This tape, Harriet, created by Videofreex member Nancy Cain, unfolds much like a short play or literary character study.

The horizon, where the sky and the earth meet, is always elsewhere, a promised place where these two elements come together. A metaphor, an orienting, a promise of transition, change, transcendence.

I was fourteen when I put on my first wig. It was, I believe, my sister’s idea. So she and my mother and I went – I forget where…Simmons and Co.? – some elegantish salon with gold lame drapes where they did not do such splendid work.

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.

Moments of resistance are collapsed and woven together; from documentation of the Indigenous led occupation of Alcatraz, to the reclamation of Cahokia and the repatriation of the ancestors, to one’s reflections on their body as they exist in the world t

Sunday, 6th April 11:42 a.m. is a video about landscape as a complex network of connections that guide relationships between people.

At the epicenter of Green’s extensive multimedia installation Partially Buried in Three Parts (1996-1997), Partially Buried (1996) and Partially Buried Continued (1997) explore a web of genealogical traces, initiated by a refl

This is a tape which analyzes its own discourse and processes as it is being formulated. The language of Boomerang, and the relation between the description and what is being described, is not arbitrary.

I moved three thousand miles from the east coast to join the feminist art program at CAL ARTS in 1973.  I had only been in LA three weeks when Judy Chicago took us to a "Menstruation" art exhibition at Womanspace Gallery.  The exhibit included

In this experimental travelogue, efforts to sound human and look natural instead become artifical.

Time Bomb tells the story of a young girl's experience at a Baptist retreat, where she is called upon to accept Jesus into her life after a coercive game of terror.

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

In this tape, shot in August 1970, a number of Hells Angels are interviewed on the street in New York City. They talk about their bikes and their preparations for a “run”, and their reactions to the way they are portrayed by the mainstream media.

In a tape that stands out as one of the earliest examples of the use of appropriated television footage, Freed assembles a collage of images representing American media icons, from Mickey Mouse and Richard Nixon, to The Wizard of Oz and the Rol

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. 

Immaterial Terrain is a film made by Emily Richardson along a seven-mile stretch of the UK coast between Sizewell nuclear power station and the mythic drowned city of Dunwich.

Thai conceptual performance video artist Kamin Lertchaiprasert (b.1964) anchors his work through a commitment to the core principles of Buddhism and his definitive goal to create “life-specific” rather than “site-specific” art. For Lertchaiprasert, the purpose of art is to reclaim the meaningfulness of human activities and collaboration. The artist describes how his techniques of production and his choice of medium ranges from environmental works, to formal sculptures made from recycled materials, to the use of relational aesthetics in the creation of collaborative workshops. With reference to cultural and religious differences between East and West, Lertchaiprasert also posits how the philosophy of art under Buddhist ideals can be a matter of survival, helping us to better understand the essence of being alive. -Faye Gleisser

Located on the Lofoten Islands in Northern Norway, Acoustic Ocean sets out to explore the sonic ecology of marine life.

The five videos featured here investigate video as a tool for storytelling and the construction of alternate identities.

Color Schemes was exhibited in its installation form (with a self-service washing machine) at the Whitney Museum in 1990.

Taking its title from the four consonants of the ancient Hebrew name for God, Tetragramaton contemplates the relationship between man, technology, and ecological systems.

“Trolling for news we call it,” says Bart Friedman a minute into this video, as he pushes down a road the Lanesville TV News Buggy – a baby carriage filled with video equipment, spilling over with wires.

In Barbier’s meditative journey through India, she deconstructs the myth of the objective documentary by using textual commentary and off-camera remarks to address the problematic relationship of observer to observed.

Part of the paraconsistent sequence series.

Fred Tomaselli’s mosaics and collages compose patterns and images that suggest ancient global influences.

A short animation commissioned for Peter Burr’s touring media project Special Effect connecting Tarkovsky’s Stalker to its original text Roadside Picnic by the Strugatski Brothe

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.

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.

Jessica Bardsley is an artist-scholar working across film, writing, and studio art.

This is the new choreography of devotion, via the vlog of southern nightmares. This is the light that never goes out. This is the line describing your mom.

In Bad Grrrls, Glennda and Fonda LaBruce attend a Riot Grrrl conference on New York’s Lower East Side. At the conference, they conduct interviews with punk women, performers and artists, including Penny Arcade and Sadie Benning.

This absurdist, microscopic film noir follows the activities of an underground network of ill people, desperate to create alternative methods of self-care in a world where natural resources are disappearing.

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

In this video diptych, Snyder uses image and music to depict opposing forces in semi-abstract terms.

Reverend Howard Finster was a preacher-turned-folk artist. He created Paradise Gardens Park & Museum, a product of all his murals, drawings, sculptures, and mosaics—and Summerville, Georgia’s largest tourist attraction.

A documentary presenting an overview of Eduardo Kac's trajectory, including interviews with the artist and with art critics Annick Bureaud, Christiane Paul, and Arlindo Machado.

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.

During Videofreex member David Cort's travels to Jerusalem, a scene was shot in a hospital where a female patient is having electrodes attached to her body.

In Mute, fragmented images of the female body, recalling sensuous landscapes, suggest the objectification of women in a culture that renders them silent.

Three people are taken for a short ride on the River Thames hanging upside down on the back of a speedboat. The journey is both a test of endurance and a simple way of forcing people to see differently.

Originally presented as a live performance piece using actors, multiple monitors, and music, Modern Times is a consolidation of seven short chapters in the life of a modern woman.

“Collaboration is competitive” – this is the tag line for the artist collective Type A, composed of Adam Ames and Andrew Bordwin.

A childhood experience is projected on a shadowy wall of a former movie theatre. A racist cinematic trauma passed between friends and family is remembered among the rustling of leaves and reflections of trees on an iPad screen.

Turistas deals with the letdown of a world that is pre-mediated and post-digested—a video travelling guide that updates the 19th century artist's Grand Tour and downgrades it to 21st century not-so-Grand status.

Estelle Jussim (1928-2004) was regarded as one of the most influential voices in photography and media. An art historian and a communications theorist, Jussim wrote extensively about photographers, movements, and institutions, incorporating postmodern, deconstructionist, and feminist viewpoints in her many writings without being hemmed in by any one critical ideology.  Jussim was the award-winning author of Slave to Beauty and the pioneering Visual Communication and the Graphic Arts, which charted new ground in the investigation of the meaning of images. 

Like a couple of kids pawing through a costume trunk, filmmaker Emily Breer and performance artist Joe Gibbons delight in trying on the attitudes and artifacts of culture.

A HalfLifers journey to a lush interior landscape where some domestic chores and an unexpected encounter provoke a crisis at Mission Control, paving the way for a seasonal reflection upon the meaning of "home."

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.

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.

I once read a story about the Tibetan Buddhist Master, Chogyam Trungpa Rimpoche in a book by death-teacher, Steven Levine.