An image of the curandero in Tlocalula, Mexico.

As recent state cut-backs force many mental patients out into the real world, Tony Oursler and Joe Gibbons team up to address psychiatric deinstitutionalization from a comic angle.

Rankus’s elegant black and white video takes us into an intensely dark inner world. The visual elements remind us of clues in a mystery story: dark corridors, half-revealed bodies, a man with a gun, a throw of the dice.

"Finn seamlessly blends actual space footage with his own lovingly handcrafed and carefully art directed scenes of Eastern Block cocktail parties, field hockey teams and space capsules.

The young and the innocent at the mercy of a palpable presence oozing menace and scarlet-stained goodness as a strawberry sundae melts under the glare of future hell-firestorms in search of kindling.

In a fusion of text and image, Rosler re-presents the NBC Nightly News and other broadcast reports to analyze their deceptive syntax and capture the confusion intentionally inserted into the news script.

Media artist Cyrille Phipps has been involved with numerous alternative media and lesbian activist projects, including Dyke TV and the Gay and Lesbian Emergency Media Campaign.

The Diaspora Suite

“I fear nomads. I am afraid of them and afraid for them too.”

—Jane Bowles, “Camp Cataract” in My Sister’s Hand in Mine (New York: Ecco Press, 1978)

Circles, holes, cats, ribbons, ducks, flat furniture and moth. Experimental and domestic, no story but much glee.

A call from the beginning, the ancestral water, the everlasting belly from where life cries out.

"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.

Capitalizing on the visual aspect of musical performance, Quad Suite explores the essential link between the image of music and its sound.

A fast-talking and fabulous teen recounts his experiences as an out and loud Toronto queer.

Bernard talks about the shield and how it protects him. The video was part of Clarke's PhD project, Journey with the Creative Process.

Once again a seaside serenade of sloshing oils and simmering scallops fills the crannies of Cape Cod with dingle-berries of dubious delight!  Join a crew of crustacean craving civilians as they shuck their shells of inhibitions to become the truly

An imaginary room resembling a swimming pool. An actual body of water. Sea creatures carried by the wind. Plastic. A dance film that leaves us primarily in the dark. A dance score for the choreographer Joanna Kotze.

Voice: Maureen McLane

Reflecting upon the figure of “Trickster” in African and Native American culture while recounting the story of his first love, Harris creates a graceful, deeply moving lament for the loss of innocence in a world without magic.

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

This video consists of raw footage from a Women’s Liberation Rally in New York City, shot on March 7th 1970, in celebration of International Women's Day. The first two thirds of the piece consist of footage of the crowd and speakers.

Soft Science is a collection of video-curiosities created by artists and scientists. Behind laboratory doors are some of the most astonishing "outsider" art projects around.

Fulbeck force-feeds the viewer scores of all-too-familiar Asian female/Caucasian male pairings in Hollywood films, and combines them with contemporary excerpts from best-selling novels, magazines, and dating services.

Throughout the video, Benglis asks "Now?" and "Do you wish to direct me?" and repeats commands like "Start the camera" and "I said start recording." As in On Screen, she makes faces and sounds in reply to the images on a monitor; at one point s

This video was produced as a part of Eiko & Koma's exhibition Time is not Even, Space is not Empty which opened at the Zilkha Gallery in Wesleyan University in the fall of 2009.

“Now too late, he understood her. The heart that pumped out love, the mouth that spoke the Word, didn’t count.”

--Toni Morrison, “Beloved”

In this interview, Kori Newkirk (b.1970) describes his interest in the space that exists between categories. Hailing from the Bronx, earning a BFA at the School of the Art Institute of Chicago (SAIC), and finally settling on Los Angeles as his base of operations, Newkirk has always been motivated by a desire to eschew provincialism. In this conversation, he discusses the idea of regional identity, his complex relationship with the Los Angeles art community, and how his experience as a student at SAIC helped him move beyond the boundaries of a simple material definition of painting.

Mother’s Day in Mexico is considered one of the most important family holidays of the year. Thousands of mothers have nothing to celebrate. They are the mothers of victims of forced disappearances.

alexia is an experimental video about word-blindness and metaphor.

Based on a photograph taken in the mid 1970s of two African Americans playing foosball.

A very special episode of television's Full House devours itself from the inside out, excavating a hypnotic nightmare of a culture lost at sea. Tropes of video art and family entertainment face off in a luminous orgy neither can survive.

U & I dOt cOm is an experimental narrative/documentary hybrid about Zoey, a teenage girl who negotiates her identity in cyberspace. Dreaming about the perfect true love, she secretly navigates 3-D worlds to find romance.

Cloudless Blue Egress of Summer is a two-channel synchronized video installation. A composite of the two channels presented side by side in one video is available from Video Data Bank for educational use only.

Sylvia is a portrait of the civil rights pioneer Sylvia Rivera for her memorial service in 2002, as told by her chosen family immediately following her death.

At the epicenter of Green’s extensive multimedia installation Partially Buried in Three Parts (1996-1997), Partially Buried (1996) and Partially Buried Continued (1997) explore a web of genealogical traces, initiated by a refl

In the 1960s and '70s, Hollis Frampton (1936-1984) emerged as one of the most important experimental filmmakers, creating structuralist works such as Zorns Lemma (1970), Poetic Justice (1972), and Nostalgia (1973).

South Circular first shows us two women, in the shadow of nondescript ruins over the Tagus river in Lisbon.

Segalove relates a tale from her childhood of a man's exposure with text (“the painter wagged it at me right here”), while an arrow blinks over a shot of the house where she grew up.

In this experimental travelogue, efforts to sound human and look natural instead become artifical.

As a document of an early performance, this video details the process of orientating the body and self in space, providing a physical metaphor for the process of adjusting oneself in society.

Each year, crowds of Turkish, Australian and New Zealander tourists travel to Gallipoli, Turkey for a modern day pilgrimage.

A series of numbers that form infamous years that are uttered in a repetitive pedagogical litany. Ominous dates as a correlate of forgotten apolitical portraits. Portraits of a remembered royalty whose wealth was made possible by infamous times.

Begun as a consideration of the upgrading from manual to digital film editing techniques, Transitional Objects explores the anxiety and loss inevitable in such a transition while also suggesting the consequences of other life transitions.

Wojtasik's Nine Gates explores the possibility of transcendence through sexual passion: averting the gaze from the objectification of the other, the female body or the obscure enemy, to the vast and microscopic details of the body unknown to th

Obscure signs portend a looming, indecipherable slump. An oracular decoding of the landscape.

In Post Queer Pride 93, Brenda and Glennda attend the New York Ci

Handy Man examines the window as a site of voyeurism and surveillance. With his Hi-8 camera, Henricks documents two workers in his interior courtyard. The camerawork has a secretive and furtive feel, treating the male body as an erotic object.

Filmed entirely in Sweden, VIEWFINDER is a surreal sound-film that entangles gestures of place, belonging, and monument.

A woman is standing barefoot on a tile floor.  In slow motion, the investigative camera circles around her.  Her breasts are bared and liquid runs down her legs.  Bit by bit, every part of her body is shown, except her face, which remains

In the late 1970s, Walter Naegle was walking to Times Square to buy a newspaper when he ran into a striking older African American man on the corner. Walter says that “lightning struck” and his life changed forever at that moment.

Using “found” imagery shot in a SoHo playground, the first part of the Damnation of Faust trilogy explores the possible relations between childhood play and a woman looking on from outside.