2010.

Wawa peeks at the anxieties and difficulties of communication through the interactions between speakers of an endangered Indigenous language, each from differing cultural backgrounds and generations.

Sadie Curtis (1931-2012) was a Navajo woman descended from five generations of weavers. Filmed inside her hogan, Sadie talks about learning to weave as a child and how she gained fame from the creation of an American flag in the Navajo style.

"It may indeed be questioned whether we have any memories at all from our childhood: memories relating to our childhood may be all that we possess.

A brief glimpse into the cycles of Coyolxauhqui, the moon goddess, whose cycles used to be a dance. A fast-paced jazz soundtrack accompanies the quick, darting movements of the moon.

In this 2001 interview, filmmaker Jem Cohen discusses the origins of his film philosophy, and the circuitous route he has taken in his pursuit of an anti-narrative film practice outside the mainstream. Cohen sheds light on the many influences that have impacted his sentiments towards conventional film, and his desire to eschew both classical avant-garde and theatrical filmmaking in favor of a model rooted in the tradition of the 1940s New York School of street photography. Cohen also locates his aesthetic as being impacted by the 1970s hardcore and DIY scenes he was exposed to as a youth in Washington, DC.

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

The scales of the snake refract a trance and invocation. In the epicenter, the pyramids join Izcóatl's battle, the Obsidian Serpent propagates an exhortation: all the dances against the war.

The fragment contains within it an implied reference to something that was once whole. It suggests damage and violence, time and distance.

A philosopher and intermedia artist, Adrian Piper focuses on xenophobia, racism, and racial stereotyping

A collection of early feminist videos curated by Maria Troy, Associate Curator of Media at the Wexner Center in Columbus, Ohio.

Identically dressed, and with sibling-like resemblance, performance artists Trevor Martin and Kym Olsen shift between spoken word and athletic dance choreography in a collection of 29 scenes.

Nang has lived outside the box. Born in a Trinidadian village in 1934, she grew up poor, illegitimate, mixed-race and female, but she survived by defying convention.

Seven homosexuals, ages ranging 28-85, and strangers to one another, convene in a Los Angeles bookstore.

Cutting to the core of cinematic realism, Fountain presents the plot-less character of human encounters.

The union of humankind and the camera is a long and sordid tale. This lyrical dance illustrates the inseparable nature of the two.

An abandoned rural house, the Ravel Quartet in F major and then rain, wind, snow and fog are the elements of which this video is composed. In an impossible procession, one take presents four atmospheric agents to strike against the house.

Rosa juxtaposes the life of the filmmaker in two extreme locations (Baghdad and Montana) through three elements of nature: dust, rust and wind.

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.

In collaboration with Iris McCloughan.

This Was Home is comprised of three channels, which present three generations of the artist’s family.

Adam Khalil and Zack Khalil’s debut film re-imagines an Anishinaabe story, the Seven Fires Prophecy, which both predates and predicts first contact with Europeans.

Threads of Belonging depicts the daily life of Layton House, a fictional therapeutic community, where doctors live with their schizophrenic patients.

A political composition on natural resistance. These images are an expiring breath in danger of extinction. These images become extinguished, consumed: a drop, a pure intensity which only appears when falling.

In this video the artist states that a public work demonstrates what qualifies as art within his conception. Like Beached, it was also shot in a marshy area near the sea and in sequences separated by dissolves.

"Looking at Pictures is adapted from a lecture I gave on my photography in 2018 in which sequences of photographs were projected while I offered brief statements related to the images being shown.

Ever listen to Loveline? Well, here's an episode with a 24-year-old Korean American guy who's never been kissed. They're offering free concert tickets to any girl who'll come in and take a chance.

Materials: 3378 hi-con, Laser engraver, Exacto knife

A minister recounts the perceived catastrophe that is butt sex. Pegging ensues.

A loosely structured and evocative drama that centers around the search for a lost oasis. Shot in a bizarre Californian landscape, the piece is a contemporary desert fantasy.

Four short pieces: three featuring anecdotes and conversations, the fourth an icy landscape.

stammering forward backward GIANT is a re-edit of George Stevens' 1956 film Giant - an epic story of Texas, oil and racism.

Production Notes allows us to eavesdrop on the business decisions behind the creation of our daily diet of television commercials.

Set in Medellín, Colombia, Como crece la sombra cuando el sol declina (Like Shadows Growing as the Sun Goes Down) features tireless car traffic, jugglers at intersections, and employees on breaks, focusing on precise movements marking

This tape exemplifies Snyder’s early experiments with the image processor. Articulated patterns of alternating wavelength and amplitude of both sound and light are arranged to produce abstract compositions.

BAGHDAD IN NO PARTICULAR ORDER is an ambient video essay of life in Baghdad before the invasion and occupation. Men dance, women draw and sufis sing as they await the coming of another war.

Joan Logue cuts down considerably Andy Warhol’s projection of fifteen minutes of fame, with this compilation of 30-Second Spots.

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.

Contemporary American composer and performance artist Robert Ashley (1930-2014) was a pioneer in the development of large-scale, collaborative performance works and new uses of language in operas and recordings.

flight is a frame-by-frame re-editing of an astronaut walking on the moon into a seven-minute long meditation on technological transcendence. The unstable, stuttering image depicts the astronaut's struggle to separate from his body.

Seven digital mandala-chakras superimposed on video works made over several decades that relate to each chakra. This video compiles previous works into a chakra composite.

Long still frames, text, language, and sound are weaved together to unfold the narrative of an anonymous group who fill their time by measuring distance.

As the artist writes on a paper pinned to the wall in chalk, the left hand writes a mirror image of the right hand. The text reads "Symmetry is nature's way of seeing itself. P Kos 2004-2016"

Part of a cable TV series called Communications Update that aired on public access in New York City from 1979 through 1992, these tapes provide an early example of television made by artists.

Harun Farocki utilizes a vast collection of image sequences from laboratories, archives and production facilities to explore modern weapons technology.

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.