Coyolxauhqui recasts the mythical dismemberment of the Aztec Moon goddess Coyolxauhqui by her brother Huitzilopochtli, the deity of war, the Sun and human sacrifice.

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.

Framelines is an abstract scratch film made by laser etching abstract patterns on the film emulsion of negative and positive 35mm film.

This is a later reworking of original video documenting the goings-on of the village, Tlocalula, Mexico in 1973.

Plowman's Lunch is called a documentary because its intent was to explore actual occurrences—be these the building of the work, or what befalls the players.

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?

In her overt challenge to conventional modes of femininity and sexuality, Hester Scheurwater confronts the viewer with her own body.

"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.

Old Cat will eventually and pleasantly get to a destination. Shot in the summer of 2009, in a single take, on a lake in Virginia.

Cast: Chad Bowles, Marcus Bowles.

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.

Musica Electronica Viva at Baggie’s is a quintessential Videofreex work in its documentation style and explicit discussion of the Videofreex project.

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

A dissemination of suspended bodies in the liminal space.

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

This film originated as an expanded portrait of artist Carol Bove as she created four monumental sculptures commissioned by the Metropolitan Museum of Art. One week after filming began, New York City went into its first pandemic lockdown.

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.

Newly uncovered 16mm footage from US Army archives recorded the bare land of Hiroshima and the questions of war tactics on the human race immersed in the present time.

“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 artist follows the British government's advice while self-isolating at home during the COVID-19 lockdown.

The projection and screens in this installation are access points meant to connect the present to an ancestral past.

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.

Paul Chan's Tin Drum Trilogy includes the highly acclaimed single channel videos RE:_THE OPERATION (2002, 27:30, U.S., color, sound), BAGHDAD IN NO PARTICULAR ORDER (2003, 51:00, U.S., color, sound), and Now promise now th

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.

The two related compilations of Julia Hechtman's video works titled Acts of Disappearance: Death and Acts of Disappearance: Environmental document twenty years of the artist's ongoing expl

Through her performances and videotapes, Eleanor Antin (b. 1935) creates characters (King, Ballerina, Black Movie Star, and Nurse) while spinning tales that blur fiction and history.

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.

Mono Lake and Yosemite Valley, in California, highlight this excursion into the constipated crevices of once highly-active fumeroles that splatttered magma and chunks of hot rock onto the Western landscape.

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.

Its dream-like unfolding, amid the imposing titular Mexican landscape, results from a randomizing strategy modeled on the "Exquisite Corpse" parlor game adopted by the Surrealists of the 1920s.

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

Sassy, iconoclastic, and never-married, Los Angeles filmmaker Susan Mogul rides shotgun with ex-lovers, almost lovers, and her Dad, in a road movie turned inside out.

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.

"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.

This video focuses on the troubles at a large hospital beset with calamity and vice. We meet the doctors and nurses and get a glimpse of their personal traumas.

“[Segalove] pursues her self-analysis via the popular culture and TV addiction of her youth: seeing JFK shot on TV, falling in love with the TV repairman, being glued to the tube while suffering from the requisite bout of mononucleosis, and associating

A hand enters the screen and removes sheets of paper one at a time. This action continues in a seemingly infinite manner, without beginning or end.

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.

“The individual is not an autonomous, solitary object but a thing of uncertain extent, with ambiguous boundaries. So too is matter, which loses much of its allure the moment it is reduced to an object, shorn of its viscosity, pressure and density.

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

Under the spell of the alphabet, the silent figures of a past that has not been forgotten persist, a pedagogical reconstruction of a contradictory nation in transit as well as the emergence of a background color that delimits the contour and the persist

"Black Holes/Heavenly Bodies-Hell is a high-tech nightmare about a coming-of-age in America in which violence and mediocrity are the potent background noise." – Steve Seid

This eight-minute video is part experimental video art, part sketch comedy routine, and part informational lesson on the advantages and disadvantages of owning Sony's latest video technology.

“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.

Forest Mind is a video work that emerges from the artist’s longstanding interest in the human interaction with the natural world.

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. 

In this 23-minute single-channel video, Campbell reconfigures scenes from archival 16mm film footage recorded by Solomon Sir Jones in the mid-1920s, film that documents the everyday lives of Black communities in Oklahoma, an area that once boasted

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

In the early 1990s, I went to a reading by Leslie Scalapino at Intersection for the Arts in San Francisco.

Resisting the regime of the counter-shot, this experimental short fiction film follows the story of Alex on the eve of Le Pen’s defeat in the 2002 French presidential election.

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