The latest in Marie Losier's ongoing series of film portraits of avant-garde directors (George and Mike Kuchar, Guy Maddin, Richard Foreman), DreaMinimalist offers an insightful and hilarious encounter with Conrad as he sings, dances and remembers his y

Eiko's first piece without a human.

What Farocki Taught is literally and stubbornly a remake — that is, a perfect replica in color and in English, of Harun Farocki’s black and white, 1969 German language film, Inextinguishable Fire.

IEVE Aura features video art created and recorded at the first Interactive Electronic Visualization Event at the University of Illinois Circle Campus.

In this reinterpretation of the mikveh — a purifying ritual bath performed by Jewish brides about to marry — the filmmaker and his husband’s immersions are disrupted by a government who refuses to recognize their marriage.

Their first longer piece entirely in silence. The backdrop and floor were painted with a burned flour paste which crumbled down as they moved.

This structurally simple video, shot through Benglis's apartment window, contains a, "distinct disjuncture between the visual and aural components of the work.

This fictional docudrama—based in part on the careers of Anita Bryant, Phyllis Schlafly, and Marabel Morgan—covers the fictitious assassination of Clovis Kingsley, a powerful, pro-family, anti-feminist ideologue, and fictional author of The Power of

“This melodrama, staged by me and produced with my students at the San Francisco Art Institute, follows the turbulent journey of an aspiring singer as she flees a frigid environment to heat up a tepid career.

This is a rhythmic invocation of the ancestral fire, in which dazzling flames reanimate bones and natural elements. This is the shining of color.

Tom Poole is an organizer of many things.

In 1927 Henry Ford bought land in the Brazilian Amazon and called it Fordlandia.

Lost Sound documents fragments of discarded audio tape found by the artists within a small area of East London, combining the sound retrieved from each piece of tape with images of the place where it was found.

Breder had met Conceptual Artist and Painter Lucio Pozzi during the Painting after the Death of Painting exhibition in Moscow in 1989, ande the Visual Practice/Visual Theory Area Studies Group chose the occasion of his participation a

Tired of underworld and overworld alike, Isis escourts her favorite son on their final curtain call down the Nile, leaving a neon wake of shattered tombs and sparkling sarcophagi.

Luis Cruz Azaceta (b.1942) creates paintings and mixed media works which use the recurring theme of the displaced individual. Marked by his own exile from Cuba—he emigrated to the U.S.

Strapping a video camera to himself as he drives a motorcycle around an island, Palestine harmonizes with the engine, maniacally repeating the phrase, "Gotta get outta here...gotta get outta here..." His chanting voice merges with the vibrations of the

Includes feats with cards and ropes, legerdemain, sleights of camera, a perky river, and rare insights into the activities of a local magician-ventriloquist from the 1930s.

The four‐part cycle Parallel deals with the image genre of computer animation. The series focuses on the construction, visual landscape and inherent rules of computer-animated worlds.

Fifeville is a film about a neighborhood in Charlottesville, Virginia. It focuses on the details, gestures, and material life of the citizens of Fifeville as they communicate their understandings of the neighborhood’s changing landscape.

Pat Steir (b.1938) is an American painter and printmaker, whose work has resisted artworld currents and factions for decades while maintaining enthusiastic critical support.

Rosa Barba’s work Disseminate and Hold investigates man-made geographies and landscapes, and how these are often deeply enmeshed with political agendas and utopian visions.

Millie Wilson is an installation artist whose work proposes a relationship between modernist art practices and modernity’s production of deviance, particularly regarding lesbian stereotypes.

Archives recovers the formal community that mobilizes the diagrammatic experience of archives, a formal community that claims the sensory nucleus where hypertrophic rhythms, abstract machines, monuments and memorials, digital servers, corporate

Su Friedrich (b. 1954) is an American experimental filmmaker whose career has spanned over four decades.

The death that happens to others, the death that is in you already, the life that is in this death.

Michele Wallace's attention to the invisibility and/or fetishization of black women in the gallery and museum worlds has made possible new critical thinking around the intersection of race and gender in African American visual and popular culture, parti

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.

Animals debate the sticky subject of body dysmorphia and the merits of reconstructive surgery in this short animation.  

Bezuna explores the complexities of fleeing a war-zone through the analysis of peripheral details.

Taking its title from a poem by Paul Celan (translated as “sleeping den”), this montage is the result of a script that reconfigures over two hundred lines of English subtitles, lifted from films ranging from Battleship Potemkin and Persona

The video series Not Once began with the recording of personal stories by local Icelanders, about specific locations or a sense of place.

e-[d]entity: Female Perspectives on Identity in Digital Environments is a two-part collection of videoworks created from 1982-2000 that explores the cyber environment and how it affects, expands, confuses, and involves female identity.

John Killacky is Eiko's long time friend. It was in July 2018 when both of them were attending the tree planting ceremony of their mutual friend Sam Miller at the Jacob's Pillow that Eiko invited John to join her Duet Project.

“It Did It explores my fictional character's story before and after I took Prozac. I used the scientific method to self-evaluate whether or not I needed anti-depressants while demonstrating how it affected my storytelling.”

1968 was the opening of the Summer Olympics in Mexico City, ten days after the massacre of students and civilians by military and police on October 2 in the "Plaza de las Tres Culturas, Tlatelolco."

In this interview, communications theorist, Gene Youngblood (b. 1942) maps out the various stages of the development of video technology and its philosophical implications for human interaction. The range of topics discussed moves beyond video to offer an extensive and rich survey of American culture from the 1960s to the present moment. In addition to discussing his canonical text, Expanded Cinema, Youngblood shares stories from his early days as a police reporter for the Los Angeles Herald Examiner, where he gained intimate knowledge of the media’s politics of representation. With the acuity of hindsight, Youngblood discusses important self-discoveries, and his life-changing decision to move from the mainstream media into the world of the underground press.

Two Black University of Virginia hospital employees talking about the job site in a Albemarle County speakeasy.

"Ever on the lookout for learning opportunities, Reinke envisions an art institute where you don’t have to make anything, and with a library full of books glued together. All the information’s there—you just don’t have to bother reading it!"

This episode includes: two more adverts, considerations of the future, a multiple projection spectacular in miniature, a riverine jaunt, much fog, and an ending x 2.

In this elegant demonstration, Sandin explains the mistake of using common language concepts and spatial relations to describe what actually can happen on the video screen.

Night. The moon is a rock. The ears are stopped. A chair balances on the roof of a house. A silver box composes itself: a mysterious instrument. A marble rolls around in somebody’s head. Two rocks spin.

A deliberately tasteless drama about televangelist scandals.

This title is also available on The World of George Kuchar.

Television Delivers People is a seminal work in the now well-established critique of popular media as an instrument of social control that asserts itself subtly on the populace through “entertainments,” for the benefit of those in power—the cor

Richard Ross discusses his interest in photographing museums—their display of objects, frames, the entire context—in order to question our definitions of the museum.

A wide screen portrait of people, pets and places, this Frisco based video immerses the viewer in a placid flow of images that hint of darker depths here and there.

Lunar Pond is part of an audiovisual series about lunar cycles and rhythms in an attempt to evoke, integrate and develop the mythical presence of the Aztec lunar goddess Coyolxauhqui, thus evoking the eroded contemporary landscape of our t

Consisting of 13 brief spots, Experience: Perception, Interpretation, Illusion features works by artists included in a Pasadena Armory exhibition.

Contains Videofreex tapes Buzzy and the Flute, Buzzy at the Gaslight, Buzzy at the Videofreex Loft, Buzzy Linhart at the Record Plant

"Harun Farocki was commissioned by the Lille Museum of Modern Art to produce a video about his work. His creation was an installation for two screens that was presented within the scope of the 1995 exhibition The World of Photography.