In this interview, Basma Alsharif (b.1983) examines th

Eiko performed unannounced in the Cathedral of St. John Divine, New York City as an artist in residence in 2016-2018.

Camera by Alexis Moh.

Ascensor is an exploration of grief, longing and mysticism through a queer lens. It documents a syncretic ritual that culls from the magical reverberations in Mexican culture to process the unexpected loss of a dear friend.

Part of the Long Beach Museum of Art’s Collectors of the Seventies series, this tape enters the home and art collection of Dorothy and Herbert Vogel.

Designed as the centerpiece of Eiko & Koma’s three-year Retrospective Project, Raven is a radically scalable work.

The innocence of creating a mirror, only to repeatedly crush it underfoot.

J. Morgan Puett is an internationally renowned artist living on a 95-acre compound in the deciduous forests of northeastern Pennsylvania.

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.

"The title (Black Sun) is as evocative of solar eclipse as it is of the 'dark spleen' which doctors, all through Antiquity, used to attribute to melancholic and suicidal drives, especially as they affected artists.

The second in the Jaws series. Feedback-generated computer animations wiped and keyed with images and sounds from electronic oscillators via an analog video switcher.

A significant amount of the hand-drawn animation seen on television today is cartooned in sweatshop-like animation factories in Korea, China, and the Philippines.

This classical animation explores personal memory, associations and atmosphere.

"I remember from the other room I could hear you violently buttering bread. I secretly hoped that I could be your next victim."

Originally commissioned by University of Dortmund to be installed during Internationalen Bach-Symposium. The video is based on the Robert Schumann song of the same name and continued to evolve as an ongoing piece.

John Cage’s work has had an immeasurable influence on 20th Century music and art, and his formal and technological innovations were tied to his desire to push the boundaries of the art world.

The four‐part cycle Parallel deals with the image genre of computer animation. The series focuses on the construction, visual landscape and inherent rules of computer-animated worlds.

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

Taking aim at the social standardization enforced particularly on women's bodies, Rosler critiques the politics of "objective" or scientific evaluation that result in the depersonalization, objectification, and colonization of women and Others.

“It is curious that in the most important periods of one’s life, one never keeps a diary. There are some things that even a habitual diary-keeper shrinks from putting down in words—at the time, at least.

“A documentary about the Arkestra, but it's one whose presentation reflects the multilevel approach Sun Ra had to music and life in general.

This film is about a five-day seminar designed to teach executives to "sell themselves" better.

Perceptual concerns predominate in my videoworks.

An experimental portrait of a lighting stand-in and body double for a famous Hollywood actress, and a glimpse at the behind-the-scenes of cinema production

Music by The Velvet Underground.

Poet Leticia Plotkin's final poem, intended to praise the ancient deities who control one's fate, turns instead into a bitter damnation scribbled in venom.

The performers are seated around a pink octagonal table on pink, violet, and silver cinder blocks. One performer (Robert Stearns) stands up, recites the credits for the piece, and then says, “Do you believe in water?

For 5 months, Clarke held workshops with young women, ages 18-23 years old, who were incarcerated at the Ventura Youth Correctional Facility in Camarillo, California.

In this interview painter Robert Ryman (b. 1930) describes his artistic influences, recounts his work process, and assesses the use and meaning of painting, both in the 1960s and the 1990s.

How Little We Know of Our Neighbours is an experimental documentary about Britain's Mass Observation Movement and its relationship to contemporary issues regarding surveillance, public self-disclosure, and privacy.

Filming is alchemy; preserving, seeing, devouring, cutting. Chopping the flow of images with a push of a button. It privileges a solitary unseen protagonist, choosing this over that and then that, it eats anything, not everything,

Spiro traveled for one year on the backroads of the southern United States gathering footage for this mobile video project. Accompanied by her dog Sam and a video camera, she travels from Virginia to Texas and back.

CHANNELING is an entryway into the spirit realm and the queer body politic: a program of experimental moving image work that calls up the ghosts of the past and the specters of the future.

A troupe of male and female jugglers and musicians perform for a growing crowd in Central Park, New York, led by Hovey Burgess and Judy Finelli.  The sun is shining, and the troupe are skilful, playful, and flirtatious. 

Nine individuals visit the Santa Monica Mall and share their thoughts and feelings about love with Wendy Clarke and her camera. Love Tapes: Santa Monica Mall is part of Clarke's ongoing project, Love Tapes.

In collaboration with DonChristian Jones.

BIT Plane is a highly compact spy plane, wingspan 20 inches, radio-controlled, video-instrumented and deployed over areas of scenic interest. Due to its refined dimensions, BIT plane is able to enter territory inaccessible to other aircraft.

A speculative portrait of a Dutchman living in the Surinamese jungle, fixing canoe motors, who is accused of eating the locals' children.

Following the Israeli attack on Lebanon in 2006, the filmmaker examines the boredom of everyday life in a besieged country.

This title is only available on Radical Closure.

Radio reports analyze staged photographs we do not see, showing the victims of a mass murder committed by Mexican soldiers.

The University of Virginia gospel choir Black Voices returns home from a triumphant concert in Hampton Roads.

Filmed in Susan Mogul’s Los Angeles multi-ethnic working class neighborhood, Highland Park, Everyday Echo Street: A Summer Diary, is an insider’s view of how home and neighborhood are constructed in everyday relations.

A newsletter that turned into a film about hands (fast forwarding through slow times).

“Hopinka’s video Mnemonics of Shape and Reason (2021) traverses the memory of a place and space visited by the artist.

Vito Acconci (b. 1940) is known as a conceptual designer, installation and performance artist.

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

Possibly In Michigan is an operatic fairytale about cannibalism in Middle America. A masked man stalks a woman through a shopping mall and follows her home. In the end, their roles are reversed when the heroine deposits a mysterious Hefty bag at the curb. Like Condit's other video narratives, Possibly In Michigan shows bizarre events disrupting mundane lives. Combining the commonplace with the macabre, humor with the absurd, she constructs a world of divided reality.

An incomplete and imperfect portrait of reflections from Standing Rock. Cleo Keahna recounts his experiences entering, being at, and leaving the camp and the difficulties and the reluctance in looking back with a clear and critical eye.

The Politics of Breathing: Tear Gas.

In the wake of Lord of the Universe, TVTV planned to cover the impeachment of Richard Nixon, but, unfortunately, Nixon resigned.

in complete world is a feature-length documentary made up of street interviews done throughout NYC.

Frances, a young Gay Indian (2 Spirit), played by Lacey Hill, is struggling with the aftermath of a gay basing. Through her friendship with her ex Jean, she gathers the strength to go out in public again.

Joyce Kozloff was at the forefront of the 1970s pattern and decoration movement—a feminist effort to incorporate typically “feminine” and popular decorative arts into the fine arts.