The Look of Love: A Gothic Romance is an experimental video/audio collage in four acts. Performing in various guises, Suzie Silver embarks on a quest for the magnificence—and horror—of desire and pleasure.

A promotional vehicle with lane-changing tendencies, but both hands kept on the wheel at all times.

In this video, made soon after the death of his mother Stella, we accompany George to the wake, and on to a trip to Albert Maysles holiday home on Fisher's Island.

Based on Emanuel Admassu's essay Menged Merkato, an architectural analysis and historical journey of the largest open-air market in Africa, located in Addis Ababa, Ethiopia.

Lambert is a Chicago-based musician and media artist. His creative output primarily consists of vocal driven art-pop music and pop-inflected video art made from repurposed industrial and commercial media.

This tape deviates from the more purely formal investigations of Snyder’s earlier work; it has no soundtrack and uses camera images exclusively.

Once Upon a Time is about these encounters of diaspora and the displaced ‘homeland’ and describes a personal tale of my own diaspora and traveling culture, which crosses the boundaries of nation-states and is located in between different geogra

In this interview, Indian artist Shuddhabrata Sengupta (b. 1968) discusses his role in the initiation of the Raqs Media Collective, a Delhi-based artist collective, active since the 1990s. At the time of this interview, Raqs had been creating documentaries, art installations, and educational programs for eighteen years. Sengupta likens the driving force of Raqs to that of a game of catch, a process generated by a back-and-forth dialogue mobilized through writing and in-person meetings. As children of the late sixties, Sengupta explains how and why the members of Raqs, (himself, Jeebesh Bagchi and Monica Narula) share an interest in investigating mass communication, technologies of visibility, and the significance of memory and travel. It is also for this reason, Sengjupta explains, that the Collective’s work is committed to fostering rigorous research in addition to art-making endeavors.

An intimate dialogue with Soha Bechara, ex-Lebanese National Resistance fighter, in her Paris dorm room.

We came into the world under the sign of Saturn, the star of the slowest revolution, the planet of detours and delays. Saturn pulls the word down into its vortex and turns the flow of events into rings, lines and particles. There we are all invisible.

Timely concerns about the future of video, artists’ complicity in the money making system of the ‘establishment,’ and the effect of the camera’s presence on personal encounters, is discussed and debated in this late night video produced by David Cort, C

Produced without camera input, this intense electronic landscape transports the viewer into a world that is an abstract study in machine-generated imagery. Produced at the Experimental Television Center.

In the video Glennda does DC, Glennda interviews people in Washin

Masked men prowling in the bushes and not touching anything but satin, dandelions and flesh.

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.

Washington, D.C.-based African-American artist Sylvia Snowden paints what she calls “figural or structural abstract expressionist” works.

A short production I concocted with the students from the School of the Art Institute of Chicago and a tour through the old Playboy Mansion in Chicago where I bedded down for several days, alone and confused.

Mary Miss (b.1944) is an American environmental artist who works with concepts of illusion, distance, and perception. Her site-specific work frequently uses both ancient and modern architecture as references. Miss's 1977 installation Perimeters/Pavilions/Decoys at the Nassau County Museum of Art, served as one of Rosalind Krauss's inspirations when she defined postmodern sculpture in her article, "Sculpture in the Expanded Field." 

The city of San Francisco is awash with talent and some fine eating places too. In this seaport escapade the viewer is detoured by the smell of lamb chops and the sound of loose tongues vibrating with vitality.

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

C.L.U.E. (color location ultimate experience), Part 1 is a collaborative video and performance work by artists A.L. Steiner and robbinschilds, with AJ Blandford and Seattle-based band Kinski. Inhabiting the intersection of human movement and architecture, A.L. Steiner and robbinschilds (Sonya Robbins and Layla Childs) present a full-spectrum video, set to a score by rock quartet Kinski.

Wawa peeks at the anxieties and difficulties of communication through the interactions between speakers of an endangered Indigenous language, each from differing cultural backgrounds and generations.

This rapid-montage music video for John Sex’s song “Hustle with My Muscle” portrays the singer as a ladies’ man with ample endowment to share. “Can you handle all the man below my belt?” he provocatively asks.

These are the ghosts of a haunted civilization, a culture of progress that hides the social and political horror behind the Olympic Games. These are the haunted figures in the Capitalocene era. A sinister dance of macabre abstraction.

Skip Sweeney was an early and proficient experimenter with video feedback. A feedback loop is produced by pointing a camera at the monitor to which it is cabled.

A journey through home life where hope hangs by a tangle of fine and fragile threads.
A document of insecurity coming to rest on distinctly shaky ground.
An 8 minute video in which few answers are supplied, but much meaning is gathered along the w

As the AIDS epidemic took hold in the early 1980s, self-help guru Louise Hay created a space for healing called the Hayride.

From the performance by the same name, by Suzanne Lacy, Stan Hebert, Councilwoman Sheila Jordan, Frank Williams, Officer Terrance West, Mike Shaw, and Annice Jacoby, Oakland, 1995-6. Suzanne Lacy worked alongside youth activists, city council

The rivers are in flood stage during a scenic tour of Tulsa; while in El Reno, Oklahoma, it's as dry as a two-week old peach cobbler.

Richard Prince appropriates images from commercial advertising and travelogues for his photographs. Choosing these images for their melodramatic, super-real power, he then isolates their stylistic realism to accentuate its rhetoric.

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

If anyone slaps you on the right cheek, turn to them the other cheek also. (Matthew 5:38-40)

The desire to own and name land and the pleasures of seeing from a distance color this personal survey of the history of mapmaking in the New World.

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.

This video is staged as a reading of the great Soviet poet Vladimir Mayakovsky's famous poem A Cloud in Trousers, written 1914-15.

Jonas uses reflections on a lake as a mirror to displace reality, creating a disruption and the illusion of presence.

A classic exposé on the disparity of health care services for the rich and poor in America, this incisive investigative report exemplifies the advocacy journalism of the Downtown Community Television Center (DCTV).

"Renwick recounts a sad time in her life, when a friend was dying and she suddenly became aware of the presence of crows... [Renwick] craft[s] a lyrical and moving essay that works its magic through poetic accretion rather than narrative logic."
— Holly Willis, L.A. Weekly

Framelines is an abstract scratch film made by laser etching abstract patterns on the film emulsion of negative and positive 35mm film.

A self-described “collage piece” of “stolen images,” Shanghaied Text starts with quiet Montana landscapes, among which are views of a powerful dam.

Commissioned by Visual AIDS for STILL BEGINNING: The 30th Annual Day With(out) Art 

Operation Atropos is a documentary about interrogation and POW resistance training. Director Coco Fusco worked with retired U.S.

Rosler identifies the totalitarian implications of an argument for torture, under certain circumstances, as it appears as a guest editorial in Newsweek magazine in 1982.

A young painter, and his somewhat slower roommate, talk of paranormal occurrences in a room of charcoal canvasses and ephemeral renderings. Eavesdrop on the improbable and the impossible (BUT TRUE!).

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.

An uncompromising look at the ways privacy, safety, convenience and surveillance determine our environment.

Rhythmically chewing their meals, a herd of cattle creates interesting shapes, patterns, and movements in this “keyed” (a process of dividing areas of a black and white image into percentages of gradation) and colorized work.

"We are happy. (Silence.) What do we do now, now that we are happy?"

-- Samuel Beckett, Waiting for Godot

As an ominous voice guides us through Best Is Man’s Breath Quality, we are confronted by dense and complex images and sounds that appear and disappear before us.

The tale of a fanatical tool collector who recreates the world according to a logic dictated by his cross-wrench.