A drama in six episodes involving psychological breakdowns, marital showdowns, and messy obsessions.

"You are invited to Jim’s party! Snake optional."

--Cinematexas Festival (Austin, 2001)

"Three more sing-alongs, this time with swans, a snake, and the Red Army Chorus."

--L.A. Freewaves Festival

Holzer adopts the form and language of commercial messages to disrupt communication, presenting kamikaze texts that are designed to stimulate thought, with humor, and inspire a critical attitude in an often passive audience.

Juan Sanchez explores his Puerto Rican heritage and the issue of Puerto Rican independence through his work as an artist and writer.

A 12-year-old Olympic swimmer and her mother (both played by July) speak to the public about going for the gold.

In(sul)ar marks the dichotomy between reality and fiction, by creating meta-images of an imagined island, where time and space are confused with each other.

Three nuns in dark sunglasses sit at a table playing cards while a nurse is inteviewed about "what death looks like” on the soundtrack.

The Waiãpi videomaker Kasiripinã decides to show white people the documentation he did on his people in Amapo. He presents and comments on three celebrations that represent episodes of the myth-cycle of the creation of the universe.

At sunset a large orchestra, a choir and a group of young people position themselves against the backdrop of a mountain landscape. The musicians play the first section of Mahler's 8th Symphony, moving in precise choreography.

This video, shot in March 1970, contains raw footage from a Women’s Liberation event and discussion that took place in an art space. The tape begins with shots of the crowd mingling while music and speeches are heard in the background.

[A] postcard-sized [film that]…manage[s] to implicate the audience’s ethical imagination…Distant Shores models a necessary imaginative leap simply by juxtaposing footage of a Chicago River cruise with testimony of a migrant’s

Anne Bancroft and Patty Duke proceed to beat each other while text from psychiatrists and ex-patients discuss the violence in some forms of psychiatric care. Four actions repeat as the struggle for autonomy rages.

Using footage from the legendary Bruce Lee’s last, unfinished, film, Fulbeck turns the subtitled martial arts movie on itself—levelling criticism and commentary with the genre's own tools, and examining the various representative functions of the late a

"Exhibitons, whether of objects or people, are displays of the artifacts of our disciplines. They are for this reason also exhibits for those who make them, no matter what their ostensible subject.

During a conference in the late 1970s, Carol Leigh (also known as the Scarlot Harlot) coined the term “sex worker.” Now, it is a fundamental part of the lexicon regarding all worker’s rights and this is owed in large part to Leigh’s artistic and activis

Rosler identifies the totalitarian implications of an argument for torture, under certain circumstances, as it appears as a guest editorial in Newsweek magazine in 1982.

A collection of three remarkable works by Sadie Benning, produced between 1995 and 1998, including German Song, The Judy Spots, and Flat is Beautiful.

A portrait that follows Nan, my uncle who lives with his elderly parents, during the last two years that the three share the same house together.

Shot in black and white, this rough-and-ready trilogy is about twin sisters who "act out" and act up in their own best interests.

Linda Montano is interviewed by Janet Dees, Curator at the Mary and Leigh Block Museum, Northwestern University.

Duet for Tap and Galoshes is a visual restructuring of a real time tap performance, presented in two parts.

They just flew in from New York, and boy, are their arms tired...

Easy Living ingeniously depicts leisure life in suburban America with a cast of little plastic dolls and miniature model cars—the toys that shape American children's ideas about success and adult life—focusing on a typical day in the life of an

Sites Unseen is a 16mm film of the Jewish cemetery in Warsaw, a photograph of a great Aunt who died in Treblinka, and my late grandmother eating her morning cornflakes.

Music by Zeena Parkins

This compilation collects seven short works made between 1977 and 1984.

In this early black and white, reel-to-reel video, small game traps are set to catch the rain.

Flesh and blood souls breathe forth the colors of doubt, guilt and a hope for "peace of mind" in a world without moral directions...

Featuring a swirling spiral from video feedback, this video provides a contemplative visual space for viewers. The spiral appears on and off against colorful oscillation patterns. 

This tape is a media arts collaboration between Joe Leonardi, Cathleen Kane, and radio artist Joe Frank. It is a synthesis of three “dark humored” radio pieces adapted for video.

Threads of Belonging depicts the daily life of Layton House, a fictional therapeutic community, where doctors live with their schizophrenic patients.

Equal Rights for Unborn Drag Queens is a satirical short video in which Brenda and Glennda critique anti-abortion politics, homophobia, and religious fanaticism in the media.

In a guided meditation progress is posed as a godly icon for worship. The inseparability of the human labor-spirit connection is probed.

Crush consists of six chapters, the first five portray the transport, bending, piercing, and crushing of various vehicles, cars and trucks.

Addressing the camera, Segalove confesses to plagarizing her 5th grade report, The Story of Coal.

Biting Nations, a video produced in collaboration with Luna Montenegro, Lisa Bradley, Arantxa Johnson questions the assumption of fixed national identities and investigates one’s multiple notions of geographical belonging.

Reverend Howard Finster was a preacher-turned-folk artist. He created Paradise Gardens Park & Museum, a product of all his murals, drawings, sculptures, and mosaics—and Summerville, Georgia’s largest tourist attraction.

A Body in Fukushima is a film created by dance artist Eiko Otake consisting of still photographs, inter-titles, and an original score.

In 1992, Tran came across a New York Times article about a group of hysterically blind Cambodian women in Long Beach, California, known as the largest group of such people in the world.

The sale of a plot of land marks the kickoff of an unlikely road trip in this strange American odyssey. When eteam buys an acre of the Southwestern desert on eBay, the deed fails to arrive and the pair attempt to track down the phantom seller.

“APP APPAP APP APAPPAP APP APP APP APAPPAPAPPAP APPAP APP”

This video was made as the end-credit sequence for a film version of Ron Vawter's performance piece, Roy Cohen/Jack Smith, by Jill Godmilow. Ron was an extraordinary actor and extraordinary man.

Cobra Mist explores the relationship between the coastal landscape of Orford Ness and its traces of military history, particularly the extraordinary ruined architecture of experimental radar and the Atomic Weapons Research Establishment.

A massive video drama made with my students at the San Francisco Art Institute that chronicles a man and wife parting ways amid the clatter of dice in a gambling resort on a painted desert of painted women and panting men.

Breder used Stavros Deligiorgis’s encyclopedic ability to make associations as an element in this video art and performances, providing a kind of intellectual running commentary in works such as Intertext (1976).

In this interview, American artist, independent curator, writer, and experimental filmmaker, Vaginal Davis reflects on her initiation into the punk rock and art scenes of Los Angeles during the 1980s and 90s, her stylistic influences, and her ongoing efforts to theorize queerness and visuality. Caught between the opposing poles of Hollywood classicism and the rawness of punk, Davis defines her unapologetically gender-bending, campy, and at times aggressively critical performances as scenarios, rather than spectacles or entertainment.

The male/female, subject/object investigation in A Bit of Matter and a Little Bit More has no titillating introduction; the appetite is not whetted beforehand.

El Zócalo is an observational portrait of Mexico City’s central Plaza de la Constitutión during one day in August.

There is a presence lingering in the dark woods, just under the surface of a placid lake and at the end of dreary basement corridor. It’s not easy to locate because it’s outside but also inside.

A response to the inability of his local General Motors dealer to fix Morton's 1974 Chevy van to his satisfaction, this tape blends experimental image-processing techniques with documentation of the faulty vehicle.

Ming Wong creates videos that explore performance and issues of race and gender. Born in Singapore of Chinese heritage, and now based in Berlin, his work examines cross-cultural experiences by appropriating scenes of iconic world cinema.