On May 11 2004, Steve Kurtz phoned 911 to report Hope, his wife of 20 years, was unresponsive. When paramedics came to his house, one of them noticed that Kurtz had laboratory equipment, which he used in his art exhibits.

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.

The dog in dreamland? Or at least one of us is…

–– Ken Kobland

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

Block is a round-the-clock portrait, shot over a duration of ten months, of a 1960s tower block in south east London. The film is a portrait that developed out of this long duration spent there.

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.

The compilation What Was Always Yours And Never Lost, provides an essential introduction to recent works of video art and experimental documentary by indigenous film and video makers from throughout North America.

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

— Insite 2000 program, San Diego Museum of Art 

Hokey Sapp Does SPEW features Kate Schechter performing her invented media personality Hokey Sapp interviewing some of the luminaries at SPEW: The Homographic Convergence, a queer zine convention hosted by Randolph Street Gallery in Ch

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.

This compilation contains many of Teddy Dibble’s best comic vignettes. Everything is up for grabs in these visual and linguistic puns, including video dating, telephone operators, New Years Eve celebrations, fruit, and the theory of evolution.

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.

My Mother’s Place is an experimental documentary focusing on the artist’s mother, a third-generation Chinese-Trinidadian who at 80 still has vivid memories of a history lost or quickly disappearing.

Ground Effect is an investigation of the constantly shifting, 80km long line in Israel, where rainfall amounts to less than 200mm a year on average.

This is an agitprop piece on resistance from the autonomy and indigenous sovereignty that hold in his own name, in his own letters, in his own sparks and embers of letters.

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

Part of the Hauntology Film Archives series.

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.

Primal urges and lofty aspirations saturate this lush excursion into the human landscape where internal battles rage – see pens spill forth poems – observe the paintbrush dripping passions, as writers and artists sear

"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.

Phil Morton starts the conversation by discussing an engineering project at the University of Wisconsin which was developing an early video communication system over satellite.

“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

Meet local San Francisco artists and the pets of the culturally inclined, as George prepares to take a trip.

This tape exemplifies Snyder’s early experiments with the image processor. Articulated patterns of alternating wavelength and amplitude of both sound and light are arranged to produce abstract compositions.

"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 two part treatise on needs, met and unmet. A painter putters around his apartment. Spoils his cereal with rotten milk, gets a do-over with a fresh gallon.

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

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

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.

Eiko Otake, based in the United States since 1976, is a highly regarded artist who has performed in many countries as part of the performance duo Eiko & Koma.

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.

Black Code / Code Noir unites temporally and geographically disparate elements into a critical reflection on two recent events: the murder of Michael Brown and that of Kajieme Powell by American police officers in 2014.

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.

A flowing river, an injured arm, a dance floor, and a woman washing clothes in the bay—what carries the dust is the wind.

Documentation of the installation The Future of Metropolis at Technical University in Berlin, Germany.

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.

Set to music by Bikini Kill (an all-girl band from Washington), Sadie Benning's Girl Power is a raucous vision of what it means to be a radical girl in the 1990s. Benning relates her personal rebellion against school, family, and female stereotypes as a story of personal freedom, telling how she used to model like Matt Dillon and skip school to have adventures alone. Informed by the underground “riot grrrl” movement, this tape transforms the image politics of female youth, rejecting traditional passivity and polite compliance in favor of radical independence and a self-determined sexual identity.

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

“A short image-processed work, Thousands Watch deals with the issue of nuclear suicide.

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

"This film is closely related to my last feature-length project, Counting. I take the temperature of a neighborhood. In this case, the place is my New York.

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,

This is the path from the snake’s perspective.

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

Domestic life in south London filtered through stories of weight (and waiting), local history, bad dreams and the ongoing colonisation of the moon.

Original music by Bruno De Angelis.

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).

This is an over-the-top Video bouquet audaciously delivered by flamboyant "Pan" – like poets determined to paint the world pink.

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.

On March 8, 1972, Phil Morton conducted a morning class over the telephone.

"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.