The video series Not Once began with the recording of personal stories by local Icelanders, about specific locations or a sense of place.

Toxic pigments of lust stain an artist’s brush as he struggles against lurid colors on the canvas of his life, – a "life" in brick jungles wit sordid, dark alleys on neon-lit avenues where he got lost

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

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.

In this video, Glennda is joined by social critic and feminist scholar Camille Paglia in New York's fashion district. The pair visit designers studios to discuss their respective styles and creative processes.

The vacuum cleaner becomes the device of the feminist 'liberation', or the monster that devours us.

— Insite 2000 program, San Diego Museum of Art 

Something Else is a film about found footage as subject matter and Miss Black Roanoke, Virginia 1971 expressing her thoughts about the upcoming Miss Black Virginia 1971 Pageant.

Cast: Rene Marie.

This video is an unabashed fan letter to poet Eileen Myles. As in Laurie, my desire was to romanticize the poet, but not through her writing so much as through her reputation as the natural born child of the New York School and the Beats.

Described by the New York Times as “an extraordinarily personal essay that struggles to explain and understand what went wrong in the director’s relationship with his father, Ray, a car dealer,” My Father Sold Studebakers is an auto-biographica

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.

Created at Eiko & Koma's home in the Catskills and set to Gamelan music, Grain was first presented during a month-long season in an East Village loft.

Night. The moon is a rock. The ears are stopped. A chair balances on the roof of a house. A silver box composes itself: a mysterious instrument. A marble rolls around in somebody’s head. Two rocks spin.

In Danza Solar, Super8 archival footage of dancers is superimposed with 16mm views of the sun (suns). The film evokes a communal solar trance, both Andean and Mesoamerican.

This black and white drama of romance, adventure and outer space intervention was mounted at the San Francisco Art Institute.

This film was made from The New York Times newspaper articles. The semi-automated animation process resulted in sentence recombinations that sometimes made sense while randomly emphasizing certain words and images.

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.

An image of the curandero in Tlocalula, Mexico.

"Harun Farocki was commissioned by the Lille Museum of Modern Art to produce a video about his work. His creation was an installation for two screens that was presented within the scope of the 1995 exhibition The World of Photography.

Setting her pixelvision camera on herself and her room, Benning searches for a sense of identity and respect as a woman and a lesbian.

“I could do wonders if I didn't have a body. But the body grabs me, it slows me, it enslaves me.”

-- Ponce de Léon

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

"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.

The repeatedly distorted, primate behaviour of an (ani)female carrying her baby, reflecting the pain and suffering provoked by the mother/child relationship.

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

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.

This is the second part of the hyperkinetic still life. This triptych is part of the Hyperkinetic and Hauntology film series.

Executive produced by Sara Diamond at the Banff Art Centre, co-produced by Michelle Baughn and Suzanne Lacy, directed by Tom Weinberg and Dick Carter, and edited by Holen Kahn.

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

Both Vermont Landscape and Pond Life followed two opera collaborations with composer Steve Re

We recently went to Guinea Bissau to research the guerrilla schools of the mangroves. Instead, we soon became ourselves the apprentices and the first lesson we had to learn was how to walk.

Eco-artists Helen and Newton Harrison define truth as a series of interactions that anyone may join. The Harrisons choose survivalist subjects because we have so encroached upon this environment, we must give it every advantage we can.

CURRENCY is a sound-film of refusal—a woman wears bygone forms of currency on the tips of her hair while preserving the greatest currency for herself.

An imaginary room resembling a swimming pool. An actual body of water. Sea creatures carried by the wind. Plastic. A dance film that leaves us primarily in the dark. A dance score for the choreographer Joanna Kotze.

Voice: Maureen McLane

This is the contained power of the sacred seeds, the vibration of the ancient seeds of corn and their passage through an ocean of pulsating luminosity. A germinal liturgy of holy seeds.

One of several videos the artist made with her brother while still in graduate school at the University of Illinois at Chicago. Two Dogs and a Ball is a cover of William Wegman’s piece of the same title from the late 60’s.

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

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

The Duet Project: Distance is Malleable is a mutable and evolving series of experiments in collaboration. Negotiating differences of race, time, culture, ethnicity, religion and gender, the artists seek to maximize the potentials of t

In New Report, Wynne Greenwood and K8 Hardy are reporters at WKRH - the feminist news station that is "pregnant with information." As Henry Irigaray (Hardy) and Henry Stein-Acker-Hill (Greenwood), these two lesbian feminist artists stage report

Acconci's open mouth is framed by the camera in an extreme close-up, bringing the viewer uncomfortably close. A desperate sense of strained urgency comes across as Acconci gasps, "I'll accept you, I won't shut down, I won't shut you out....

My Only Idol is Reality is a video work created from an excerpt of Season One of MTV’s The Real World. The piece uses repetition as a framework for abstraction

The fifth in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed here–Tejana tableaux artist Santa Barranza, Taiwanese video and interactive installation artist Shu Lea Cheang,

Notes for a DejaVu is a paramnesic experience of the images where Jonas Mekas still lives and we can hear him comment on the memory of an imaginary trip to Mexico. This film is shot with an expired 16mm celluloid during a popular protest.

Betty Parsons (1900-1982) was an influential art dealer in mid to late 20th century New York.

Can You Move Like This: Black Fire films by Kevin Jerome Everson and Claudrena N.

Elizabeth Hess addresses issues of censorship, AIDS, war, feminism, and politics in general. She has written extensively on women’s issues, contributes to The Village Voice, and is co-author of Re-Making Love: The Feminization of Sex (1986).

Paul Schrader’s Bag is an inventory of fame. Playing the anonymous Every Man in a brush with celebrity, Simon presents a Hollywood peerage as our cultural patrimony.

"I was looking at postcards run through the David Jones digital video frame buffer.  The buffer had two inputs, a video image of white noise and a video image of holding a post card, blank back to the camera as a clip.

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 re-enacts the trials and travails of her desperate, hormonal, pubescent years with actors dancing their way through what looks like a techni-color version of the Cleaver’s backyard.