Set between Swaziland and South Africa, in a region still struggling with the divisions produced by an apartheid government, Greetings to the Ancestors documents the dream lives of the territory’s inhabitants as the borders of consciousness dis

The image comes up suddenly and then continues unwavering: a young person (Mirra) dressed in a black watchcap and pea coat stands at the edge of a large body of water and sings a sea shanty, occasionally flinching to emphasize certain lyrics or fend off

In this spoof program produced for Lanesville TV, the premise is that a “Sheik” has come to buy all the land in Lanesville.

Completed in 2021, The Variations is a suite of 4 standalone films, reconfiguring home life as a combination newsletter, ad campaig

Known for his fast-paced and hilarious videos exploring Hapa identity and Asian American media portrayal, artist Kip Fulbeck has been featured on CNN, MTV and PBS.

We Have the Force opens with the letters of the alphabet appearing sequentially as the youths link each letter with activities surrounding drug use: A is for AIDS, B is for Body Bags, C is for Crack, etc.

This video diary visits two sites that exhibited my visual works this past year, culminating at the VOLTA ART SHOW in N.Y.C., where I sold some paintings and a photograph.

The author assembles a genre picture of the contemporary FRG with shots of scenes where life is rehearsed, ability/durability is tested. Wherever one looks, people appear as actors playing themselves; they take on roles.

Kent Merritt waxing poetically about being one of the first four Black scholarship athletes at the University of Virginia.

From A to Z in this mock cooking-show demonstration Rosler 'shows and tells' the ingredients of the housewife's day. She offers an inventory of tools that names and mimics the ordinary with movements more samurai than suburban. Rosler's slashing gesture as she forms a letter of the alphabet in the air with a knife and fork is a rebel gesture, punching through the 'system of harnessed subjectivity' from the inside out.

"I was concerned with something like the notion of 'language speaking the subject', and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity."

— Martha Rosler

A personal essay about connection and disconnection, in and through different realities.

Michel Foucault was one of the most influential philosophers and cultural historians of the 20th Century, reconceiving power and identities as historically specific social relations and discourses.

The Dying Swan is a recreation of the acclaimed ballet — Russian ballerina Anna Pavlova's most famous role — borrowed from its theatrical context and taken back to the lake.  A frozen pond and fifteen-degree weather

This video profiles the work and insight of California artists: sculptor, painter, and installation artist Laddie John Dill and painter and sculptor Clark Walding.

On the vast Kazakhstan Steppes, nine 16-year-olds prepare to graduate from the Akkol orphanage. Rockets launched overhead from the nearby Cosmodrome inspire their dreams as they write about and perform their imagined future-selves.

This iteration of Endless Love Tapes was recorded at The Voice of Domestic Workers Meeting in London. Endless Love Tapes is a continuation of Wendy Clarke's ongoing project Love Tapes.

Year of the Spawn is an archival collage inspired by the synonymous song by the “gay church folk” band The Hidden Cameras. Wolf interpreted the song as an anthem for doomed youth.

Shutters click in this clothes-dropping exhibition of photographic exposures sure to quicken the pulse of those in need of extremity expansion.

The Turkish national anthem, regularly sung in schools on Mondays and Fridays, is recorded with Super-8 and video to capture the fragile links that tie young citizens to nationhood.

If asked to say what this work is about in one word, the answer — which is woven into the electronic musique concrète soundtrack — would be a Joycean one: it’s a “collideorscape.” The imagery is a return to materials Rankus dealt with as a young man in

In the solar system 18 SCORPII, located some 45.3 light years from Earth at the northern edge of the Scorpius constellation, two planets have evolved cultures of profound mutual symbiotic reliance.

A personal interpretation of the poetry and letters of T.S. Eliot that explores the ambiguities of language and space in a scenario built around an anagram.

Flesh meets robotics in this early video documentation of Survival Research Laboratory’s spectacular exhibitions of collective invention, anti-corporate technology, and satirical mass destruction.

Shown at the Brooklyn Museum of Art, Brooklyn. The Real Art World Episodes explore the awkward social interaction of the studio visit.

sometimes, among the rubble of the endless forgetting and re-membering of our personal and collective histories, an artifact emerges. a clue, a document. hard evidence.

Transformers: Age of Extinction, the fourth installment of the Transformers movie franchise directed by Michael Bay, was released June 27 2014.

"Sodom — for those of you who haven’t been there — is an island about ten miles in length by about two miles in width. There is no depth to it at all.

...after the war.

An electronic variety show featuring poetry, theatrics, dance, songs, and a plot concerning the cultivation of literary innocence and the preservation of Rondo Hatton's memory (a horror actor in 1940s B movies).

The tenth episode in the ongoing Badger series. Themes? Living in the culture of the copy; originality and ownership; inexplicable illness; life on other planets. And wonder, times seven.

Prizewinner at FLEX festival.

With Strain Andromeda The, video artist Anne McGuire has created an awesome and spellbinding film that throws everything from story structure to character motivation into question.

Baby Bush meets Tubby-land. Completed in August 2001, this project was initially just a simple comic skewering of George W. Bush and his defense policies—but after September 11th, it took on a whole new meaning.

The daily life of the Panará village during the peanut harvest, presented by a young teacher, a woman shaman and the village chief.

Direction and photography: Paturi and Komoi Panará

Editing: Leonardo Sette and Vincent Carelli

Produced and directed by Darlene Haber/MediaVision, executive director, Suzanne Lacy.

Paint drips and body fluids ooze in this "tell all" and "hide nothing" documentary about two San Francisco males.

A furniture hoist strap encircles Laurie’s waist, lifting and guiding her through this interpretation of the waltz from the ballet “The Sleeping Beauty.” The stage and setting is the parking lot behind the Electron Movers studio, Providence, Rhode

In 2012, eteam visits Mars and Moon Townships in Pennsylvania.

The evolution of man from ape to yuppie flashes before the viewer amid 3-D animation, paint box images, and digital compositions while a narrator provides satiric play-by-play commentary.

A pile-up of events pertaining to cinematic expositions begins its whirlwind of activity in the south and then moves west with the sun to the “golden state” for all that glitters on a silver screen.

Part of paraconsistent sequence series.

Blending live action staged as if in a dollhouse with rarely seen archival footage from the National Archives, the fantastically true story of how America entered WWI is told.

Border situations have inspired writers, artists and filmmakers, particularly within the context of divisions and border control within the Middle East. Who draws the borders? What are the effects of imposing them, of imposing checkpoints?

Another in a series of sculptural films. Like it’s partner, 3 peonies, this is a short 16mm film made as a memorial for my grandmother who passed away in 2017.

In the summer of 1996 we filmed application training courses in which one learns how to apply for a job.

This crime drama made with my students at the San Francisco Art Institute is a mixed bag of colorful misadventures featuring a wayward member of the clergy and a corrupting, femme fatale with bangs.

It’s not the bats’ fault.

Holed up in Lockdown in London during the Covid pandemic, I made a bat-head mask, I made a skeleton.

A meditation on the milieu of elevated threat addressing national identity, gun culture, wilderness, consumption, patriotism and the possibility of personal transcendence.

A bullet fired by two children travels on and randomly, intervening in a series of scenes in Oursler’s quirky, dismal puppet land.

Featuring Vito Acconci, Richard Serra, Willoughby Sharp, Keith Sonnier, and William Wegman