In EVOL (love spelled backwards), the audience is voyeur, peering into the delirious and erotic dreams of a young man (Oursler). We drift with him through anecdotes that poke fun at the disparity between the culturally accepted stereotypes of sex and love we are taught as children and the realities we discover in adult life.

The works on Reel 3 were produced during 1972-73, and re-mastered in 2005 when several newly available titles were added. The focus here is on social relationships and attaining the perfect life, be it through making the right decision, getting something for nothing, or just having it all. Many of the comic skits parody television ads and infomercials, and Man Ray has to make some consumer choices.

"Actions, states, one B+W video camera, the Paik Abe Colorizer, a video switcher. The two states, a b a b, I put my hand in the camera frame and saw a colored hand shifting.

Untitled (shaving performance 2010) is a document of a privately held performance, in which Hubbard used a straight razor to remove the hair from the lower half of Burns’ body.

still/here is a meditation on the vast landscape of ruins and vacant lots that constitute the north side of St.

System failure: A man repeats the story of a prison stabbing as something goes wrong with the tape.

Anhedonia doesn't play to the back of the church. It shoots directly to the point with poetry and images that evoke controversy in one mind set and passion in another. Depression and suicide are met head on with Cuthand's honesty.

To the background of village celebrations a father questions his daughter about a suspected lover. She cleverly deflects him with her answers but the passions rise, the villagers take sides and what began as harmless banter becomes bitter and angry.

Leafless is a poem of textures about becoming familiar with a significant other’s body in reservation with its landscape.

“But we are alone, darling child, terribly, isolated each from the other; so fierce is the world’s ridicule we cannot speak or show our tenderness; for us death is stronger than life, it pulls like a wind through the dark, all our cries burlesqued in jo

Born in Los Angeles in 1933, Michelle Stuart spearheaded the use of non-traditional materials from nature in the early '70s, and has produced and exhibited her work internationally.

Three of these four works form a trilogy that explores one of the principle metaphors of video: the window. The window is used to examine notions of knowledge, voyeurism, surveillance and time.

The strings of fate manipulate the living and the dead against a landscape of water vapor and watercolors which make more palatable the unacceptable and the undigestable.

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.

"Noted critic Judith Williamson ventures from her English home to a shopping mall in Southern California to proffer some opinions on the working of American culture under capitalism.

Alfredo Jaar is a politically motivated artist whose work includes installation, photography and film.  Born in Chile and now living in the U.S., Jaar’s socio-critical installations explore global political issues, frequently focusing on the Third

Fantasy Suite was the last standard definition video I made from VHS tapes.

A Kafkian vision of the New World. The arrival of Karl Rossman to the contemporary Babylon under the spell of the paranoid avant-garde. Kinetic coexistence of the archaic forms in dissolution.

"Starring an inflatable wig holder that I got at a car boot sale in Bremen, Germany, this film began as a demonstration of different film animation techniques, but evolved into a bizarre improvised narrative in which the head escapes from the violent cl

Still Life gazes unflinchingly at the violence of war, observing the West Bank and Gaza Strip collapsed under Israeli occupation.

Swamp Swamp and Wurmburth are each comprised of a series of tightly cropped shots of small, hand-made table-top sculptures or "sets".  Paint and many other materials that behave like paint (i.e.

In the stillness of approaching night, a cool breeze will caress warm bodies that enter a lush garden in deepening twilight where the rising moon, full and bright, illuminates questions and answers that are deep as th

The video content—a live-feed image processing tape—shows intellectual discussion among SAIC Video Area students and faculty members.

An experimental video about immigration.

Linda Williams writes on what she calls “body genres”: melodrama, horror, and, most famously, pornography.

A weeklong, episodic live-streamed landscape film that attempts to reimagine the genre of a road movie in Hong Kong. Each of the seven short films begin at exactly at the moment of the official sunrise in Hong Kong.

As regional character disappears and corporate culture homogenizes our surroundings, it's increasingly hard to tell where you are.

Gay Tape: Butch and Femme is Cecilia Dougherty's first video work. She was immersed in two things at the time: making artwork, and being a part of the Oakland, California lesbian bar scene. The tape is the child of those two activities.

“Criminality may present itself as a kind of saintly self-mastery, an absolute rejection of hypocrisy.”

—Angela Carter, The Sadeian Woman and the Ideology of Pornography (New York: Pantheon Books, 1978)

Lament is a collaboration with video artist James Byrne. Movement material is adapted from Eiko & Koma's 1984 performance work Elegy. Sound mix by Eiko & Koma.

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

Akram Zaatari's Nature Morte is a recording of a silent moment, in which two men prepare themselves for a military action.

A short anecdote created for an exhibition in commemoration of the events of September 11.

Transit journeys through the East End of London, quietly observing the shifting architectural and social landscape.

Stardust is the second part of the trilogy where Nicolas Provost investigates the boundaries of fiction and reality by filming everyday life with a hidden high resolution camera and turning the cinematic images into a fiction film by using cine

Originally filmed as an installation in Berlin, a digital reworking of documentation results in digital video artwork which uses image, narration, and raw sound for the sake of deconstructing and reconstructing.

Scottish artist Thomas Lawson (b. 1951) is a painter, critic, and founding editor of REAL LIFE magazine who lives and works in Los Angeles. His paintings are tied to the particularities of the present, and he is especially critical of the art world’s infatuation with ego and creativity. His portraits, appropriated from the print media, represent an intervention in that vein.

The Grandmother recites the Mourners' Kaddish over her granddaughter.

This 2-DVD collection features five early films, a historically important dance and a recent work by media artist and choreographer Yvonne Rainer, and a documentary portrait by Charles Atlas.

A black-and-white drama that lays bare the earth-shattering events surrounding the rise and fall of certain members of the communal body in a California town ravaged by subterranean forces.

The colorized abstractions of Moog Images were created by feeding Moog synthesizer oscillators into the video inputs of a television monitor.

This video was originally an installation at the Whitney Museum of American Art, part of which included the video collaboration Channels of Desire.

Jonas's performance piece, an homage to 18th century French outdoor theater, incorporates mythology as well as spontaneously occurring events into the narrative.

This video is about two fictional characters, as in letters, and two fictional characters, as in anthropomorphized mice, falling in love.

An homage to early videoworks by William Wegman, starring Man and Fay Ray's stand-ins.

"Anne McGuire shows that men are dogs."

--Ed Halter, New York Underground Film Festival (2003)

This is a short direct to camera piece, originally commissioned for a screening of My Summer with Raúl at Antimatter (BC).

A Videofreex performance.  Bart Friedman plays the pump organ and David Cort sings.  He asks Bart to "Play something that I can laugh to," and much laughter ensues.  Then, "because of American society," there is a sad song, and much waili

It is in Pan’s playground where one hears lyrical words that echo in deep realms of imagination where one can dance with inspiration. 

Dorothy doesn't reach her dream of the Emerald City. Rather, she will have already been over the rainbow by the time she arrives at the worst corner in Kansas.

An avatar, created through a 3D scan of Syms, navigates a plain and vast virtual landscape, the perspective sometimes floating above, sometimes alongside, as she progresses through a perpetual cycle of death and resurrection.