The interstice of art and technology has proved to one of the most generative locations in contemporary transdisciplinarity.

This fictional docudrama—based in part on the careers of Anita Bryant, Phyllis Schlafly, and Marabel Morgan—covers the fictitious assassination of Clovis Kingsley, a powerful, pro-family, anti-feminist ideologue, and fictional author of The Power of

This is a rhythmic invocation of the ancestral fire, in which dazzling flames reanimate bones and natural elements. This is the shining of color.

The looped work Culture Capture 001 takes place within the American Museum of Natural History.

Letter to a missing woman, based partly on memories of someone who has been a political fugitive since 1983, combines documentary "evidence" and fiction in an imaginative reconstruction of public documents and private history.

In 1927 Henry Ford bought land in the Brazilian Amazon and called it Fordlandia.

Breder had met Conceptual Artist and Painter Lucio Pozzi during the Painting after the Death of Painting exhibition in Moscow in 1989, ande the Visual Practice/Visual Theory Area Studies Group chose the occasion of his participation a

Luis Cruz Azaceta (b.1942) creates paintings and mixed media works which use the recurring theme of the displaced individual. Marked by his own exile from Cuba—he emigrated to the U.S.

Lighthouse is about the labor system and the factory town in Southern China and how individualism is influenced by the social and political infrastructure.

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.

Based on a Story explores the widely-publicized encounter between a Jewish Cantor, Michael Weisser, and Nebraska's former Ku Klux Klan Grand Dragon, Larry Trapp.

Fifeville is a film about a neighborhood in Charlottesville, Virginia. It focuses on the details, gestures, and material life of the citizens of Fifeville as they communicate their understandings of the neighborhood’s changing landscape.

Rosa Barba’s work Disseminate and Hold investigates man-made geographies and landscapes, and how these are often deeply enmeshed with political agendas and utopian visions.

A series of vignettes, anemic in color, as the absence of light threatens the vibrancy of those depicted: a Bostonian painter and her bloated model.

Archives recovers the formal community that mobilizes the diagrammatic experience of archives, a formal community that claims the sensory nucleus where hypertrophic rhythms, abstract machines, monuments and memorials, digital servers, corporate

Wrong Place, Wrong Time uses appropriated images from the "reality television" genre to examine the seductiveness of the spectacle of tragedy. This video exists in an area where the division between reality and image are simultaneous.

Originally from Canada, Agnes Martin (1912-2004) moved to the U.S. in 1931. Martin lived in Taos, New Mexico from 1954 to 1957 and then moved to New York, where she established her name as an important minimalist painter.

Another chapter in the parallel-leftist-universe of Jim Finn, this video appears to be part of a communist self-help videotape series made in the early 1990's.

The death that happens to others, the death that is in you already, the life that is in this death.

Images from magazines and color supplements accompany a spoken text taken from Herbert H. Clark’s “Word Associations and Linguistic Theory” (in New Horizons in Linguistics, ed. John Lyons,1970).

A collection of videos made at Miami-Dade Community College Mitchell Wolfson New World Center as part of Miami Waves Film Festival. The videos are part of Wendy Clarke's ongoing project, Love Tapes.

Ray Lowden keeps seventy-two large birds of prey, five deer and some wallabies at his place in Northumberland, England. He’s had ten days off in twelve years and loves what he does.

Merce by Merce by Paik is a two-part tribute to choreographer Merce Cunningham and artist Marcel Duchamp.

Bezuna explores the complexities of fleeing a war-zone through the analysis of peripheral details.

Best known for her carved wooden heads wrapped in black leather affixed with zippers, glass eyes, enamel noses, spikes and straps, Nancy Grossman (b.1940) is accomplished in draftsmanship, assemblage, and relief sculpture as well as carvings.

e-[d]entity: Female Perspectives on Identity in Digital Environments is a two-part collection of videoworks created from 1982-2000 that explores the cyber environment and how it affects, expands, confuses, and involves female identity.

The San Francisco Art Institute's 100th anniversary is absorbed into this portrait of alumni in the heat of creation and pasta softening.

John Killacky is Eiko's long time friend. It was in July 2018 when both of them were attending the tree planting ceremony of their mutual friend Sam Miller at the Jacob's Pillow that Eiko invited John to join her Duet Project.

Awarded a MacArthur “Genius” Fellowship in 2014, Rick Lowe is a leading practitioner of social practice art. His Row Houses project is a highly lauded example of relational aesthetics successfully deployed.

As a video journal shot by George Kuchar’s students in his Underground Drama class at the San Francisco Art Institute, George Kuchar Goes to Work offers a unique glimpse into the frenzied chaos that was his directing method.

1968 was the opening of the Summer Olympics in Mexico City, ten days after the massacre of students and civilians by military and police on October 2 in the "Plaza de las Tres Culturas, Tlatelolco."

A young communist girl named Sharambaba resists her suitor in a carriage. She speaks of what he calls her "fantasy world". All of the dialogue is played backwards with accommodating subtitles.

Two Black University of Virginia hospital employees talking about the job site in a Albemarle County speakeasy.

The video hovers tentatively between therapy, documentary, poetics and mystic traipsery and ends, like all good things, in surrender to song.

This episode includes: two more adverts, considerations of the future, a multiple projection spectacular in miniature, a riverine jaunt, much fog, and an ending x 2.

Circle's Short Circuit is an experimental feature-length work with neither a beginning nor an end—the film can be viewed from any random point.

Woman, monster, animal? A portrait of a woman's face, the movement slowed down and reversed, the grotesquely made-up face examined in close-up.

A deliberately tasteless drama about televangelist scandals.

This title is also available on The World of George Kuchar.

Four tales about cannibal monsters narrated and performed by the Waiãpi Indians. “We have made the video,” say the Waiãpi, “to teach people to be more careful with monsters they never heard about.

Television Delivers People is a seminal work in the now well-established critique of popular media as an instrument of social control that asserts itself subtly on the populace through “entertainments,” for the benefit of those in power—the cor

"Between March 1972 and February 1977, the Videofreex aired 258 television broadcasts from a home-built studio and jerry-rigged transmitter in an old boarding house they rented in the tiny Catskill Mountain hamlet of Lanesville. It was a revolutionary act in defiance of FCC regulations — the first unlicensed TV station in America."

In Ontogenesis, Tanaka interweaves electronically altered images of American patriotism–the Statue of Liberty, Uncle Sam, waving flags–with footage of the Vietnam war, bombs dropping, and 1960s political figures (L.B.J.

Lunar Pond is part of an audiovisual series about lunar cycles and rhythms in an attempt to evoke, integrate and develop the mythical presence of the Aztec lunar goddess Coyolxauhqui, thus evoking the eroded contemporary landscape of our t

Commissioned by Ben Russell’s “Tales from the Space Age” screening for MoogFest, Asheville, NC, USA, May 2016.

As the camera looks out through a barred window and the clock strikes four in a Swiss city, the death of Yasser Arafat provides the starting point for a journey back in time.

Contains Videofreex tapes Buzzy and the Flute, Buzzy at the Gaslight, Buzzy at the Videofreex Loft, Buzzy Linhart at the Record Plant

In this interview, Brian Holmes, an influential art critic, activist and translator, discusses social forms of alienation, human ecologies of power, and the impact of technology on geopolitical social networks. Holmes reflects on his ongoing study of the ways in which the rhetoric of revolution has been institutionalized, as well as artists’ resistance to such cooption. For him, artists working in collectives have the potential to create a new artistic milieu that is not aligned with the dominant model of production. This argument is born out in his published collection of essays, Hieroglyphics of the Future (2003).

A video diary about Cuthand's efforts to undergo artificial insemination. Cuthand contemplates a desire to have children and its relation to preserving Indigenous culture.

Opening with jarring violence, Dani Leventhal's Tin Pressed proceeds to negotiate a balancing act between the bewildering tonal variances of daily life — with all of its unnameable and enchantingly fragmented specifics — and the gravitational u