For almost three decades, Alan Michelson has attended to place, histories, and futures, and the lived realities of Indigenous peoples in North America.
Her posthumous exhibition Aye! makes space for gaps in understanding and sonic vibrations to cultivate cosmic wonder.
LaBruce’s The Visitor shows that physical desire can lead the way to something more as his characters redefine themselves in new, potentially radical ways.
Hatoum’s early videos confront viewers with the body of the artist as a synecdoche for the collective trauma experienced by the dispossessed
Christy Chan’s Who’s Coming to Save You? makes clear the perpetual nature of American bigotry.
The Museum of the City of New York is inviting artists from NYC and beyond to submit to an open call for works.
The video installation akingdoncomethas is an epic montage of sermons and performances from Black churches.
Jenkins’s videos do more than talk back to a racist screen.
Video art was something you watched “with the lights on,” as França insisted, without pretenses of high art.
MoMA’s exhibition Neelon Crawford: Filmmaker is a retrospective of his experimental work documenting machinery, travels in South America, and more.
The Museum of Modern Art’s retrospective exhibition Liquid Reality showcases how Kubota turned video art into sculpture.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”