A grinding mortar and pestle vignette analogously describes the evolution of digital resolution; from a single color to a high definition image to an infinite splitting of that image back into the pixels themselves.

Tom Kalin is a screenwriter, film director, producer, and educator. As a key figure in New Queer Cinema, his work focuses on the portrayal of gay sexuality both in the age of AIDS and historically.

"You don't have to go to Hawaii to be in Hawaii. Nor do you have to be sensual to feel sensual. You look the way you are supposed to look. The sensuality of Hawaii completely fascinates me in this video."

—Ximena Cuevas

A call for a political transformation, a life that emerges from the earth's own interior.

My contribution to the group exhibition 1d for Abroad at Tintype gallery: a perky 4 minute consideration (made up) of a whole lot of postcards.

Earthglow is a poem written for the character generator and switcher that conveys a writer's internal dialogue through both subtle and dramatic color changes and through movement, size, and placement of words. The ambient soundtrack evokes the confluence of past and present perceptions.

Get ready for a smorgasbord of mishaps perpetrated by misfits choking on missteps in life… Add to this a dash of bitter memories sprinkled with love affairs gone stale, and you’ve got a heap of slop for mental indiges

A poem or brief poetic collage of 16mm home movie footage from Egypt in the 1950s along with elements of Capra's Lost Horizon soundtrack interwoven with recordings of a small and frustrated boy. 

Mel Chin (b. 1951) received national attention when he had to defend the artistic merits of his work Revival Field to the NEA in 1990.

This meditation on family and friends uses, as a point of departure, the relationship between the maker and his grandparents.

A more socially-active addition to the Weather Diary series, we meet the natives and participate in the rituals of business and schooling and high hopes on the flatlands.

Aroma of Enchantment is a video essay investigating the fascination Japanese teenagers have for the America of the 1950s and '60s, sporting bobby socks and hair soaked with Brylcreem.

Budlong Memorial Middle School is heating up.

"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.

Subtitled A Rebellion against the Commodity, this engaged reading of the urban black riots of the 1960s references Guy Debord’s Situationist text, “The Decline and Fall of the Spectacle-Commodity Economy,” Internationale Situationniste

The combination of a found site (an old power station in Norway), and a found object (a log) and a found instrument ( a wooden floor) produce a found sound in this acoustically alive action.

The Pyramid used to be a mountain.

I Have Always Been A Dreamer is an essay film about globalization and urban ecology using the examples of two cities in contrasting states of development: Dubai, UAE and Detroit, U.S.A.

Cheang has taken her camera to the streets for a candid glimpse of lesbian public sexuality.

This 1978 conversation between poets Anselm Hollo and Robert Creeley, was updated in 2015 as Adam Burke relays their conversation.  Images of Hollo, Creeley, and Burke are juxtaposed on top of one another.

Literally depicting Point of View, Sala stimulates the viewers' senses of sight and sound by forcing them to concentrate on a single puzzling image until it is revealed in a surprise ending.

Explore the rituals inherent to life, evolution, decay, death, and rebirth. Part of Rituals series. 

The idea of suspension is evoked on shifting registers – as levitation, cessation, preservation, and suspense – and located in sites whose identities slip as we track through a space within a space.

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.

Locke’s Way is the photographic path to knowledge, full of twists and turns, treacherously steep. What has happened down here? A family’s photographs tell us everything and nothing about the subterranean past.

In a visually difficult construction, Silver plays with the viewer’s ability to focus and take in an entire image.

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

A call from the beginning, the ancestral water, the everlasting belly from where life cries out.

The filmmaker and his friend, both Lebanese, meet two Israelis their own age in Paris, and spend some playful time with them.

In this piece I am exploring the idea of belonging by tracing the outline of the shifting skyline. Through imagination, learning, and a continuous adjustment, I strive to relate the communal with personal identity.

— Ezra Wube

In the beginning was the weave, and the transmission of its workings, a curse of mortality—so ends Quantum Creole with the fabulous words of the Papel weaver, Zé Interpretador.

They say there are only two stories in the world: man goes on a journey, and stranger comes to town.

Silver directs and performs all the roles in this raucous and hilarious music video rendition of Lynyrd Skynyrd’s "Freebird", the infamous Southern rock anthem for an entire generation of 1970s male youth.

"I asked the inmates in my Art Group on the HIV/AIDS unit - Del Norte to talk about their experiences from the womb to the present moment. Here are their stories."

–Wendy Clarke

Playing off the notion of “interactivity”, Utopia poses itself as a video game plugged into the social consciousness of contemporary California.

How do we tell the story of a life? What cruel reduction of an image will stand (in the obituary, the family photo album, the memory of friends) for the years between a grave and a difficult birth?

A rock. Buildings. Trees. Nothing happens. But something is always moving. People walk by. Time passes by. Seasons change. The Earth’s tectonic plates are in constant but imperceivable motion, which slowly move apart or crash together.

The projection and screens in this installation are access points meant to connect the present to an ancestral past.

This film uses historical movie materials ('Son of Tarzan' films from 1920 and 1950) together with materials from a vast number of sources to produce a densely lyrical, tersely compacted meditation on brutality, martyrdom, Colonialism, and loss.

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

A stark and simple drama of man versus TV. "Pixelhead is an exploration of my love-hate relationship with the television medium in the form of an exaggerated, tragi-comic, semi-autobiography." —Bryan Boyce

Offering was co-commissioned by Dancing in the Streets (New York), the Walker Art Center (Minneapolis, where the proscenium version premiered January 9, 2003) and the University of Arizona (Tucson).

An extremely rare documentation of a private performance of John Cage, one of the leading avant-garde composers of the 20th century, who created "Writing for the Fifth Time through Finnegan's Wake" using I-Ching chance operation: Chinese fortune telling

"It was as if I was living by the Nike slogan Just Do It."
— George Barber

The final work in the Damnation of Faust Trilogy, ironically titled Charming Landscape, investigates the way in which the urban landscape is a place "where you lose your identity.” Two female residents of the inner city tell their stories in casual, on-the-street interviews. Building upon the theme of submerged violence, Birnbaum presents the fiery culmination of the legend in eerie slow-motion collage scenes of political unrest — from the lunchroom protests of Greensboro, NC, to the student revolts in Tiannanmen Square.

In Dry Blood (Sagre Seca), various historical moments of political activism in Mexico are superimposed and corroded on the emulsion of expired film.

A cinematic exploration of African American intellectual, social, and political life at University of Virginia during the 1970s.

Dirty Laundry speculates upon the buried narratives of gender and sexuality in Chinese-Canadian history of the 19th Century, when Chinese communities were almost exclusively male.

Nathaniel Dorsky’s films are precise articulations of cinematic qualities: the surprise of an edit, the composition of framing, and the flash of the image. Dubbed the “filmmaker’s filmmaker”, Dorsky’s work captures the fleeting moments of everyday life in its poetic chaos in such films as Pneuma (1976-82), Triste (1974-96), Alaya (1976-87), and Variations (1992-98). Using a spring-wound Bolex and 16mm reversal stock film, Dorsky’s films operate in the realm of the purely visual.

O, Persecuted turns the act of restoring Kassem Hawal’s 1974 Palestinian Militant film Our Small Houses into a performance possible only through film. One that involves speed, bodies, and the movement of the past into a future that collides ideology with escapism.