Part of the paraconsistent sequence series.

Pat Steir is an American painter and printmaker whose work has resisted artworld currents and factions for decades, while expanding its reach and maintaining enthusiastic critical support.

"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.

A window or two on the outside world is not enough, especially when you have such a lousy view of things as I had in this Oklahoma residential care home.

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.

While asleep and dreaming, older children and adults alike tend to perceive dream events as external reality, but very young children do not understand "asleep" and "conscious" to be different domains. Perhaps they are not. 

“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.

In Final Exit, an aged one is confronted with his options in blunt terms. Does he want to drag out his existence, increasingly infirm and a burden to his caretakers, or go quietly before resentment overwhelms sentiment?

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

"The content of the rogue computer animation Boy/Analysis is perfectly illustrated by the integral title, namely, a drastic abbreviation of Melanie Klein's 1961 key study on child psychology.

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 "

In a fictional conduit space, language and function are recontextualized as the HalfLifers struggle to re-assess the nature of their mission while engaged in an eternal cycle of maintenance and communication routines.

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.

Shot in December 1969, this video documents a live performance by the Incredible String Band at the Fillmore East, NYC.

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

Walking Off Court is the story of the nervous breakdown of a tennis fan and his rising inability to find tennis partners.

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.

In this 2006 interview, filmmaker Jem Cohen discusses his early interest in art, his family’s welcome antipathy towards commercialization, and his unconventional, anti-mainstream film practice. In particular, Cohen discusses his film This is a History of New York, and how this piece exemplifies his interest in the “territory of sensation” rather than simple visual descriptiveness. Cohen concludes by discussing the role of archiving in his practice, and how compulsive documentation of the quotidian and unexceptional can result in the empowerment of the everyday.

“Jesus Christ, look at the white people, rushing back. White people don’t care, Jack...” - Richard Pryor

“Take back the airwaves: Mexico’s video art doyenne Ximena Cuevas books herself onto the tabloid talk show Tombola (Raffle), toying at first with whimsical deconstruction until she turns the whole affair on its head by seizing the televisual flow itself.”

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

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

The title implies a relationship between the two persons in the frame of the image. The woman in the foreground appears somewhat sad, the man in the background concerned.

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.

One of my weather diary series out in Oklahoma. The tone is wistful, the surroundings wispy (with some puffs of pungency). The TV is on and the porcelain is smeared with some residue atrocity from a previous passion.

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

Filled to capacity, each car of a 157 car train sounds a percussive note in this homage to John Coltrane. And not one coal train, but two.

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

Chief Waiwai recounts for his village the story of a trip he and a small entourage made to meet the Zo’é, a recently contacted group whom the Waiãpi “know” through video.

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

A magnetic "dancing" ballerina toy, found by Bob, inspired this video of a real ballerina (Laurie McDonald) spinning as if the magnetic coils in an old black and white mid-century Setchell Carlson television monitor were controlling her movements.

A cinematic firestorm of found footage and pilfered Hollywood images, Mike Hoolboom’s hallucinatory Tom – described by the filmmaker as, "Cinema as déjà vu, or déjà voodoo" – pays mesmerizing experimental tribute to the life and work of friend

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.

Part bio, part memoir, Mom’s Move is an intergenerational film about mothers and daughters, women and photography, remembering and forgetting, and the tension between women’s private and public selves.

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

"This video in two parts is a newcomer's portrait of Montréal, and focuses on two of my architectural obsessions: the Hydro Québec building and the Métro. I spent my first winter in Montréal in a cold, dark, first-floor apartment.

Richard Prince appropriates images from commercial advertising and travelogues for his photographs. Choosing these images for their melodramatic, super-real power, he then isolates their stylistic realism to accentuate its rhetoric.

Told through recollections of youth, learning, lore, and departure, this is an imagined myth for the Xąwįska — or the Indian Pipe Plant — used by the Ho-Chunk to revive those who have fainted.

The unusual combination of a sound like a singing saw accompanies sweet images of frolicking lambs in the meadow, galloping horses, and a strange boy, is eerily beautiful and pure.

In collaboration with fellow camera operator Alan Gerberg, Freed visits George Segal at his North Brunswick, N.J studio in October 1972.

Nebula is a hallucinogenically immersive spectacle: a complex, long-form audio-visual composition, which pays playful homage to science fiction fantasies.

Some forms we can only know by their shadow.  In homage to the spirits of space test dogs, or any being we use in the name of progress. 

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

“When I moved to Hudson Valley, NY state in 1984 after being tied to Tehching Hsieh in his ART/Life: One Year Performance, I began meeting remarkable elders over 80, and sometimes 90, years old.

Glass House examines the creative process of a modern architect who builds a house made of glass and concrete for his family.

This extensive interview with California artist Doug Hall (b. 1944) provides unique insight into the culture and politics of experimental artistic production during the 1970s. Discussing the founding of the performance group TR Uthco, Hall offers context for his contribution to the field of video art, and shares stories of his collaborations with Ant Farm, Videofreex, and others. Ranging from his early years as an art student, to his romance with artist Diane Andrews Hall, to reflections on technology in art, this interview importantly extends the discourse surrounding topics of archive, performativity, and autobiography—subjects that have come to define the contours of video art today. 

Suzanne Anker (b. 1946) is an American visual artist and theorist. Considered a pioneer in the field of Bio Art, her work is situated at the intersection of artistic practice and biological science.

Philip Glass, a pioneer in minimalism in music, gave a two-day lecture at the School of Art Institute of Chicago in 1974.

It was 1990 and, although the iron curtain was falling, Soviet official control was still iron-fisted.

Dennis Oppenheim was a prominent figure in various art developments throughout the ’70s.