This short piece introduces the visual artist German Bobe. A narrator explains Bobe’s background in various media, stressing that his work—the media he chooses and the themes he revisits—presents a synthesis of the concerns of his generation.

A call for a political transformation, a life that emerges from the earth's own interior.

In the next chapter of Bobby Abate’s mysterious lo-fi cyborg tale, we find ourselves roaming the set of a 1960’s evening newscast.

My contribution to the group exhibition 1d for Abroad at Tintype gallery: a perky 4 minute consideration (made up) of a whole lot of postcards.

This video presents a history of alternative spaces in New York City during the late 1960s and early 1970s, focusing on two galleries that no longer exist.

Get ready for a smorgasbord of mishaps perpetrated by misfits choking on missteps in life… Add to this a dash of bitter memories sprinkled with love affairs gone stale, and you’ve got a heap of slop for mental indiges

The latest in Muntadas and Reese's series documenting the selling of the American presidency features political ads from the 1950s to ads from the 2004 campaigns, and highlights the development of the political strategy and marketing techniques of the T

Mel Chin (b. 1951) received national attention when he had to defend the artistic merits of his work Revival Field to the NEA in 1990.

SPRING is a four minutes and fifty-six seconds experiment with psycho-optics and psychoacoustics to produce a field of moving images and sounds starring Ho Chi Minh, Occupy Wall Street actions and Crocus.

Accidental Confessions combines scenes from a demolition derby with statements taken from automobiles insurance claims.

A more socially-active addition to the Weather Diary series, we meet the natives and participate in the rituals of business and schooling and high hopes on the flatlands.

Hub proposes that the idea of home is today perhaps better expressed as a sense of being between places.

Budlong Memorial Middle School is heating up.

Video from the 2nd Interactive Electronic Visualization Event (IEVE), a collaboration event with SAIC's Video Department and the University of Illinois Circle Campus.

The combination of a found site (an old power station in Norway), and a found object (a log) and a found instrument ( a wooden floor) produce a found sound in this acoustically alive action.

Covert Action is a stunning melange of rapid-fire retro imagery accomplishing Child’s proclaimed goal to “disarm my movies.” “I wanted to examine the erotic behind the social, and remake those gestures into a dance that would confront their co

The Pyramid used to be a mountain.

A. D. Coleman started writing regularly on photography in 1967 for the Village Voice, at a time when very few critics took the medium seriously.

I Have Always Been A Dreamer is an essay film about globalization and urban ecology using the examples of two cities in contrasting states of development: Dubai, UAE and Detroit, U.S.A.

Though this video segment bears the title Construction Workers Rally, much more than issues of labor are addressed.

A Tale I Know Nothing About features themes of resurrection, entertainment and death.

This 1978 conversation between poets Anselm Hollo and Robert Creeley, was updated in 2015 as Adam Burke relays their conversation.  Images of Hollo, Creeley, and Burke are juxtaposed on top of one another.

Scenes from an Endless War is an experimental documentary on militarism, globalization, and the "war against terrorism." Part meditation, part commentary, Scenes employs recontextualized commercial images, rewritten news crawls, and o

Featuring Ken and Louise from Wendy Clarke's One on One video series, this video exchange encompasses a shared passion for music and pure emotional vulnerability that creates an incredibly intimate relationship between these two strangers throu

In a remote area of northern Spain, the wind has a name: Tramuntana. Tramuntana takes what it wants—clothes, trees, boats, and the people of the landscape who live with the endless threat of being carried away by its force.

Shot in low-light style, Kuchar documents his experiences with various underground filmmakers such as James Broughton and Ken Jacobs, then moves on to the other side of Hollywood lifestyle to visit Nicholas Cage.

Letting go of realist constraints, and going back to the mirror-images of some of Provost’s famous previous works, we are diving into a cosmic ocean of ever metamorphosing baroque circumvolutions in which our minds try to capture reassuring forms before

In a visually difficult construction, Silver plays with the viewer’s ability to focus and take in an entire image.

50 doves fly out of a window, one by one. Some escape in a rush, some take their time and seem to be hesitating. The Dove symbolizes new hope and new beginnings after a disaster, as in the biblical story of the flood.

St. Marks: New Years Eve combines political commentary with non-narrative segments that celebrate the medium of video.

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

five more minutes is an exploration of grief. Two women spend an afternoon recreating lost time. What begins as play-acting breaks open into a world where the tenderness and sorrow of having to say goodbye exist untempered.

In this piece I am exploring the idea of belonging by tracing the outline of the shifting skyline. Through imagination, learning, and a continuous adjustment, I strive to relate the communal with personal identity.

— Ezra Wube

In the beginning was the weave, and the transmission of its workings, a curse of mortality—so ends Quantum Creole with the fabulous words of the Papel weaver, Zé Interpretador.

Jim Dine (b. 1935) first emerged as an avant-garde artist creating Happenings and performances with Allan Kaprow, Claes Oldenburg, and others in the early 1960s.

"I asked the inmates in my Art Group on the HIV/AIDS unit - Del Norte to talk about their experiences from the womb to the present moment. Here are their stories."

–Wendy Clarke

Crosswinds  is part of the fieldtrip series. By definition a crosswind is any wind that has a perpendicular component to the line or direction of travel.

“For quite some time the Hamburg artist Cornelia Sollfrank has been researching female hackers and found that hacking is a field completely under male domination.

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

Communists Like Us is an ambient music video made from a few seconds of archival footage of Mao Zedong applauding and members of the Red Guard chanting.

Though the use of fairytales and dark fantasies, these works combine the commonplace with the macabre to construct a new world of the subconscious.

Cycles of 3's and 7's is a performance in which the harmonic intervals that would ordinarily be performed by a musical instrument are represented through the computation of their arithmetic relationships or frequency ratios.

Offering was co-commissioned by Dancing in the Streets (New York), the Walker Art Center (Minneapolis, where the proscenium version premiered January 9, 2003) and the University of Arizona (Tucson).

Derived from Ernie Gehr's Serene Velocity, Lossless #4 is the result of a digital file's debugging routine that reveals vectors describing apparent movement in the frame.

"It was as if I was living by the Nike slogan Just Do It."
— George Barber

In 1991 Montano met a Hindu couple at Ananda Ashram, the meditation center she attends in upstate New York. Since then, the three have become friends. Mr. and Mrs.

In Dry Blood (Sagre Seca), various historical moments of political activism in Mexico are superimposed and corroded on the emulsion of expired film.

After a failed attempt to melt down ballistic missiles into bells and site them in the city they had once targeted, 100 homing pigeons were used as metaphors, each carrying a small bell and capsule containing a Soviet or US flag.

A cinematic exploration of African American intellectual, social, and political life at University of Virginia during the 1970s.

"This is a videotape about Television. It is a fragmented, personal view. It is only one of many ways to explore television. This is a videotape about the cosmetics and packaging of television. It is about editing..."

--Antonio Muntadas