In 1958, Allan Kaprow (1927-2006) published an article on Abstract Expressionism entitled The Legacy of Jackson Pollock in which he suggested the separation of the art-making activity from the art itself.

In this 1996 interview, African-American sculptor, printmaker and designer Valerie Maynard (b.1937) describes growing up in Harlem in the mid-20th Century and her awareness of the importance of community during her upbringing. Recalling the prominence of the Baptist church in her early life, Maynard discusses how religion brought her into contact with local politicians who impressed upon her the importance of affecting change. The artist notes how an early affiliation with Congressman Adam Clayton Powell and her brother’s incarceration propelled her interest in social justice and the workings of the judicial system.

In this episode of Glennda and Friends, Glennda Orgasm and Mark Allen drink at Marie's Crisis Café, a piano bar in Manhattan.

lovehotel uses excerpts from the book Fleshmeat by Australian Internet artist Francesca da Rimini, detailing her life online from 1994 to 1997.

Eiko performed unannounced in the Cathedral of St. John Divine, New York City as an artist in residence in 2016-2018.

Camera by Alexis Moh.

We have come to this place of meaning together, celebrating our un-remaindered completeness.

There is a crudeness to How's Tricks, Benglis's first venture into narrative fiction. No attempt is made to hide the mechanics of making the tape.

Co-commissioned by the Next Wave Festival, The American Dance Festival, and the Lied Center at the University of Nebraska, Land is a collaboration with Native American musician Robert Mirabal and painter Sandra Lerner.

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.

A Yosemite gargoyle climbs two gothic arches.

High Water was filmed in post-Katrina New Orleans and the surrounding Louisiana wetlands, one of the fastest disappearing coastal areas on the planet.

Cherokee-American artist Jimmie Durham has worked in performance since the mid-’60s. In the ‘70s, he immersed himself in activism, working for Native American rights as part of the American Indian Movement.

Polished obsidian mirrors, tezcatl, were once used in ancient Mexico for divination, to traverse into the worlds of the gods and ancestors.

A video collage that chronicles the issues and events that arose in Linda M. Montano’s life while she devoted a year to each of the seven chakras.

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.

“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

5% is a ten-minute work that questions the cult of pop stardom, deconstructs music industry practices, considers the problematics of live performance, and suggests other, more anonymous working strategies.

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 2012 campaigns, and highlights the development of the political strategy and marketing techniques of the T

Shot in low-light style, Kuchar documents his experiences with various underground filmmakers such as James Broughton and Ken Jacobs, then moves on to the other side of Hollywood lifestyle to visit Nicholas Cage.

Divino explains how he got introduced to video. “Filming is my profession; that’s what I was born to do... not for the work with the axe. I wasn’t born to plant.

Taking aim at the social standardization enforced particularly on women's bodies, Rosler critiques the politics of "objective" or scientific evaluation that result in the depersonalization, objectification, and colonization of women and Others.

A bruise on her face. The woman has white makeup, bright red lips and dark-rimmed eyes, which are largely covered by her hair. Without uttering a word, she hits her face, head and upper body.

St. Marks: New Years Eve combines political commentary with non-narrative segments that celebrate the medium of video.

A remarkable work about the struggle of the Waiãpi tribe, an indigenous people of Brazil, to combat the encroachment of prospectors on their land.

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

This video consists of raw footage from a Women’s Liberation Rally in New York City, shot on March 7th 1970, in celebration of International Women's Day. The first two thirds of the piece consist of footage of the crowd and speakers.

“APP APPAP APP APAPPAP APP APP APP APAPPAPAPPAP APPAP APP”

A Fourth of July celebration ignites the Id and unleashes a digital demon hungry for imagery of the young and the restless to appease the contraption it sees through: the cannibal camcorder in a state of carniverous conniptions!

REVOLVER is a short film that weaves the perceptual phenomenon of pareidolia (a situation in which someone sees a pattern or image of something that does not exist) with an oral history narrated by a descendent of Exodusters.

Through the memory of a high school classmate, footage from a film for teenagers called Be Popular, a video dating tape, and performances by political and entertainment figures, So, You Want To Be Popular? examines how cultural stereot

In Shelly Silver’s frog spider hand horse house, the effort of all things to keep existing has been observed by someone with a camera who seems, as far as personality goes, to be no one.

"Blight was made in collaboration with composer Jocelyn Pook. It revolves around the building of the M11 Link Road in East London, which provoked a long and bitter campaign by local residents to protect their homes from demolition.

Dark Sun Squeeze is a darkly meditative exploration of a sewage treatment plant, revealing the hidden rhythms and bizarre journey of raw human waste.

Though the use of fairytales and dark fantasies, these works combine the commonplace with the macabre to construct a new world of the subconscious.

Images cascade and collide in Acetone Reality, as animation, found images, and the artists’ own video recordings crash against a dialogue between computer-generated voices exploring the wonders of acetone and the

In Joan Does Dynasty — a hilarious classic of feminist media deconstruction — critic Braderman literally projects herself onto the set of the favorite series of one hundred million people in 78 countries.

Eiko's grandfather Chikuha Otake (1878–1936) was a praised figure in traditional Japanese painting. But his anti-mainstream sentiments were shunned by the field authorities.

Made with my production class at the art asylum called the San Francisco Art Institute, this wide-screen drama of run-a-way spectacle and crazed emotion depicts a lurid tale of familial fury and unleashed passions.

Memory Palace is a short video grounded in the personal history of the artist. A discovery of a photo album activates memories of physical spaces, which in turn open doors to reminiscences of past family life.

Storms threaten to tarnish the Golden State as I wander through the rooms of my apartment, seeking a high in the lowering barometric pressure.

A political composition on natural resistance. These images are an expiring breath in danger of extinction. These images become extinguished, consumed: a drop, a pure intensity which only appears when falling.

April 26, 1976. San Francisco. Doug Hall and Jody Procter of T.R.

The unstable earth becomes the epicenter of this videotape document which explores—in a fractured way—the relationships between the people, places, and furniture that sit atop the San Andreas Fault.

3 Peonies is a brief, poetic 16mm film of a simple sculptural action.

Performed by my graduate students at the San Francisco Art Institute, this one act play that I had written gets the best production values that $500 can afford.

“Hopinka’s video Mnemonics of Shape and Reason (2021) traverses the memory of a place and space visited by the artist.

In Woodstock Festival 1969: First Aid, the Videofreex interview visitors and volunteers in and around the first aid tent about the level of health and hygiene at Woodstock.

“Levy's work is both ramified and momentous, addressing environments of many kinds, and filled with stories in which human behavior has played a decisive role.”

An alcoholic, emaciated father; a grossly obese, tattooed mother; a goofy, hormone-addled brother—all together in a claustrophobic council flat. Welcome to the Billinghams'. Richard Billingham wowed the art scene with his book Ray's A Laugh.

Made using voicemails the Kuchar brothers left on her home answering machine, the artist reveals George and Mike in all their candid honesty leading up to and following George’s untimely death in 2011.