The discovery of a VHS tape of the artist’s films for sale on eBay triggers obsessive speculation about the seller’s identity.

Animal Attraction is a documentary about the relationship between people and animals that questions the way we project our hopes and desires onto our pets, and ascribe human qualities and attributes to their gestures.

A collection of videos made at Miami-Dade Community College Mitchell Wolfson New World Center as part of Miami Waves Film Festival. The videos are part of Wendy Clarke's ongoing project, Love Tapes.

Acconci literally feels the music in this tape as he lays down on speakers playing jazz. The sound pulses through his body while a collaborator massages his nude back in time with the music, occasionally striking Acconci like a rhythm instrument.

This two-part episode features Glenn Belverio and Duncan Elliott participating in an ACT UP demonstration at President George Bush’s summer house in Kennebunkport, Maine, interviewing activists and documenting this historic event.

What are all of these photographers trying to capture, and just who is collaborating with whom? This short piece could be a take on fame and the cult of the personality — or a tourist portrait with the audience as subject.

An unseen narrator weaves a textual “map of moral acupuncture” as two BDSM scenarios unfold between queer sex workers and their partn

A look at various homes and the people who sit on the furniture that decorates this assortment of abodes.

Contra-Internet: Jubilee 2033 is a re-imagining of scenes from filmmaker Derek Jarman’s 1978 queer punk film Jubilee, starring Susanne Sachsse and Cassils.

A teenage girl recounts the artist’s stories, ones which emphasize the complexities of youth, family, love, and friendship. The muddling of self with other complicates these stories further.

On September 11, 2021, Eiko Otake performed at 7am and 6pm at Belvedere Plaza in Battery Park City by the Hudson River, directly west of where the Twin Towers once stood. This video work is from the 6pm performance. 

A woman sets out to photograph moments of intimacy.

In 1998, Zaatari interviewed Egyptian photographer Van Leo in Cairo.

In this interview, extreme performance artist and 1990s culture warrior Ron Athey (b.1961) discusses the genesis of his provocative performance style and the memories and desires that continue to motivate his practice. Athey describes how his particular approach to performance developed dually from his religious upbringing and exposure to devotional theater, as well as from his later interest in the DIY grandiosity of the Los Angeles punk scene.

This video was made as the end-credit sequence for a film version of Ron Vawter's performance piece, Roy Cohen/Jack Smith, by Jill Godmilow. Ron was an extraordinary actor and extraordinary man.

"Ad Vice consists of a succession of colored projection surfaces with segments of text from the worlds of advertising, sport and popular culture.  These projection surfaces in turn alternate with images of a rock band whose music continuo

Contemporary American composer and performance artist Robert Ashley (1930-2014) was a pioneer in the development of large-scale, collaborative performance works and new uses of language in operas and recordings.

This video is an unabashed fan letter to poet Eileen Myles. As in Laurie, my desire was to romanticize the poet, but not through her writing so much as through her reputation as the natural born child of the New York School and the Beats.

This slow-motion film is a glass snow globe with dancers who topple and bounce off the sides of the frame. Re-purposed by Breder at his Dortmund retrospective as Weisse Tasse in which a video was projected on the side of a white cup.

As a verite documentation of the May 1, 1971 demonstration against the Vietnam War staged in Washington, D.C., Mayday Realtime presents a largely unedited flow of events from the point of view of participants on the street.

A philosopher and intermedia artist, Adrian Piper focuses on xenophobia, racism, and racial stereotyping

Chantal Akerman (1950-2015) gained international recognition with her three-and-a-half hour masterpiece, Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975), which portrays a housewife’s dull existence and eventual violent action. She has continued to be one of Europe’s most innovative filmmakers with more than forty film and television projects to her credit. Akerman’s work is minimalist, structuralist, and feminist. Major themes in her films include women at work and at home; women’s relationships to men, other women, and children; food, love, sex, romance, art, and storytelling. In this interview from 1976 Akerman discusses her early films, and the development of her particular vision.

The seventh in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed here–visual anthropologist Wendi Starr-Brown, Hapa video and performance artist Kip Fulbeck, Japanese-American artist Dorothy Imagire, Chicana mix

“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.

Ann Cvetkovich is the Ellen Clayton Garwood Centennial Professor of English and Professor of Women’s and Gender Studies at the University of Texas at Austin.  She is the author of a number of books and works also with documentary film, memoirs, mus

Elizabeth Hess addresses issues of censorship, AIDS, war, feminism, and politics in general. She has written extensively on women’s issues, contributes to The Village Voice, and is co-author of Re-Making Love: The Feminization of Sex (1986).

This are the scattered fragments, the scattered mineral fragments in its oceanic evolution, an intermittent becoming of geological massiveness. The mineral geology under the spell of an scattered dance. This is the mobilized fossil.

In Bataille, fragments from the Akira Kurosawa’s film Rashomon are subject to a mirror effect. A scene in which two samurai fight each other becomes a cosmic field of monsters where horror and pain evoke beauty and joy.

In 2011 as the Congress debated the budget, Ligorano Reese installed an ice sculpture of the words Middle Class in the garden of Jim Kempner Fine Art.

Skip Blumberg of the Videofreex conducts an interview with Charles “Cappy” Pinderhughes, the Lieutenant of Information of the New Haven branch of the Black Panther Party.

Take a peek at scenes extracted from a videomaker's life.

In his New York City landscape, Cohen finds inspiration in disturbance. Looking to life for rhythm and to architecture for state of mind, he locates simple mysteries.

Theo Cuthand and his mother Ruth Cuthand have a candid conversation about Theo's last hospitalization for Bipolar Disorder in 2007.

I Wanted You shows a woman who is crawling over the floor. She is wearing only tights and a pair of red shoes with high heels.

In Mondo Toronto, Glennda travels to Toronto to visit Liza LaBruce (Bruce LaBruce). Liza gives Glennda a tour of the city's public parks, with specific reference to their role in gay culture.

Bitter with a Shy Taste of Sweetness contrasts the fragmented past of the filmmaker growing up in Baghdad with his surreal California present.

A visualization of phrases used by Prime Minister David Cameron during his Oxfordshire speech addressing the events of August 2011.

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.

The artist Bruce Conner is featured in this videotape which bounces east and west, depicting the fragility of holistic hooligans in a world of hit-and-run encounters, Prozac, and pizzas. A meditation on faulty plumbing and paradise lost...

In Tree Song, Eiko & Koma continue their exploration of the body as a part of the landscape and the landscape as an extension of the body.

The annual holiday video is off and swinging with this foray into festive chatter and explosive fireworks. Sweet treats are served up along with ice cream and jungle jingles befitting this season of goodwill toward man and beast.

A Yosemite gargoyle climbs two gothic arches.

In Danza Solar, Super8 archival footage of dancers is superimposed with 16mm views of the sun (suns). The film evokes a communal solar trance, both Andean and Mesoamerican.

Phyllis Bramson (b.1941) is a Chicago painter whose post-imagist style emphasizes content and the deeply personal.

When I look for the lightning, it never strikes. When I look away, it does. Filmed inside a car, this tape focuses on observation of natural phenomena, presenting the obverse of the, "If a tree falls in the woods..." conundrum. Does observation change the course of events? Can you believe in things you don't see? In this experiment, the camera occupies a privileged position — showing the woman and what she sees, as well as what she cannot see.

One of several videos the artist made with her brother while still in graduate school at the University of Illinois at Chicago. Two Dogs and a Ball is a cover of William Wegman’s piece of the same title from the late 60’s.

"I made this video after assisting at a conference where the artists acted like flies in a barnyard. They gathered tropical fruits to make it less disagreeable for themselves."

—Ximena Cuevas

A minister recounts the perceived catastrophe that is butt sex. Pegging ensues.

EMR has created a sigil, a magic sex symbol abstracted from the words TRUST ME (NOT) TO HURT YOU that is spread across rituals of the beast.

Jim Finn’s films and videos have been described as “Utopian comedies.” In the four works that comprise Jim Finn Videoworks: Volume 2, the comedy that emerges through Finn's (not so) exaggerated interrogation of the products and symbols of auth