An electronic disturbance created during a live audio meltdown by Animal Charm as part of their Hot Mirror Mix in the fall of 1998.

Shot in Lebanon, Syria and Jordan, this essay uses transportation, video, and photography to examine images circulating in a historically charged, and presently war-torn and divided, Middle East.

A black-and-white drama that lays bare the earth-shattering events surrounding the rise and fall of certain members of the communal body in a California town ravaged by subterranean forces.

Mike Builds a Shelter is a performance comedy with apocalyptic overtones, a narrative extension of Smith's installation Government Approved Home Fallout Shelter/Snack Bar.

An experimental video on national insecurities.

In October 1969, the Videofreex visited the home of wealthy political and social activist, Lucy Montgomery, as she was hosting the Black Panther Party of Chicago during one of their most fraught times – the period just after Chairman Bobby Seale was wro

"Newly hand-built digital video A to D and D to A with ALU bit flipping. Controlled by an ELF II computer. The image brightness changes also controlled analog synthesizer parameters of the live flute playing.

A documentary fiction inspired on the first accounts of the natural and ethnographic explorations in America by colonizers, missionaries, and scientists.

A picture of the day-to-day life of Shomõtsi, an Ashaninka Indian living on the border of Brazil and Peru. Valdete, a teacher and one of the village video makers, highlights his hardheaded and witty uncle.

Respite consists of silent black-and-white films shot at Westerbork, a Dutch refugee camp established in 1939 for Jews fleeing Germany.

The fourth video of the installation Touch Parade, which as a whole explores “plastic love” or fetish culture and the assimilation of marginalized sexuality on t

Throughout the video, Benglis asks "Now?" and "Do you wish to direct me?" and repeats commands like "Start the camera" and "I said start recording." As in On Screen, she makes faces and sounds in reply to the images on a monitor; at one point s

This single channel tape was created from a 4-channel live mix of 4 VCRs, an A/V mixer, and a sampler.

In Two-Spirits Speak Out, Brenda and Glennda interview members of We'Wah and Bar-Chee-Ampe, one of the first Two-Spirit Native American organizations in New York.

This short is a romp through the life and times of transvestite jazz musician Billy Tipton, who was discovered at his death to actually be a woman.

Kentridge's hauntingly beautiful series of animated black and white drawings brings viewers into the artist's unconscious.

A single-shot, choreographed portrait of the Foley* process, revealing multiple layers of fabrication and imposition. The circular camera path moves inside and back out of a Foley stage in Burbank, California.

A lighting psalmody by the current Mexican conflagration. Light through the veins.

Imagine that the camera is possessed with a psychosis similar to human schizophrenia; suppose that this disease subtly changes every single frame of film while leaving the narrative superficially intact.

A collaboration with writer Luc Sante made in Tangier, Morocco, a city where neither of us had ever been.

South Circular first shows us two women, in the shadow of nondescript ruins over the Tagus river in Lisbon.

China, Beijing, I Love You! is an animated film about extraction of nickel and cobalt along China's Maritime Silk Road.

The violent surgical act of a boy’s circumcision is contradicted by the peacefulness of his facial expression. Proud to join the world of men, the boy is trying his best to be brave. Yet can the passage to adulthood be that simple?

The everyday performance of domestic labor is teleported into a surreal game world where an emotionally responsive AI chatbot provides no answers.

Each year, crowds of Turkish, Australian and New Zealander tourists travel to Gallipoli, Turkey for a modern day pilgrimage.

This short piece introduces the visual artist German Bobe. A narrator explains Bobe’s background in various media, stressing that his work—the media he chooses and the themes he revisits—presents a synthesis of the concerns of his generation.

In the next chapter of Bobby Abate’s mysterious lo-fi cyborg tale, we find ourselves roaming the set of a 1960’s evening newscast.

Chief Pedro Mãmãindê (who directed the proceedings and the shoot itself) describes the necessity of strengthening the girls of his village by secluding them after their first menses.

Using performance as a means of personal transformation and catharsis, Mitchell’s Death mourns the death of Montano’s ex-husband.

The latest in Muntadas and Reese's series documenting the selling of the American presidency features political ads from the 1950s to ads from the 2004 campaigns, and highlights the development of the political strategy and marketing techniques of the T

When she was 16, Benning stopped going to high school for three weeks and stayed inside with her camera, her TV set, and a pile of dirty laundry. This tape mirrors her psyche during this time.

SPRING is a four minutes and fifty-six seconds experiment with psycho-optics and psychoacoustics to produce a field of moving images and sounds starring Ho Chi Minh, Occupy Wall Street actions and Crocus.

Hub proposes that the idea of home is today perhaps better expressed as a sense of being between places.

This film is an appropriation from the 1965 movie The Sound of Music. Each sync sound frame of the Prelude and opening song "The Hills are Alive" is

Polycephaly in D is a densely collaged exploration of the existential drift, collective trauma, and psychological free-fall of the contemporary moment.

Framing the solo exhibition Prophetic Memory, this video remediates images of the NYC nonprofit art gallery, Artists Space, with the filmmaker’s grandmother's descriptions of how she would use her interior design

Video from the 2nd Interactive Electronic Visualization Event (IEVE), a collaboration event with SAIC's Video Department and the University of Illinois Circle Campus.

It’s a delight; not fragile yet.

It’s not hockey bashing and blades.

Not the escapades, or a snake.

It’s an expanded definition of drawing.

Prefaces is composed of wild sounds constructed along entropic lines, placed tensely beside bebop rhythms, and a resurfacing narrative cut from a dialogue with poet Hannah Weiner.

The soundtrack begins with the artist stating the conditions: “An artist may construct a work and/or a work may be fabricated and/or a work need not be built.

A. D. Coleman started writing regularly on photography in 1967 for the Village Voice, at a time when very few critics took the medium seriously.

Though this video segment bears the title Construction Workers Rally, much more than issues of labor are addressed.

As a foulness shall ye know Them. Their hand is at your throats, yet ye see Them not; and Their habitation is even one with your guarded threshold. The wind gibbers with Their voices, and the earth mutters with Their consciousness.

Scenes from an Endless War is an experimental documentary on militarism, globalization, and the "war against terrorism." Part meditation, part commentary, Scenes employs recontextualized commercial images, rewritten news crawls, and o

Set in East Berlin in 1977, this short experimental documentary interviews the Dadaist artist Hannah Höch as she reflects upon her experiences living and working during in 1920s Berlin. Höch compares

Featuring Ken and Louise from Wendy Clarke's One on One video series, this video exchange encompasses a shared passion for music and pure emotional vulnerability that creates an incredibly intimate relationship between these two strangers throu

The “greca”, the meander, is the main symbol weaved in the textiles made by the Navarro sisters, from Santo Tomás Jalieza, México.

Shared Resources depicts the filmmaker’s family after their father was fired from his job as a debt collector and their parents declared bankruptcy, largely due to the filmmaker’s own debt.

Letting go of realist constraints, and going back to the mirror-images of some of Provost’s famous previous works, we are diving into a cosmic ocean of ever metamorphosing baroque circumvolutions in which our minds try to capture reassuring forms before