The fleeting memories of a melting infant – live action, animation and re-photography (through ice).

In 1993 President Mitterrand visited Korea.

"Three months in an architects’ firm in Berlin. From the architecture down to the tiniest door handle, a questioning of matter and the verb."

— Harun Farocki

Goodbye Thelma synthesizes footage from the 1991 film Thelma & Louise with footage of the author’s own making to create a mysterious, and at times disturbing, exploration of traveling alone.

Showcasing a solo organ recital, Victor Solo features seven sets of organ works. A narrator, possibly the organ player, announces work titles before each set.

This video is a 7-minute single channel piece consisting of two monologues: the first is a speech prepared for Richard Nixon in the event of a moon landing disaster in 1969, the second is the final words of the computer HAL from the film 2001.

The language and imagery related to celebrity perfumes (both descriptive and visual) are a starting point to think about consumer desires and the corruptness of branding. Give us your songs, your smells and we will give you everything.

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.

Erase the 1940s. The desire to better appearances. To try to record a love story. It's in this way that a facial can become the biggest remaining pleasure.

This carefully structured documentary is both a character study of DeVito's grandmother, Adeline LeJudas, and an incisive social critique of patriarchal society.

“Hey, how’s that TV work?” 

Focusing on the mentorship of Eiko and Koma with the young artists who study and work at the Reyum Institute of Arts and Culture in Phnom Penh, Cambodia, Cambodian Stories evokes questions of tradition, i

Legendary filmmaker George Kuchar, in between trips to the bathroom, visits three Bay area friends: an eccentric filmmaking couple who produce zombie movies, and performer Billy Nayer.

This compilation features 11 of Jem Cohen's collaborations with musicians.

My Only Idol is Reality is a video work created from an excerpt of Season One of MTV’s The Real World. The piece uses repetition as a framework for abstraction

At this time even the flowery wars are ready to begin and the flowery atavism begins to flash. The flowers, the skulls, the moon and the sun are ready for the sacrificial trance. Part of Tonalli.

Former East/Former West was shot in Berlin three years after German reunification. Comprised largely of street interviews conducted in various parts of the city, the video documents Berliners' feelings about their national identity.

These films were made from The New York Times newspaper articles. The semi - automated animation process resulted in sentence recombinations that sometimes made sense while randomly emphasizing certain words and images.

No Damage is a composition made out of fragments from over 80 different feature and documentary films that show the architecture of New York City — its architectural presence as captured on film over eight decades.

"The Camel with Window Memory piece was made one weekend in the early '80's. I pulled out my post card collection and began to look at specific postcards run through the new digital video buffer I had built together with David Jones.

A fragmented view of a city provides this poetic examination of disclosing and withholding—what is and isn’t seen, and once it is seen, how is it read?

The sun pretty much shines throughout this romp back East as waves crash against a land of plenty while the residents bathe in its nutritional offshoots.

 A.K. Burns’ early video works use ritualized performance, finite gestures, dueling and duality to explore power relations and the body.

The looped work Culture Capture 001 takes place within the American Museum of Natural History.

140 Over 90 is about the crisis of hypertension in the Black community.

Cast: DeCarrio Couley, James Williams.

A portrait of an unnamed city in Italy. Sidestepping the tourist attractions that make the city famous, the film/video posits an almost-imaginary place that draws closer to the reality of its inhabitants.

Space Ghost compares the experiences of astronauts and prisoners, using popular depictions of space travel to illustrate the physical and existential aspects of incarceration: sensory deprivation, the perception of time as chaotic and indistinguishable, the displacement of losing face-to-face contact, and the sense of existing in a different but parallel universe with family and loved ones.

Physical comparisons such as the close living quarters, the intensity of the immediate environment, and sensory deprivation, soon give way to psychological ones: the isolation, the changing sense of time, and the experience of earth as distant, inaccessible, and desirable. The analogy extends to media representations that hold astronauts and prisoners in an inverse relationship: the super citizen vs. the super-predator. Astronauts, ceaselessly publicized, are frozen in time and memory whereas prisoners, anonymous and ignored, age without being remembered.

A password-protected love affair, a little vapor on Venus, and a horse with no name ride out in search of a better world. Against the mounting darkness, a willing abduction offers a stab at tomorrow.

The supposed existence of a golden kingdom motivated numerous expeditions, and the belief remained in force until the 19th century, although its location moved from Colombia to the Guianas, as the process of conquest and colonization of the South Americ

This humorous video begins with two women—one white, the other Asian—attempting to fit into a Japanese bathtub.

In Biemann’s film, she traces the routes and reasons of women who travel across the globe for work in the sex industry. By using the latest images from NASA satellites, the film investigates the consequences of the U.S.

Futures for Failures is a double narrative of failure: architectural and social. Archival footage from a demolition of the Pruitt-Igoe building in St. Louis manifests as the materialization of modernity’s failure.

Using a pulsing rock soundtrack and music video-style editing, X-PRZ combines archival footage of Malcolm X, advertisements, and corporate logos in No Sell Out to provide a scathing commentary on commodity culture.

Part of the Long Beach Museum of Art’s Institute for Art and Urban Resources' Collectors of the Seventies series, this video focuses on the Betty Asher’s acquisitions. "I started collecting in 1939.

In October 1969, the Videofreex visited the home of wealthy political and social activist, Lucy Montgomery, as she was hosting the Black Panther Party of Chicago during one of their most fraught times – the period just after Chairman Bobby Seale was wro

Wrong Place, Wrong Time uses appropriated images from the "reality television" genre to examine the seductiveness of the spectacle of tragedy. This video exists in an area where the division between reality and image are simultaneous.

Water and paths of migration converge to shape the borderlands along the U.S./Mexico boundary when staging actors in a politicized landscape leads to the rupture of fiction for fact.

A cold stone structure stands in frigid defiance to the moral decay which shrivels the leaves of erect extensions to the human lust for creative expression.

“In her brilliant video Art Herstory, [Freed] has restaged art history, putting herself in the model’s role in numerous paintings....

In collaboration with Rebekkah Palov. 

Part of a cable TV series called Communications Update that aired on public access in New York City from 1979 through 1992, these tapes provide an early example of television made by artists.

Small Miracles is a suite of eight video animations in which the artist conjures up and controls forces of nature.

Less than two minutes long, this short tape makes playful and surreal use of video’s editing capabilities.

Ángel Reparador (The Healing Angel) was shot in Buenos Aires, where the artist Sergio De Loof films Bobe in different places along the route that goes from the house of his parents, in the south of the suburbs, to the city center.

It’s the first day of autumn, and Gibbons can already smell death in the air.

This found-footage video looks at the demagogic aspirations of Huey Long, Father Charles Coughlin, Joseph McCarthy, and George Wallace, concluding with Donald Trump. American history is filled with such characters.

1.1 Acre Flat Screen is a 45-minute video about a year-long effort to improve a lot of 1.1 acres of desert land in Utah, which we purchased on September 4th 2002 on eBay.

"Here is Everything presents itself as a message from The Future, as narrated by a cat and a rabbit, spirit guides who explain that they've decided to speak to us via a contemporary art video because they understand this to be our highest form

A silent 16mm film shot in Nebraska during the total solar eclipse in 2017. The work was shot on film to capture this light-based phenomenon on a light reactive medium, as opposed to on digital video.

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