Bill Murray and Christopher Guest lead a behind-the-scenes tour of the 1976 showdown between the Dallas Cowboys and the Pittsburgh Steelers.

Shown at the Brooklyn Museum of Art, Brooklyn. The Real Art World Episodes explore the awkward social interaction of the studio visit.

A video essay set in the Mexican-U.S. border town of Ciudad Juarez, where U.S. multinational corporations assemble electronic and digital equipment just across from El Paso, Texas.

The Earth Is Young takes as its starting point a series of interviews conducted with Young Earth Creationists, who find evidence of a six-day, six-thousand-year old creation in their reading of the fossil and geological record.

Kiss The Boys And Make Them Die explores how memory, sexuality, and the self are created and enforced through the family story.

An urban and suburban blend of nerd, nebbish and nympho, united in the urge to create a cosmetic cosmology.

Footage of a May 1970 rally featuring political speakers, including members of the Black Panther Party. Abbie Hoffman talks about fighting imperialism at home, and the Chicago 7 Conspiracy Trial.

After an all-night session of editing Free Society, Garrin headed home with video-8 camera in-hand, only to happen upon the Tompkins Square riots.

The "dazzling, delightful, and delicious" messages of broadcast television get scrutinzed in Social Studies, Part II: The Academy.

What happens when memory collapses into an unknown landscape? Upside-down train tracks merge and blur the distinction between reality and imagination.

Formed in 1969 at the legendary Woodstock Music Festival by David Cort and Parry Teasdale, who met while taping the events with the newly available Portapak video equipment, the Videofreex (also known as "the Freex") were one of the very first video col

A three-day teleplay done at CalArts takes a sordid behind-the-scenes look at an art school professor’s life.

A multiple award winner, this experimental tape explores the psychological ramifications of a woman growing up under orthodox Islamic law.

Baldessari presents photographs to his friend Ed Henderson and asks him to reconstruct the meaning of the image.

The Surface Tension Trilogy is comprised of three experimental videos tracking the rise and fall of the Weimar Era in Berlin through the perspectives of Frida Kahlo & Anita Berber, Hannah Hoch, and Leni Riefenstahl & Eva Braun, each of

In The Blood is an experimental documentary about American-Jewish attitudes towards Germans, and the role the Holocaust plays in shaping Jewish identity.

In 1973, Dan Sandin designed and built a comprehensive video instrument for artists, the Image Processor (IP), a modular, patch programmable, analog computer optimized for the manipulation of gray level information of multiple video inputs.

Starting with student-recorded VHS footage of two successive Take Back the Night marches at Princeton University, Birnbaum develops a saga of political awareness through personalized experiences. This localized student activity then progresses to, and is contrasted with, the 1988 National Student Convention at Rutgers University. Through this dynamic portrait, Birnbaum posits a series of compelling questions: How can the voice of the individual make itself seen and heard in our technocratic society? What forms of demonstration support this expression? How is a voice of dissent made possible?

Faced with the possibility of return, the dead consider their next move.

Between June 25th and August 7th, 2011 Stephanie Barber moved her studio into the Baltimore Museum of Art where she created a new video each day in a central gallery open to museum visitors.

Crowds line the streets for the wedding procession of Caroline Kennedy and Edwin Schlossberg in Hyannis Port, Massachusetts.

The politics of the interior of the house – as both psychological and physical space – is lacking in historical accounts of modern architecture.

Don’t You Like the Green of A? is based on the correspondences between letters and colors specific to Joan Mitchell’s synesthesia––a condition that Henricks happens to share with her.

Stop action animation, paint on a single canvas.

Performers throw themselves into an underground passageway. They exit through the mirror, a symmetrical mirror world which exists because of the placement and angle of the mirror as an upside-down place.

A brief visit with a graduate student in the painting department of the art college where Kuchar teaches and the discussion that follows the unveiling of his work.

A "young woman who finds herself surrounded by the relics of Western culture" is the subject of Richard Foreman's formal tableaux.

A documentary about the initiation ritual for young Xavante Indians, created during a training workshop for the Video in the Villages project.

A distinguished looking man (performance artist Richard Layzell) is apparently trapped in an ever changing void of colour, locked in a power play with a perversely operated camera.

A Meditation on Nature in the Absence of an Eclipse is a poetic glimpse into the ways centuries of extraction, racism, pollution, and nature's commodification have altered our relationship to sacred land, water, and reso

In this series I composed a series of portraits on my audio/video digital mixer, ranging from impressions of places and people to renditions of feelings their work inspired, and domestic-type gossip from the kitchen and bedroom.

A meditation on birth, silence and American cinema, sealed with a kiss.

Songs of Praise for the Heart Beyond Cure is a fourteen-minute experimental video that unfolds through a series of short episodes. "To describe Cooper Battersby and Emily Vey Duke's new video as ironic doesn't do it justice.

A collage of informal interviews and short clips, this collection of material comes from guerilla TV excursions at the 1976 Democratic National Convention.

Forever pulsing, a severed hand bobs along a shoreline in this meditation on the atrocities of the early 1990s Rwandan civil war. The all-caps title says it all, loudly and poetically.

First there is a stop at Salt Lake City and a massive dose of theological imagery that prepares the viewer for the hellish landscape to come—a land of igneous outcroppings and noxious emissions peopled by mammals of exquisite bulk.

A myth illustrated on the stones of a waterfall, the reconstruction of a great communal hut, the attempt to recover objects kept for years in a museum in Manaus.

Nauman is seen standing and leaning back in a corner of his studio. Just as he bounces back to a standing position, his body falls again, momentarily collapsing, only to spring forward once more.

Loosely based on the 1950s British detective film Sapphire, in which two Scotland Yard detectives investigate the murder of a young woman who is passing for white, Sapphire and the Slave Girl examines the determinants of Sapphire's murder investigation through its cinematic representation.

The Cyan Garden considers the limits of giving form to the past which cannot cohere into memory.

The movement’s founder Lois Severin, a former Trotskyite turned suburban housewife, was responding to the move from mass sociopolitical engagement of the 1960s and '70s to the personal fulfillment fant

In response to BLM events and to the whole world of injustice, slaughter and abuse... a small comment.

–– Ken Kobland

A trip to Winnipeg introduces the viewer to moments of Canadian cuisine and to the easily digestible tidbits that make up the WNDX Film/Video Festival.

Pop-Pop Video: Kojak/Wang takes a shootout from Kojak and extends the shot and counter-shot into a potentially endless battle.

A re-reading/ re-construction of a Wooster Group theater production: Part I / LSD: Just the High Points, 1978

The project presents the blurring of the Green Line for Israelis and its consolidation for Palestinians, through important planning and legal decisions.

Sea In The Blood is a personal documentary about living with illness, tracing the relationship of the artist to thalassemia in his sister Nan, and AIDS in his partner Tim. At the core of the piece are two trips.

Between job losses, foreclosures, living with family, and the Cande’s constant desire to return to Mexico, Pancha and Cande work through the strains of their marital relationship in San Diego County.

The “a-ha experience” is the moment when a child first recognizes its own image in a mirror; it is critical to the development of intelligence and identity. It is also the moment when the “self” is surrendered to the control of an external influence.