Between basement and stoop, PBRs and politics, two bros discuss rock music history, protest, incarcerated relatives, fine cheese, the book plot of Bridge to Terabithia, and lesbian girlfriends.

A single-shot, choreographed portrait of the Foley* process, revealing multiple layers of fabrication and imposition. The circular camera path moves inside and back out of a Foley stage in Burbank, California.

The artist's mother comments about the status of women while reading a doll house sized book titled Encyclopedia of Famous Women.

3# is part of the Pop Manifestos series, a five video project realized in collaboration with Cokes' former students Seth Price and Damian Kulash, and originally conceived as part of a series for the conceptual band SWIPE.

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.

Miller & Shellabarger, their breath made visible by the cold of a refrigerated room, exchange breath with each other.

“A soldier’s trip to Syria is complicated when he accidentally impregnates a friend. Meanwhile, a horse breeder from Ohio is driven away from home by her own desire to become pregnant.

Fifty Wonderful Years provides a behind-the-scenes look at the 1973 Miss California Pageant. In the early '70s beauty pageants across the country came under fire from feminists who targeted them as spectacles that exploited women.

Based on live testimony, historical documents from my Egyptian Jewish family’s archives, and fragments from the renowned Cairo Geniza discovered in the 19th century in the Ben Ezra synagogue in Cairo, which includes documents from the 9th-19th cen

This film is the result of an intimate time spent between the filmmaker, who lives today in Belgium, and his father who is a former political prisoner. It looks at the complex political system of Egypt under Nasser.

This archival film remixes the systemic violence and power throughout the 1984 National Day Parade, the 1989 Tiananmen Square Protests, and the 2014 Umbrella Movement. 

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.

A surreal vision of one man's endeavor to contact the spirit world and come to terms with nightmares of a mysterious death.  A séance is orchestrated according to instructions written in 1920 by revered parapsychologist Hereward Carrington, voiced

In El Gringo, viewers experience the discomfort of being an outsider when the camera is confronted by a pack of snarling dogs.

In this silent video, still images of stores and residential buildings in New York City appear within a cutout template, based on the “giftbox heap” formed by the New Museum silhouette.

Eiko & Koma titled all of their performances in Europe White Dance (1972-1974). Their presentations were always about one hour, performed without an intermission.

Deaf Dogs Can Hear is an autobiographical work that traces the tragic yet humourous episodes of the artist as a young girl, and her pet chihuahua.

Part of the Long Beach Museum of Art’s Institute for Art and Urban Resources' Collectors of the Seventies series, this video focuses on the Betty Asher’s acquisitions. "I started collecting in 1939.

Shot in Naples, Vienna, and New York, Some Chance Operations explores the notion of an archival form, in this instance film, as an unstable memory receptacle that can vanish.

"You don't have to go to Hawaii to be in Hawaii. Nor do you have to be sensual to feel sensual. You look the way you are supposed to look. The sensuality of Hawaii completely fascinates me in this video."

—Ximena Cuevas

This is the invocation to the gods, the incense to the gods. A kinetic dance to the gods.

Detail is indeed a detail. It is an excerpt from Mograbi’s feature film Avenge But One of My Two Eyes, where human conditions face military situations.

Multiple sources of feedback-generated computer animations mixed with images and sounds from electronic oscillators via an analog video switcher. The sound is delayed with Max/ MSP.

Earthglow is a poem written for the character generator and switcher that conveys a writer's internal dialogue through both subtle and dramatic color changes and through movement, size, and placement of words. The ambient soundtrack evokes the confluence of past and present perceptions.

DIRECTOR’S STATEMENT/SUMMARY: This film centers around one performance, when Holland-based musicians, The Ex, visited New York to play a concert.

Plowman's Lunch is called a documentary because its intent was to explore actual occurrences—be these the building of the work, or what befalls the players.

This meditation on family and friends uses, as a point of departure, the relationship between the maker and his grandparents.

The work of Dani Leventhal explores the complicated space that exists between decay and renewal, intimacy and disconnection and the sacred and mundane.

Zachte Berm (from Weiner’s film Plowman’s Lunch) sits with her back to the camera in front of a large mirror—her face, covered with shaving cream, is seen in its reflection.

Old Cat will eventually and pleasantly get to a destination. Shot in the summer of 2009, in a single take, on a lake in Virginia.

Cast: Chad Bowles, Marcus Bowles.

A familiar landscape comprised of big box stores and parking lots proves a rich site for longing, intimacy, and radical change. Celebrities are observed in this environment and are reduced to ordinary beings in the process.

Tales of a Future Past is a video about a giraffe and a zebra who fight over an undefined baby creature, in hopes of making it one of their own species.

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.

This is the arche-fossil and the presence of the decay-image rate of his radioactive nucleus as an omen of interesting times. Part of the Scattered Geology Audiovisual series.

In a radical action like Nam June Paik destroying a violin, and rolling up in bandages the bodies of the players in in a concert by Yoko Ono, the international avant-garde group Fluxus changed not only art, but the concept of it.

As I rummage through a stack of photos the memories of this and that plus who’s what and where rush in helter skelter.

In Love Tapes: Two Museums, speakers from the Wadsworth Atheneum Museum of Art (Hartford, Connecticut) and The Museum of Modern Art (New York) share their thoughts and memories of love.

Cheang has taken her camera to the streets for a candid glimpse of lesbian public sexuality.

Social Media Exodus (Call and Response) is part two of Zach Blas's Contra-Internet Inversion Practice series.

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

Various scenarios are envisaged where a rescue might be possible. Props include a hoist, a trolley, various doors and windows, ladders and a length of hose. It is unclear whether our two heroes help or hinder one another.

Featuring Arnold and Ahneva from Wendy Clarke's One on One video series, this video dialogue deeply connects the pair through discussion of Black brother and sisterhood.

A short documentary about life in the Everglades National Park with its few male residents. Living in the midst of a national park, they learn to exist with the wild.

Irradiation is the thermal emanation of vital heat, the ancestral support that immerses beings in the solar blood. This is the immersion of beings in the bloody solar flow that gives the intense color of our present time.

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.

Playing off the notion of “interactivity”, Utopia poses itself as a video game plugged into the social consciousness of contemporary California.

In this sequel to Rainy Season, George recovers from his depression and experiences a "little joy" during a New Year's Eve of champagne cork-popping.

From his photo-text canvases in the 1960s to his video works in the 1970s to his installations in the 1980s, John Baldessari’s (b.1931) varied work has been seminal in the field of conceptual art.

“[Segalove] pursues her self-analysis via the popular culture and TV addiction of her youth: seeing JFK shot on TV, falling in love with the TV repairman, being glued to the tube while suffering from the requisite bout of mononucleosis, and associating

Nurit Sharett visited the city of Hebron over the course of a year, teaching video art to a group of young Palestinian women. Over time the artist established firm relationships with three of her students and their families.