Julie Ault is an artist, curator, and founding member of the artist collective Group Material, which has organized exhibitions on themes such as the U.S.’s involvement in Central America, AIDS, education, and mass consumerism.

A post-apocalyptic computer animated vision of humanity lost in an industrial wasteland, Maxwell's Demon was animated on a low-cost, consumer computer model - an IBM PC.

My film is a simple gathering of New York City street footage.  It was shot with a spring-wound 16mm Bolex on, above, and below the streets of Manhattan and Brooklyn and includes footage of the ticker tape parade for astronaut John Glenn.

Fifteen holopoems compiled under the collective title Holopoetry.

The colorized abstractions of Moog Images were created by feeding Moog synthesizer oscillators into the video inputs of a television monitor.

In this now infamous tape, exemplary of his early transgressive performance style, Acconci sits and relates a masturbatory fantasy about a girl rubbing his legs under the table.

Since the Gulf War in 1991, warfare and reporting it have become hyper-technological affairs, in which real and computer-generated images cannot be distinguished any more.

On April 6th, 1974, this episode of the Videofreex’s production of Lanesville TV aired, including four segments: a choreographed piece by the Elaine Summers Dancers, a Vietnam tape titled “Where do you get your money?,” several phone conversati

Tochka depicts a journey made by anonymous group through a rough landscape. After many hardships, they arrive at a shallow ravine where they decide to build a rickety wooden bridge so that they can cross to the other side.

I was an Artist in Residence for three months on Five East, the ward for chronically ill adolescents at Children’s Hospital, Los Angeles. Five East is a series of video portraits.

Petrolia takes its name from the redundant oil drilling platform situated in the Cromarty Firth, Scotland.

"Mama mama mama...," a woman calls out again and again, over and over. Is it her child that she mimics, or is she calling for her own mother? A desperate video performance in the first person.

American sculptor and land artist Robert Smithson made art as a meditation on transition and change.

Ingrid Sischy was editor of Artforum in the 1980s and has been editor-in-chief of Interview magazine since the 1990s. In this interview with Robin White, Sischy discusses Artforum’s priorities, purpose, and goals.

Executive Producer, Suzanne Lacy; Director, Steve Hirsch; Editor, Doug Gayeton.

From the performance Freeze Frame: Room for Living Room by Suzanne Lacy, Julia London, Ngoh Spencer, and Carol Leigh, San Francisco, 1982.

Made with my students at the San Francisco Art Institute, this video drama explores the thrills and terrors of the Big Top as a travelling circus comes to town bringing with it the promise of cotton candy, eternal youth, and high-flying beefcake.

Originally recorded during 1975-76 and re-mastered in March 2005, this selection of 11 skits mostly focuses on Man Ray.

I once read a story about the Tibetan Buddhist Master, Chogyam Trungpa Rimpoche in a book by death-teacher, Steven Levine.

... There is a garden in the dark hunger of his psyche where forbidden fruit grows.

— Mike Kuchar

An all-over textile constructed under the spell of Arachne, an audiovisual textile in five parts that exposes a web of raids in construction over the american houses, a landscape of protests under the webs of segmented time, the entrails of the american

"Starring an inflatable wig holder that I got at a car boot sale in Bremen, Germany, this film began as a demonstration of different film animation techniques, but evolved into a bizarre improvised narrative in which the head escapes from the violent cl

Gravity Hill Newsreels: Occupy Wall Street comprises Jem Cohen’s twelve-part series as a continuous and complete compilation.

Anthony Ramos' astute deconstruction of television news focuses on his part in the media coverage of President Jimmy Carter's 1977 declaration of amnesty for Vietnam draft evaders.

Mom and Dad highlights causal conservations between Phil and his parents around family life, road trips, and camping in an interview-like setting, where his parents sit against a plain brick wall facing the cameras.

The second installment of the collaborative project New Report, an ongoing series of performances and videos, Artist Unknown features K8 Hardy (founder of the queer feminist art collective LTTR) and Wynne Greenwood (of Tracy and the Pl

"Gregg Bordowitz’s 2017 performance lecture Only Idiots Smile features the artist on a stool in the New Museum’s top-floor sky room, riffing on the formation of his identity.

Through distorted audio and visual representations of interviews with music journalists, this video critiques the mass media’s treatment of the rap group Public Enemy, and accusations that their lyrics are anti-Semitic.

Having a party and in a fix for a dessert? The “Lady” Bunny has just the recipe: combine a doughnut, Cherry 7-Up, jelly, strawberries, and whipped topping.

To keep a promise made to her dying mother, a young woman goes off in search of her father, a womanizer she has never met. Along the way, she soon learns that he is dead. But that doesn’t change her plans, she still intends to find him.

Adam Khalil and Zack Khalil’s debut film re-imagines an Anishinaabe story, the Seven Fires Prophecy, which both predates and predicts first contact with Europeans.

A camcorder diary and chronicle of public opinion in Moscow during a time of huge political, economic, and hence cultural, changes in the former Soviet Union.

The planting of the "cempasuchil" for the celebrations of the "Day of Death" is one of the last jobs that the Ayotzianapa normal students did before they were brutally disappeared, with small Lomokino 35mm cameras, which we had to compose-hit several ti

Linda M. Montano: 14 Years of Living Art is a video catalog of the artist’s exhibition, performance and workshop in Montreal in 2003.

1933. Berlin. The last year of the Wiemar Republic. Through the lense of her personal "home movies", Leni Riefenstahl records a day in her life with a young Eva Braun.

"Actions, states, one B+W video camera, the Paik Abe Colorizer, a video switcher. The two states, a b a b, I put my hand in the camera frame and saw a colored hand shifting.

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.

This film was 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.

A lavish home is visited, shutters click, bottoms are exposed, water splashes and a welcome wetness stains an area unquenched for so long. A jacuzzi bubbles to life in a bedroom community that floats to sleep on aqua-filled rubber.

A hyper-collage endurance test of sado-masochistic proportions, mixing an anthology of corporate video music with a feng shui video.

Scottish artist Thomas Lawson (b. 1951) is a painter, critic, and founding editor of REAL LIFE magazine who lives and works in Los Angeles. His paintings are tied to the particularities of the present, and he is especially critical of the art world’s infatuation with ego and creativity. His portraits, appropriated from the print media, represent an intervention in that vein.

Identically dressed, and with sibling-like resemblance, performance artists Trevor Martin and Kym Olsen shift between spoken word and athletic dance choreography in a collection of 29 scenes.

“The moon, the sometimes dark street, trees, it's warm […] at last, a certain eroticism possible (that of the warm night).” When Roland Barthes visited China in 1973, he jotted down some notes that

In Over My Shoulder, Gordon uses hand gesticulations against a white sheet to communicate both violent and sensual emotions.

Why do teenagers get drunk?

A Kafkian vision of the New World. The arrival of Karl Rossman to the contemporary Babylon under the spell of the paranoid avant-garde. Kinetic coexistence of the archaic forms in dissolution.

A major figure among underground filmmakers, Stan Brakhage (1933-2003) boasted a prolific career that spanned more than 50 years and 300 films.

Shooter explores the idea of overt manliness, exposing it to be a flaccid gesture and an exercise in posturing.

The confession of a woman who took flight... A woman tells a tragic story straight to camera. The camera seems to be looking for the spot where the pain is, but the woman is too quick for the viewer.

Right after the first Iraq war, the filmmaker visits his family in Iraq.  He tries to reconstruct the war from different points of view, all depicted on the same screen at the same time: U.S.

A trip to Boston to visit a local filmmaker in his studio is followed by a journey to the cinematic facilities of SUNY College in Purchase, NY, and then to the kitchen and living quarters of my mother in the Bronx.