This rapid-montage music video for John Sex’s song “Hustle with My Muscle” portrays the singer as a ladies’ man with ample endowment to share. “Can you handle all the man below my belt?” he provocatively asks.

In the beginning was the weave, and the transmission of its workings, a curse of mortality—so ends Quantum Creole with the fabulous words of the Papel weaver, Zé Interpretador.

"I asked the inmates in my Art Group on the HIV/AIDS unit - Del Norte to talk about their experiences from the womb to the present moment. Here are their stories."

–Wendy Clarke

Skip Sweeney was an early and proficient experimenter with video feedback. A feedback loop is produced by pointing a camera at the monitor to which it is cabled.

From the performance by the same name, by Suzanne Lacy, Stan Hebert, Councilwoman Sheila Jordan, Frank Williams, Officer Terrance West, Mike Shaw, and Annice Jacoby, Oakland, 1995-6. Suzanne Lacy worked alongside youth activists, city council

The projection and screens in this installation are access points meant to connect the present to an ancestral past.

Though the use of fairytales and dark fantasies, these works combine the commonplace with the macabre to construct a new world of the subconscious.

Offering was co-commissioned by Dancing in the Streets (New York), the Walker Art Center (Minneapolis, where the proscenium version premiered January 9, 2003) and the University of Arizona (Tucson).

"It was as if I was living by the Nike slogan Just Do It."
— George Barber

The desire to own and name land and the pleasures of seeing from a distance color this personal survey of the history of mapmaking in the New World.

In Dry Blood (Sagre Seca), various historical moments of political activism in Mexico are superimposed and corroded on the emulsion of expired film.

A cinematic exploration of African American intellectual, social, and political life at University of Virginia during the 1970s.

This video is staged as a reading of the great Soviet poet Vladimir Mayakovsky's famous poem A Cloud in Trousers, written 1914-15.

This collection highlights three works from Parnes’s 1990s-era, revealing the artist’s innovative use of appropriation and experimental film techniques to comment on the aesthetics and politics of popular culture.

A classic exposé on the disparity of health care services for the rich and poor in America, this incisive investigative report exemplifies the advocacy journalism of the Downtown Community Television Center (DCTV).

"Renwick recounts a sad time in her life, when a friend was dying and she suddenly became aware of the presence of crows... [Renwick] craft[s] a lyrical and moving essay that works its magic through poetic accretion rather than narrative logic."
— Holly Willis, L.A. Weekly

A self-described “collage piece” of “stolen images,” Shanghaied Text starts with quiet Montana landscapes, among which are views of a powerful dam.

“Levy's work is both ramified and momentous, addressing environments of many kinds, and filled with stories in which human behavior has played a decisive role.”

Operation Atropos is a documentary about interrogation and POW resistance training. Director Coco Fusco worked with retired U.S.

A colorful and sinister tale of hypno-therapists delving into the quagmire of UFO abductions, and wallowing in the subconscious muck of their own primal urges.

Made using voicemails the Kuchar brothers left on her home answering machine, the artist reveals George and Mike in all their candid honesty leading up to and following George’s untimely death in 2011.

An uncompromising look at the ways privacy, safety, convenience and surveillance determine our environment.

This is the apparition, the ghostly flight over our present time of the infamous conqueror Pánfilo de Narváez. The exterminating angel of our times. Part of the Hauntology and Post-Covid series.

"We are happy. (Silence.) What do we do now, now that we are happy?"

-- Samuel Beckett, Waiting for Godot

The tale of a fanatical tool collector who recreates the world according to a logic dictated by his cross-wrench.

The final film in Friedland’s Movement Exercises trilogy, Trust Exercises is a hybrid experimental dance film which explores the tension between the poetics of group movement and its instrumenta

Go-Rilla Means War is a filmic relic of gentrification featuring 35mm film salvaged from a now demolished Black Civil Rights Theater in Bedford-Stuyvesant, Brooklyn.

Adapted, quite loosely, from interviews with the composer Karlheinz Stockhausen in the late 60s and early 70s.

The two related compilations of Julia Hechtman's video works titled Acts of Disappearance: Death and Acts of Disappearance: Environmental document twenty years of the artist's ongoing expl

The question, “Who am I?” has been asked over the centuries in many different ways. Videomaker Carlos Nader adds another approach in his investigation into the nature of the individual by taking the work beyond self-examination and asking it of others.

"This movie was collected for four years before being sprayed scattershot over 28 minutes of psychic mayhem. The line between living and dead is a frontier crossed and re-crossed here.

In collaboration with art historian Dore Bowen, a video recording of her phone interview with Yoko Ono during which a discussion of John Cage and chance operations intervene.

Former East/Former West was shot in Berlin three years after German reunification. Comprised largely of street interviews conducted in various parts of the city, the video documents Berliners' feelings about their national identity.

"A group of students and teachers gather in an historical mansion in the woods of West Virginia for a week-long retreat in spoken Latin. I observe and I participate while navigating the errata with my camera."

— Sky Hopinka

No Damage is a composition made out of fragments from over 80 different feature and documentary films that show the architecture of New York City — its architectural presence as captured on film over eight decades.

Comalli is the ancestral tool to cook our sacred food, our corn and tortillas. The circular tool that represents the dark side of the moon on which our earthly food burns. The cosmic dance of food and fire that nourishes our bodies.

"The Camel with Window Memory piece was made one weekend in the early '80's. I pulled out my post card collection and began to look at specific postcards run through the new digital video buffer I had built together with David Jones.

This video captures the playfulness of the Videofreex as they frolic in the first snow of 1971.

The sun pretty much shines throughout this romp back East as waves crash against a land of plenty while the residents bathe in its nutritional offshoots.

"Ursula Biemann’s Writing Desire is a video essay on the new dream screen of the Internet and how it impacts on the global circulation of women’s bodies from the third world to the first world.

The third compilation in this series of progressive, creative public service announcements for under-reported issues.

This collection features a selection of short early video works by Laurie McDonald created between 1973 and 1977.

A short story about new bodies, the power of denial, and a state of no sunshine. Two infantile bodies float in a cyberspace ball, connected by two subconscious bodies in the background.

Primavera is a frenetic experimental animation that documents the pandemic and the Black Lives Matter protests as they intersect in springtime Brooklyn.

Space Ghost compares the experiences of astronauts and prisoners, using popular depictions of space travel to illustrate the physical and existential aspects of incarceration: sensory deprivation, the perception of time as chaotic and indistinguishable, the displacement of losing face-to-face contact, and the sense of existing in a different but parallel universe with family and loved ones.

Physical comparisons such as the close living quarters, the intensity of the immediate environment, and sensory deprivation, soon give way to psychological ones: the isolation, the changing sense of time, and the experience of earth as distant, inaccessible, and desirable. The analogy extends to media representations that hold astronauts and prisoners in an inverse relationship: the super citizen vs. the super-predator. Astronauts, ceaselessly publicized, are frozen in time and memory whereas prisoners, anonymous and ignored, age without being remembered.

This humorous video begins with two women—one white, the other Asian—attempting to fit into a Japanese bathtub.

A compilation of two videos that wittily explore counter-cultural identity through lesbian portrayals of iconic stars: in this case, the Beatles and British playwright Joe Orton.

Welcome to David Wojnarowicz Week is the follow up to A Boy Needs a Friend. Reinke proposes a new holiday with the motto MORE RAGE LESS DISGUST: David Wojnarowicz Week and takes us through his seven days of celebration.

Using a pulsing rock soundtrack and music video-style editing, X-PRZ combines archival footage of Malcolm X, advertisements, and corporate logos in No Sell Out to provide a scathing commentary on commodity culture.

Part of the paraconsistent sequence series.