In From Fagtasia to Frisco, Brenda and Glennda report from Fagtas

Meredith Monk (b.1942) has been composing, choreographing, and performing since the mid-1960s. Monk is primarily known for her vocal innovations, including a wide range of extended techniques, which she fir

A Memory of Astoria, commissioned for Museum of the Moving Image, is an impressionistic portrait of the blocks surrounding the Museum in Astoria, New York.

5% is a ten-minute work that questions the cult of pop stardom, deconstructs music industry practices, considers the problematics of live performance, and suggests other, more anonymous working strategies.

In a version of the “teenage diary,” Benning places her feelings of confusion and depression alongside grisly tales from tabloid headlines and brutal events in her neighborhood.

Burrow-Cams features footage from cameras that have been placed inside underground animal habitats (dens, burrows, etc.).

This tape exemplifies Snyder’s early experiments with the image processor. Articulated patterns of alternating wavelength and amplitude of both sound and light are arranged to produce abstract compositions.

The New York City summer is fueled by the sultry emanations of hot air that tumble off the tongues of potential thespians as they attempt to decipher the gastric guesswork embedded in the prose of the pre-production process.

The latest in Marie Losier's ongoing series of film portraits of avant-garde directors (George and Mike Kuchar, Guy Maddin, Richard Foreman), DreaMinimalist offers an insightful and hilarious encounter with Conrad as he sings, dances and remembers his y

Extractions parallels resource extraction with the booming child apprehension industry. As the filmmaker reviews how these industries have affected her, she reflects on having her own eggs retrieved and frozen to make an Indigenous baby.

This first work in the HalfLifers' Action Series plunges into a world of frantic heroes trapped in a continual crisis of dissolution and reification. An ordinary domestic setting is recast as a psychoactive landscape in which the concept of function becomes situational and fluid. Only through the strategic application of organic and inorganic “devices” can this zone be successfully navigated and the mission be saved.

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

The earliest of Benglis's videoworks, Noise calls attention to the assemblage element of video by allowing the image to disintegrate into static between edits.

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

“This melodrama, staged by me and produced with my students at the San Francisco Art Institute, follows the turbulent journey of an aspiring singer as she flees a frigid environment to heat up a tepid career.

In conversation with curator and educator Mary Jane Jacob, visual artist Ann Hamilton (b.

Tom Poole is an organizer of many things.

"I made Take Off in my studio apartment on Myra Avenue during my second year living in Los Angeles.

Lost Sound documents fragments of discarded audio tape found by the artists within a small area of East London, combining the sound retrieved from each piece of tape with images of the place where it was found.

Since the early 1970s, Rackstraw Downes has committed himself to painting from observation, on site, from start to finish. He has painted both urban and rural landscapes, as well as interior spaces, in New York, Texas, and Maine.

Tired of underworld and overworld alike, Isis escourts her favorite son on their final curtain call down the Nile, leaving a neon wake of shattered tombs and sparkling sarcophagi.

Frenzied voices on the Chicago Police Department’s scanner call for squad cars and reprisals during the 2020 uprising in response to the murders of George Floyd, Breonna Taylor, and Ahmaud Arbery, as Google Earth tracks the actio

Androgina is a stand-alone work excerpted from Generic Video Art.

Strapping a video camera to himself as he drives a motorcycle around an island, Palestine harmonizes with the engine, maniacally repeating the phrase, "Gotta get outta here...gotta get outta here..." His chanting voice merges with the vibrations of the

A Sly and the Family Stone tarmac arrival as a point of departure.

This title is only available on Can You Move Like This: Black Fire.

Leafless is a poem of textures about becoming familiar with a significant other’s body in reservation with its landscape.

Los Angeles-based, Kaucyila Brooke (b.1952) makes what she describes as, "wall size photographic sequences in comic-strip format that consider lesbian relationships within American popular culture." Produced over the past five years, Brooke’s large-scal

Millie Wilson is an installation artist whose work proposes a relationship between modernist art practices and modernity’s production of deviance, particularly regarding lesbian stereotypes.

O Night Without Objects, A Trilogy explores the relationship of conversion experiences - therapeutic, political and religious - to technology, fear and family.  The segments are stylistically diverse, employing theatrical, documentary and

John Malpede is a performance artist and Director of the Los Angeles Poverty Department (LAPD), a performance art and theater group whose members include the city’s homeless.

Half On, Half Off documents a team of workers on a Pensacola, Florida beach dealing with the aftermath of the recent Deepwater Horizon Spill.  Filmed one frame at a time, compressing hours of work onto a single 3-minute roll of 16mm film.

Michele Wallace's attention to the invisibility and/or fetishization of black women in the gallery and museum worlds has made possible new critical thinking around the intersection of race and gender in African American visual and popular culture, parti

Sitting at an altar decorated with a kitsch collection of cultural fetish items, and wearing a border patrolman’s jacket decorated with buttons, bananas, beads, and shells, Gómez-Peña delivers a sly and bitter indictment of U.S.

“Hey, how’s that TV work?” 

Animals debate the sticky subject of body dysmorphia and the merits of reconstructive surgery in this short animation.  

The raw facts and naked truths behind hedonistic rascals and obsessive artists is boldly uncovered and revealed to you.

Made from silent black and white tube camera footage of the artist taken by her father in the early 70s, this series of loops—through the examination of particular moments and gestures— is evocative for what it reveals and conceals about their relations

"I got my first Sony Portapak in 1972 and started keeping a video diary. I sat facing my image on the monitor and talked about what was going on in my life. In 1977 I decided to talk about my current experience with love.

A stay in Fairfiled, Iowa reveals the American dream being riddled with that which dwells on distant planes and the need for our nation’s people to express the forces of good and evil via videography and pyrotechnical vomit.

“It Did It explores my fictional character's story before and after I took Prozac. I used the scientific method to self-evaluate whether or not I needed anti-depressants while demonstrating how it affected my storytelling.”

The urge to relieve a winter valley of permanent shadow and find fortune in alluvial gravel are part of a long history of desire and extraction in the far Canadian north.

In this interview, communications theorist, Gene Youngblood (b. 1942) maps out the various stages of the development of video technology and its philosophical implications for human interaction. The range of topics discussed moves beyond video to offer an extensive and rich survey of American culture from the 1960s to the present moment. In addition to discussing his canonical text, Expanded Cinema, Youngblood shares stories from his early days as a police reporter for the Los Angeles Herald Examiner, where he gained intimate knowledge of the media’s politics of representation. With the acuity of hindsight, Youngblood discusses important self-discoveries, and his life-changing decision to move from the mainstream media into the world of the underground press.

Eiko Otake, based in the United States since 1976, is a highly regarded artist who has performed in many countries as part of the performance duo Eiko & Koma.

"Ever on the lookout for learning opportunities, Reinke envisions an art institute where you don’t have to make anything, and with a library full of books glued together. All the information’s there—you just don’t have to bother reading it!"

In two parts:
One – a residency at the MacDowell Colony in Petersboro, New Hampshire with the seasons passing.
Two – an experiment with green-screen chroma-key and a play between 2-D and 3-D space.

–– Ken Kobland

Prime Time is a video collage of violent imagery appropriated from American commercial network television. The work features rapid-fire editing (i.e., for analog 3/4" video technology) often used by network pro

In this elegant demonstration, Sandin explains the mistake of using common language concepts and spatial relations to describe what actually can happen on the video screen.

Originally filmed as an installation in Berlin, a digital reworking of documentation results in digital video artwork which uses image, narration, and raw sound for the sake of deconstructing and reconstructing.

Horace Bristol discusses his long career in photography, which began with shooting for Life and Fortune magazines in the 1930s. His photojournalism took him to the Dutch East Indies and post-war Japan.

A wide screen portrait of people, pets and places, this Frisco based video immerses the viewer in a placid flow of images that hint of darker depths here and there.