These three videos from Cecilia Dougherty deal with particular states of mind: that of a participant in a symbiotic relationship, the melancholy felt at the end of a romantic union, and the solitary non-space created by a regular commute.

Eiko Otake, with her collaborator Merian Soto, visited a friend Bonnie Brooks in her country house and had a long walk in the forest. There was a small island occupied by three deers.

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.

In this 2004 interview, Kori Newkirk (b.1970) describes his lifelong apprehension of being rooted in any one place for too long. Asserting that the School of the Art Institute of Chicago was the fifth school he attended in four years, Newkirk begins by describing the fortuitousness of his relocation to Chicago following his expulsion from Cooper Union. Recounting how he fled from the fiber department in favor of painting, Newkirk details how it was a studio visit from Deborah Kass and an exchange program to England that crystallized his burgeoning ideas about “painting without making paintings.”

Growing up in the early computer age, around machines like the Commodore 64, had a formative effect on Marisa Olson and her subsequent artistic career.

Part of the paraconsistent sequence series.

The union of humankind and the camera is a long and sordid tale. This lyrical dance illustrates the inseparable nature of the two.

This film is an appropriation from the 1953 movie Gentlemen Prefer Blonds.

A dark wave of incest and magic burns across the tropics, forging a knotted trail into the black hole. Taking its title from the V.C. Andrews novel (a sequel to Flowers In The Attic), and weaving together texts from Shirley Jackson, William S.

In Manpower, a bulldozer, a screaming man and a crying baby are among the images that Tanaka combines with a suggestive soundtrack to create an eerie portrait of male strength and weakness.

Freed intercuts still color imagery of Roy Lichtenstein’s paintings with a close quarters interview conducted in Southampton, N.Y in Summer 1972.  Lichtenstein discusses the creation of his work, points of inspiration and his recurring aesthetic ch

Black Sea Files is a territorial research on the Caspian oil geography: the world's oldest oil extraction zone. A giant new subterranean pipeline traversing the Caucasus will soon pump Caspian crude to the West.

In her oft-cited essay “Video: The Aesthetics of Narcissism,” Rosalind Krauss says, “self-encapsulation — taking the body or psyche as its own surround — is everywhere to be found in the corpus of video art” (October 1, Spring 1976). This certainly applies to this early work of Hermine Freed. Utilizing a split and reversed screen, Freed faces herself, caressing and kissing her doubled image.

Danh Vo is a Vietnamese-born Danish conceptual artist, currently living and working between Berlin and Mexico City. His large installations often deal with issues of personal identity and belonging.

Home is about disappointment in northern Ohio. The scoreboard depicted is on the grounds of Mansfield Senior High. The sentiment conjures the close call.

Awarded a MacArthur “Genius” Fellowship in 2014, Rick Lowe is a leading practitioner of social practice art. His Row Houses project is a highly lauded example of relational aesthetics successfully deployed.

This tape documents Nancy Cain’s birthday party and captures the inner workings of the Videofreex’s social ethos.

"A refreshing look at karaoke, psychedelic dance moves, and donuts all mashed together into a small and swinging film about a man who considers his private thoughts and private jokes worth sharing with a large audience.

Fashioned out of home movies recovered from failing hard drives, this glitch-art video makes comparisons between different forms of memory - suggesting that, while error and decay may keep us up at night, they might also be the way we put our ghosts to

One plus one is two. Two plus two is four. Four plus four is eight. Eight plus eight is sixteen. Sixteen plus sixteen is thirty-two.

Jonas uses reflections on a lake as a mirror to displace reality, creating a disruption and the illusion of presence.

‘ODDS AND ENDS’ is a dazzling patchwork of moods, lost and found, for the eye to savor.

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.

Fifty years after the Cultural Revolution in China, two elderly Chinese women recite the propaganda songs they learn at the educational camps. 

Brilliant Noise takes us into the data vaults of solar astronomy.

A historical interview originally recorded in 1983.

Interview by Joan Livingstone.

What Farocki Taught is literally and stubbornly a remake — that is, a perfect replica in color and in English, of Harun Farocki’s black and white, 1969 German language film, Inextinguishable Fire.

At one point in END-LESSsestina, several men linking arms are made to walk, blindfolded, into a pool of water. We see thrashing and an expanse of blue, and finally, a lone tennis ball bobbing largely in the frame.

West coast artists, Mike Mandel (b.1950) and Larry Sultan (1946-2009) became artistic collaborators in 1972 while both enrolled in the San Francisco Art Institute’s MFA program.

This structurally simple video, shot through Benglis's apartment window, contains a, "distinct disjuncture between the visual and aural components of the work.

Attempting to apologize for the lack of good weather in Weather Diary 3, George arrives in Milwaukee only to find the drought back in full swing.

As the camera looks out through a barred window and the clock strikes four in a Swiss city, the death of Yasser Arafat provides the starting point for a journey back in time.

At the age of twenty-four, Taiwanese artist Tehching Hsieh (b.1950), moved to New York, where he has created and documented time-specific, conceptual art performances since the 1970s. In this interview, Hsieh discusses his formative years and philosophical moorings. This dialogue includes description of the artist’s early period of painting, his military service in Taiwan, and the cultural atmosphere of a country then undergoing massive political change. Much of the discussion focuses specifically on Hsieh’s understanding of the relationship of art and life, his investment in “free thinking,” and the politics of documentation. For Hsieh, the ability to think freely is art’s bottom line—he believes the essence of his work lies in human communication. To this end, Hsieh insists that his work, though incredibly personal, is not autobiographical, but philosophical.

In January 2001, the KEN BURNS’ JAZZ promotional blizzard hit New York City.

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

In his signature photographic style, Donigan Cumming eulogizes a dying friend through his exploration of “culture” in all its manifestations: 1. culture: a particular civilization at a particular stage 2.

1+8 is a film about Turkey’s unique position between West and East and her relationship to her eight very distinct and diverse neighbors.

Super 8mm film transferred to digital video. Installation composed of footage from three separate sequences that interweave frame by frame. Shot in the interiors of empty homes in Amman, Jordan. Sound composed of recording of food ingredients for unspecified dishes looped repetitively over ambient noise from film transfer to digital video.

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

Shot in video-8 at the 1988 Chicago Auto Show, this work examines the artist's personal history with automobiles against the back-drop of an auto plant closing in Kenosha, Wisconsin.

Shot in a local Natural History Museum in northern Israel. 100 white doves fly around cabinets of stuffed birds and other animals. This is a symbol of a culture which is unwilling to let the past go, and lives so naturally with the dead.

Pat Steir (b.1938) is an American painter and printmaker, whose work has resisted artworld currents and factions for decades while maintaining enthusiastic critical support.

A two-headed calf died when one head atrophied. It became a trophy that the artist used as a source for this 16mm film transferred to video.

Su Friedrich (b. 1954) is an American experimental filmmaker whose career has spanned over four decades.

In this interview with Carl Bogner, Sky Hopinka (b.

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

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

Silver directs and performs all the roles in this raucous and hilarious music video rendition of Lynyrd Skynyrd’s "Freebird", the infamous Southern rock anthem for an entire generation of 1970s male youth.

Untitled (shaving performance 2010) is a document of a privately held performance, in which Hubbard used a straight razor to remove the hair from the lower half of Burns’ body.