Reflecting upon the figure of “Trickster” in African and Native American culture while recounting the story of his first love, Harris creates a graceful, deeply moving lament for the loss of innocence in a world without magic.

Using highly-manipulated and over-processed images, Latham investigates the process of video as inherently fragmented. Weaving together various people’s impressions of the artist and her work, the work demonstrates important parallels between video, storytelling, and the formation of identity — all processes of active fabrication that blend “lies” and truth in the construction of a certain reality, history, or past. Labeling an image of herself talking as “her most recent explanation,” Latham addresses “the construction of her video personality” as an identity outside of herself.

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.

Facial Weaponization Communiqué: Fag Face protests against biometric facial recognition — and the inequalities these technologies propagate — by proposing the creation of “collective masks” that are modeled from the aggregated facial data of ma

In this interview Cecilia Dougherty describes her work and her explorations into family interactions, outsider psychology, role-playing, lesbian sexuality, and popular culture.

Charles Simonds (b.1945) majored in art at the University of California at Berkeley. There he discovered an area of clay pits that had once provided the raw material for some of Manhattan's older buildings.

An experiment in placing lesbian sexuality in its most common environment, daily life.

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

Calling for oil like the Tin Man in The Wizard of Oz, Son Of Oil is a tale of the well-greased machine of the mind breaking down. Nuts fall off; thoughts turn bad; things don't work.

Everglades is a project Levy began while a resident artist in Florida's Everglades National Park.

Accidental Confessions combines scenes from a demolition derby with statements taken from automobiles insurance claims.

Eric Siegel, a child prodigy in electronics, built his first TV set out of scrap parts at the age of 14.

Part of paraconsistent sequence series and the hauntology series.

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

This tape addresses spiritual closure.

3 Peonies is a brief, poetic 16mm film of a simple sculptural action.

This video consists of raw footage from a Women’s Liberation Rally in New York City, shot on March 7th 1970, in celebration of International Women's Day. The first two thirds of the piece consist of footage of the crowd and speakers.

Inconsecreation is a complex mix of videos that fully explores the capability of the Sandin Image Processor’s handling of live-feed, video feedback, oscillation patterns, and recorded footage.

Musica Electronica Viva at Baggie’s is a quintessential Videofreex work in its documentation style and explicit discussion of the Videofreex project.

Joseph Beuys (1921–1986) was born in Kleve, Germany. After serving as a volunteer in the German military, Beuys attended the Dusseldorf Academy of Art to study sculpture, where in 1959 he became a professor.

Never Rest/Unrest is a hand-held short film about the relentless political actions in Hong Kong, spanning early summer to late 2019.

Taken almost verbatim from a newspaper, The Arizona Daily Star, the video recounts the story of Ramona Barrrara, a New Mexico woman who saw the face of Jesus in a tortilla when she was rolling her husband's burrito.

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

In a remote area of northern Spain, the wind has a name: Tramuntana. Tramuntana takes what it wants—clothes, trees, boats, and the people of the landscape who live with the endless threat of being carried away by its force.

Using “found” imagery shot in a SoHo playground, the first part of the Damnation of Faust trilogy explores the possible relations between childhood play and a woman looking on from outside.

28.IV.81 (Descending Figures) comprises footage Harris shot at a performance of Christ’s Passion, staged as an attraction in a Florida amusement park…This flimsy display of devotion is shown up by something g

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

This tape documents a cultural exchange between the Parakatêjê (Gavião) of Pará and their “relatives,” the Krahô of Tocantins.

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

Joan Mitchell (1925-1992) was a "second generation" abstract expressionist painter and printmaker.  She was an essential member of the American Abstract expressionist movement, and one of the few female painters to gain critical and public acclaim in the era.

Fiber artist Claire Zeisler discusses her techniques, ideas on art, and training; the conversation is inter-cut with images from her 1979 retrospective at the Art Institute of Chicago. “I... realized I cannot change my techniques too often.

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

In this silent video, still images of stores and residential buildings in New York City appear within a cutout template, based on the “giftbox heap” formed by the New Museum silhouette.

Nocturne is a 5-minute film shot entirely at night in deserted streets of London. The film attempts to find images of the city that reveal the presence of the past, or the presence of the dead, hinting at a concealed history.

My Mother’s Place is an experimental documentary focusing on the artist’s mother, a third-generation Chinese-Trinidadian who at 80 still has vivid memories of a history lost or quickly disappearing.

Moving Stories strings together scenes of passenger aircraft in flight.  In this short study of the dramatic and narrative power of image and sound, Provost manipulates cinema language and reaches, though minimal means, a strong, emotionally loaded result.  With a limited number of images, an absorbing soundtrack, and a suggestive story line, the viewer's imagination is stimulated to the maximum.

Crosswinds  is part of the fieldtrip series. By definition a crosswind is any wind that has a perpendicular component to the line or direction of travel.

These are the ghosts of a haunted civilization, a culture of progress that hides the social and political horror behind the streets. These are the haunted figures in the Capitalocene era. A sinister dance of macabre abstraction.

This is not a sight-seeing film, but a poetic journey through light and darkness reflected on the city of New York, where I often found empty spaces and times like Ma in Japanese.  You do not often see the people walking on the streets or in the bu

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

Interviewed by Colin Westerbeck.

A historical interview originally recorded in 1987.

The fifth video of the installation Touch Parade, which as a whole explores “plastic love” or fetish culture and the assimilation of marginalized sexuality on th

Mohamed Yousry: A Life Stands Still (also known as Good Translator) is a short documentary about Mohamed Yousry, a naturalized American citizen who's life changed radically after September 11, 2001.

Dream Nightmare is from Martine Syms’ Kita’s World series. Kita enacts the performances of everyday life in a hyper-digitized world.

“The individual is not an autonomous, solitary object but a thing of uncertain extent, with ambiguous boundaries. So too is matter, which loses much of its allure the moment it is reduced to an object, shorn of its viscosity, pressure and density.

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.

Originally from Canada, Agnes Martin (1912-2004) moved to the U.S. in 1931. Martin lived in Taos, New Mexico from 1954 to 1957, and then moved to New York, where she established her name as an important minimalist painter.

Based on Robert Heinlein’s 1941 story “Universe,” Double Lunar Dogs presents a vision of post-apocalyptic survival aboard a “spacecraft,” travelling aimlessly through the universe, whose passengers have forgotten the purpose of their mission.

Forti uses the camera as a research tool to record the movements of three grizzly bears pacing anxiously behind the bars of their cage in the Brooklyn Zoo. The collected visual information becomes part of the basis for Forti's movements in Solo No.

“And the poem, I think, is only your voice speaking.”

—Virginia Woolf, The Waves (New York: Harcourt, 1978)