A brief dialogue between Marianne Renoir and Pierrot and a short description-reading from ‘Pierrot le fou’ about Diego Velázquez – these intersect with a visual moment to constitute the outline of a perception and the occurrence of the idea of ‘el puebl

Primate Cinema: Apes as Family is a drama made expressly for chimpanzees – and the chimps' reaction to its screening at the Edinburgh Zoo. Chimpanzees watch television as a form of enrichment in captivity.

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

Created from 2014 footage shot at Ethan Cohen Fine Arts Gallery with a mirrored curtain, the performer here meets a ghost of herself.

Performer: Elisa Osborne

Camera: Liliana Gao

Editor: Adam Burke

Nazlı Dinçel’s hand-made work reflects on experiences of disruption.

“The syntactic structure and lateral movement of Arcade match its fairground equivalent.

The Action Series finds our alienated heroes in desperate attempts to communicate and find a way out of their endless crisis scenarios. The two pieces share a domestic setting, though this is no comfortable home away from home.

Trans filmmaker Jules Rosskam's against a trans narrative is a provocative and personal experimental documentary investigating dominant constructions of trans-masculine identity, gender, and the nature of community.

[This] is my first attempt to construct a video piece using one set of generative intervals for both sound and color.

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.

This structurally simple video, shot through Benglis's apartment window, contains a, "distinct disjuncture between the visual and aural components of the work.

Recently I found myself rising from a forced landing on the floor after being catapulted into the air by an exercise machine and bouncing off the dresser.

This waltz is a set of circular and fragmented compositions, in which a rhythmic and haunted dance hides an eroded lunar landscape. The microscopic rubble of our contemporary civilization. Part of the Lunar Films series.

In the spell of one of the most exquisite pop songs I know, with the most rudimentary of animation skills, I sought to produce a smooth and rapid transition from innocuous kindergarten silliness to faux-Lynchian horror.

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

“Images from the maximum-security prison in Corcoran, California. A surveillance camera shows a pie-shaped segment of the concrete yard where the prisoners, dressed in shorts and mostly shirtless, are allowed to spend half-an-hour a day.

In Post Queer Pride 93, Brenda and Glennda attend the New York Ci

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.

Loss Prevention combines documentary and fiction to tell the story of Irene, arrested at the age of 79 for stealing a bottle of aspirin from a Miami Wal-Mart and sentenced to ten weeks of Senior Citizen Shoplifting Prevention School.

In this episode of The Brenda and Glennda Show, Brenda and Glennda create a satire of 1990's infomercials. The video includes interviews and performances by Vaginal Davis, Bruce LaBruce, and Chris Teen.

The 1970s witnessed unprecedented artistic development of non-traditional media – chief among them were textiles and fabrics.

This lyrical piece celebrates the male body simply and elegantly. Its subject, Christophe, is exquisitely portrayed by the sepia-toned balletic video. Three men dressed in overcoats dance in and out of the frame in front of a mostly stationary camera.

In Lossless #5, a water-ballet crafted by the famed Busby Berkley is compressed into an organic mitosis, within which we detect the spirit of a "buggy" Brakhage ghosting about the integrated circuit.

In collaboration with DonChristian Jones.

Room was produced during 2020 virtual creative residency of Eiko Otake supported by the Center for the Arts, Wesleyan University in Middletown, CT.

Spell Reel is an archive of film and audio material from Bissau, Guinea-Bissau.

In 1993 President Mitterrand visited Korea.

Part of the paraconsistent sequence series.

A classic example of feminist performance videos of the 1970s, which often incorporated autobiography, expansion of self through personae, and assertions of a new identity for women.

“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.”

Laurie was inspired by Laurie Weeks’ uncanny ability to simultaneously embody her characters and write them from a clear distance.

Nathan Lyons (b.1930) has contributed to the field of photography as a critic, author, curator, educator, and photographer.

Addressing the imbalance of information flow between the wealthy and the destitute nations of the world, Towards A New World Information Order suggests means by which this imbalance might be rectified, including ways to control the press.

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.

Sportello Quattro, filmed during a residency at the American Academy in Rome, is about immigration, work and community among people of color in contemporary Rome, Italy.

Cast: Joseph Bayorha.

Shot during an NLP (neuro-linguistic programming) seminar in Berlin, a group fluxuates between guided meditation and discussion on consciousness and self-acceptance.

In Over My Shoulder, Gordon uses hand gesticulations against a white sheet to communicate both violent and sensual emotions.

This is the burial hymn for thousands of souls in the anthropocentric times. The ghosts of the American way of life. Part of the Hauntology series.

1+8 is a film about Turkey’s unique position between West and East and her relationship to her eight very distinct and diverse neighbors.

Blind man: “It is bad to be alone.”

The Creature: “Alone, bad.”

—The Bride of Frankenstein

It can be so bad to be alone that even an artificial heat is better than none.

“The images mix fragments of the real and imaginary in a hermetic effort to express the [Breder's] quest for a visual text that is at once personal reflection and cultural criticism. ” - John Hanhardt, 1989

“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

Chris Burden came into prominence in the late 1960s, but unlike many of the performance artists of his generation, Burden was interested in empirical and scientific investigations.

Incorporating appropriated television footage as artistic experimentation and social critique, Chilean artist Magaly Ponce retells a history of violence and repression from her point of view.

Volume 2 includes the pixelvision works made in 1992: A Place Called Lovely, It Wasn't Love, and Girlpower.

Panzano creates a matrix where the three most taken-for-granted elements of any film (camera, subjects, and the spaces they inhabit) are all delicately at odds with one another — allowed to float freely, gauge the terrain, and stake out a compr

A haunting look at the hidden issues of erotic power relationships between women, told through the reconstructed story of two girlhood friends.

A hand enters the screen and removes sheets of paper one at a time. This action continues in a seemingly infinite manner, without beginning or end.

This humorous video begins with two women—one white, the other Asian—attempting to fit into a Japanese bathtub.

In collaboration with fellow camera operator Alan Gerberg, Freed visits George Segal at his North Brunswick, N.J studio in October 1972.

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.