The fragment contains within it an implied reference to something that was once whole. It suggests damage and violence, time and distance.

An all-over textile constructed under the spell of Arachne, an audiovisual textile in five parts that exposes a web of raids in construction over the american houses, a landscape of protests under the webs of segmented time, the entrails of the american

Sahara Chronicle encompasses an undefined number of short videos documenting the present sub-Saharan exodus towards Europe.

Gravity Hill Newsreels: Occupy Wall Street comprises Jem Cohen’s twelve-part series as a continuous and complete compilation.

Mom and Dad highlights causal conservations between Phil and his parents around family life, road trips, and camping in an interview-like setting, where his parents sit against a plain brick wall facing the cameras.

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.

"Gregg Bordowitz’s 2017 performance lecture Only Idiots Smile features the artist on a stool in the New Museum’s top-floor sky room, riffing on the formation of his identity.

A sort-of music video that focuses on and under young women and men engaged in focusing video and movie cameras on other young men and women.

Having a party and in a fix for a dessert? The “Lady” Bunny has just the recipe: combine a doughnut, Cherry 7-Up, jelly, strawberries, and whipped topping.

To keep a promise made to her dying mother, a young woman goes off in search of her father, a womanizer she has never met. Along the way, she soon learns that he is dead. But that doesn’t change her plans, she still intends to find him.

Adam Khalil and Zack Khalil’s debut film re-imagines an Anishinaabe story, the Seven Fires Prophecy, which both predates and predicts first contact with Europeans.

The planting of the "cempasuchil" for the celebrations of the "Day of Death" is one of the last jobs that the Ayotzianapa normal students did before they were brutally disappeared, with small Lomokino 35mm cameras, which we had to compose-hit several ti

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?

1933. Berlin. The last year of the Wiemar Republic. Through the lense of her personal "home movies", Leni Riefenstahl records a day in her life with a young Eva Braun.

"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.

Using highly-manipulated and over-processed images, Latham investigates the process of video as inherently fragmented. Weaving together various people’s impressions of the artist and her work, the work demonstrates important parallels between video, storytelling, and the formation of identity — all processes of active fabrication that blend “lies” and truth in the construction of a certain reality, history, or past. Labeling an image of herself talking as “her most recent explanation,” Latham addresses “the construction of her video personality” as an identity outside of herself.

The second part of the Damnation of Faust Trilogy centers on the development of Marguerite, the female character in the Faust legend. Masterfully composing fragmentary "memory" images in elegant 19th Century Japanese compositions, Birnbaum traces the process of deception and abandonment through the heroine’s mournful description of her state of mind. Passing images are suffused with light, obscured in a blinding brightness, to suggest forgetting.

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.

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

A lavish home is visited, shutters click, bottoms are exposed, water splashes and a welcome wetness stains an area unquenched for so long. A jacuzzi bubbles to life in a bedroom community that floats to sleep on aqua-filled rubber.

Shot in black and white Super 8, this lyrical short follows a wandering, disengaged youth through grey afternoons. German Song features the hard-edged music of Come, an alternative band from Boston.

Scottish artist Thomas Lawson (b. 1951) is a painter, critic, and founding editor of REAL LIFE magazine who lives and works in Los Angeles. His paintings are tied to the particularities of the present, and he is especially critical of the art world’s infatuation with ego and creativity. His portraits, appropriated from the print media, represent an intervention in that vein.

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

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.

“The moon, the sometimes dark street, trees, it's warm […] at last, a certain eroticism possible (that of the warm night).” When Roland Barthes visited China in 1973, he jotted down some notes that

“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.”

Why do teenagers get drunk?

A Kafkian vision of the New World. The arrival of Karl Rossman to the contemporary Babylon under the spell of the paranoid avant-garde. Kinetic coexistence of the archaic forms in dissolution.

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.

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.

Enter the classic world of a haunted creature destined for stardom in the astrological realm beyond our heads. Visit a haunted soul in her house of horrors and heavenly delights.

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.

A trip to Boston to visit a local filmmaker in his studio is followed by a journey to the cinematic facilities of SUNY College in Purchase, NY, and then to the kitchen and living quarters of my mother in the Bronx.

At the 'Institute for Metaphysical Research and Spiritual Wellness', crackpots, perverts and guitar strumming UFO abductees struggle with the supernatural and their own carnal needs.

-- Mike Kuchar

In a guided meditation progress is posed as a godly icon for worship. The inseparability of the human labor-spirit connection is probed.

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

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 is Eiko & Koma's second collaboration with videographer James Byrne.

"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.

A small Italian town on a seemingly distant hill appears like an architectural model illuminated by interior lighting. Suddenly, sounds seem to cancel the distance, suggesting nearness.

... it's not what it used to be.

a personal album and homage, in my own way, to an influential film ... a closet-cleaning scrapbook of beloved photos and oddities ‐ and the gift of fire.

–– Ken Kobland

In a piece commissioned by Remy Martin, Birnbaum adopts the language of commercial advertising, using the body, gestures, and glances of a heavily made-up woman to create a scene of glamour and romance—while slipping in a disparaging narrative that touc

In the fall of 1974 Doug Hall and Jody Procter began to develop a presidential archetype, which they called "the Artist-President." Procter wrote the speeches that Hall delivered "presidentially" in performances.

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

The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh.

A volcano self-destructs ages ago, leaving in its wake a great emptiness which is filled with all that is cold and blue.

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.

“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.

George visits his mother in the hospital on Halloween and contemplates the autumn colors.

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

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.