Martha Rosler (b.1943) received her BA from Brooklyn College in 1965 and her MFA from the University of California, San Diego in 1974. Rosler has produced seminal works in the fields of photography, performance, video, installation, criticism, and theory. Committed to an art that engages a public beyond the confines of the art world, Rosler investigates how socioeconomic realities and political ideologies dominate everyday life. Rosler's work has entered the canon of contemporary art through a process of steady, stealthy infiltration. Lacking commercial gallery representation until 1993, her endeavors as a prolific essayist, lecturer, and political agitator enabled her agenda to trickle down through critical channels.

Through her performances and videotapes, Eleanor Antin (b. 1935) creates characters (King, Ballerina, Black Movie Star, and Nurse) while spinning tales that blur fiction and history.

"Emptiness: I just watched your latest video, Colchones Individuales (Single Beds), Volume 1: Desolacion, and I wanted to write you about it. Oddly, Single Beds sums up much of what I have been thinking lately.

A man returns, after fifty years, to Chinatown to care for his dying mother. He is a librarian, a re-cataloguer, a gay man, a watcher, an impersonator. He passes his time collecting images that he puts before us – his witnesses and collaborators.

The installation created by Monica de Miranda in collaboration with Teatro GRIOT accompanies the play Os Negros. It includes a photographic and video exhibition that abstractly uses the images inspired by the play.

As one of the early media collectives, Raindance Corporation celebrated an eclectic use of the portapak by taping everything from man-in-the-street interviews to concerts and demonstrations.

This is an agitprop piece on resistance from the autonomy and indigenous sovereignty that hold in his own name, in his own letters, in his own sparks and embers of letters.

Prestidigitation before the age of the pixel. Very lively stop motion and open shutter piece, shot on Super 8, with all effects done in camera – but transferred to video for ease of viewing.

This compilation collects seven short works made between 1977 and 1984.

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

During my residency in New York I was designing a computer virus, which would contaminate computers through a screensaver that read “there is so much love in this world”.

Slip is from Martine Syms’ Kita’s World series. Kita enacts the performances of everyday life in a hyper-digitized world.

In this experimental travelogue, efforts to sound human and look natural instead become artifical.

Elizabeth Murray (1940-2007)  was an American painter, printmaker and draughtsman.

A pro-domme gives her friend a freshly shaved head. In return she gets a buzz cut. A client gets to be a (bound) fly on the wall.

This early Videofreex production exemplifies the type of imaginative approach that the collective adopted when exploring the medium of video, and how, in many ways, this balance of play and experimentation defined and unified the group's work from the v

Sitting at an altar decorated with a kitsch collection of cultural fetish items, and wearing a border patrolman’s jacket decorated with buttons, bananas, beads, and shells, Gómez-Peña delivers a sly and bitter indictment of U.S.

“The roles that we construct are constructed because we feel that they will help us to survive and also, of course, because they fulfill something in our personalities; and one does not, therefore, cease playing a role simply because one has begun to

This video shows the design and choreography of Eiko's three-channel installation on one screen. Each video was shot in California by Alexis Moh and Marjorie Hunt during a creative residency at UCLA in April 2019. 

The violent overreaction to 9/11 and to the revolutions of the 1960s cannot be explained only with fear and politics.

While asleep and dreaming, older children and adults alike tend to perceive dream events as external reality, but very young children do not understand "asleep" and "conscious" to be different domains. Perhaps they are not. 

In a world of Internet and high technology, there still remains something so arcane, so simple and extraordinary, so absolutely incredible as a circus of educated fleas. Marvel at Maria Fernanda Cardoso's work as the powerful Brutus (The Strongest Flea on Earth) pulls a locomotive that weighs 160,000 times his own weight. See the flea ballerinas dressed in micro-tutus, dance to the rhythms of Tango! Hold your breath as the highwire artists defy gravity on the tightrope and swing precariously on a miniature trapeze.

Documentary of the New York experimental theater company The Wooster Group on tour in Glasgow, Scotland, 2000, installing their production of HOUSE/LIGHTS.

A Palestinian filmmaker is writing a script in his New York apartment during the first Gulf war. As much as he tries to shut himself off from the exterior world, images of past wars in the Middle East come back to haunt him.

Feedback-generated computer animations wiped and keyed with images and sounds from electronic oscillators via an analog video switcher.

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.

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

In this tape made shortly after fiber and sculpture artist Claire Zeisler’s death, art critic Dennis Adrian discusses her influence and aesthetic strategies.

John Tagg is a writer, educator, and a leading contributor to the development of art-historical and photographic theory, focusing on political analysis of institutionalized culture and interventions within it.

“Trolling for news we call it,” says Bart Friedman a minute into this video, as he pushes down a road the Lanesville TV News Buggy – a baby carriage filled with video equipment, spilling over with wires.

Kevin Jerome Everson’s prolific body of work is grounded in formalism and combines scripted and documentary elements.

I worked on Trio A alone for six months in 1965. The dance consisted initially of a 5-minute sequence of movement that would eventually be presented as The Mind is a Muscle, Part I at Judson Church on January 10, 1966.

“Think of it as a prologue to a sleazy thriller. A sort of shaggy-dog plot of voyeuristic atmospheres.” This video is about the voyeuristic license of the camera: exposing, uncovering, glimpsing things obscured and revealed.

In this 2014 interview, South African artist Kendell Geers (b. 1968) discusses the function of magic, myth, and memory in his work. Beginning at childhood, Geers charts the path he has taken in his understanding of his own biography as a site of resistance. This interest in the use of personal biography culminated in 1993 with his decision to change his date of birth to May 1968 as a way to reference both the May 1968 student protests, and the fact that 1993 was the first year that South Africa had participated in the Venice Biennale since 1968.

Hotel Globo critically examines the changing urban surface of Luanda through video, photographic and performative incursions into the interior landscapes of the 1950s Hotel Globo in Luanda, Angola.

Christmas Eve. A man alone finds someone he can talk to.

This is the path from the snake’s perspective.

A short Flicker Film adulterated by some extra images shot in Malawi, Africa. FF was in answer to an assignment given by artists Melissa Dubbin and Aaron Davidson who created the soundtrack to which I was asked to make a “Future Film”.

Nine individuals visit the Santa Monica Mall and share their thoughts and feelings about love with Wendy Clarke and her camera. Love Tapes: Santa Monica Mall is part of Clarke's ongoing project, Love Tapes.

The sixth in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed here–gay activist and self portrait artist Lyle Ashton Harris, Chicano photographer and tourist Robert Buitron, Cherokee writer, curator, and video

In 1971 Robert Smithson (1938-73) was invited to create an earthwork in the Netherlands on the occasion of the recurring outdoor exhibition Sonsbeek.

A portrait of a studio photographer, Her + Him VAN LEO also examines the photography of the 1940s and 50s from a critical perspective rather than a nostalgic one.

In Love Tapes: Two Museums, speakers from the Wadsworth Atheneum Museum of Art (Hartford, Connecticut) and The Museum of Modern Art (New York) share their thoughts and memories of love.

A documentary presenting an overview of Eduardo Kac's trajectory, including interviews with the artist and with art critics Annick Bureaud, Christiane Paul, and Arlindo Machado.

Walking Off Court is the story of the nervous breakdown of a tennis fan and his rising inability to find tennis partners.

Imagining future Deep Time, Post-extinction, using dark humor to speculate on the defiant vitality of matter to evolve life again. Two billion years from now, the oceans are beyond understanding.

This tape includes footage of one of the first broadcasts of Lanesville TV, as it appears on the television set of Lanesville local, Todd Benjamin, and a television set installed in a public bar.

“For quite some time the Hamburg artist Cornelia Sollfrank has been researching female hackers and found that hacking is a field completely under male domination.

Rust was commissioned by the American Dance Festival and performed on chain-link fences hung vertically in the center of the stage. Performed nude in silence.

A magnetic "dancing" ballerina toy, found by Bob, inspired this video of a real ballerina (Laurie McDonald) spinning as if the magnetic coils in an old black and white mid-century Setchell Carlson television monitor were controlling her movements.