Beginning with the arrival by canoe of a TV and VCR in their village, The Spirit of TV documents the Waiãpi people’s first encounter with TV images of themselves and others. They view a tape from their chief’s first trip to Brasilia to speak to the government, news broadcasts, and videos of other Brazilian native peoples, and record a session directed by Chief Waiwai for villages in his territory.

Beginning with the arrival by canoe of a TV and VCR in their village, The Spirit of TV documents the Waiãpi people’s first encounter with TV images of themselves and others. They view a tape from their chief’s first trip to Brasilia to speak to the government, news broadcasts, and videos of other Brazilian native peoples, and record a session directed by Chief Waiwai for villages in his territory.

Having a party and in a fix for a dessert? The “Lady” Bunny has just the recipe: combine a doughnut, Cherry 7-Up, jelly, strawberries, and whipped topping.

This title is only available on Tom Rubnitz Videoworks: Sexy, Wiggy, Desserty.

In Animal Charm's masterful example of video montage, a monkey is mesmerized as he watches two dolphins toss a woman from snout to snout. Go cross-eyed with cross-cutting. Sometimes, in order to prevent the insidious absorption of mass media, it is necessary to apply Vaseline to your eyes and ears. Other times, you only need to watch Stuffing — it’s inside of everything.

Constructed from a destroyed rescan of fashion magazine ads and a video self-portrait, Suspension is a meditation on the implicitly narcissistic nature of desire within a commodified context.

In Takeover of the Empire State Building, Brenda and Glennda visit the top of the Empire State Building as it is lit up in lavender for Gay Pride. They interview both tourists visiting the building, and activists who have come to see the lights. Ultimately, they question whether this gesture is adequate, or if there is still a way to go until equality is achieved.

This two-part episode features Glenn Belverio and Duncan Elliott participating in an ACT UP demonstration at President George Bush’s summer house in Kennebunkport, Maine, interviewing activists and documenting this historic event. In addition to this, Brenda Sexual and Glennda Orgasm attend Wigstock, an annual outdoor drag festival in Manhattan's East Village. At the festival, they rally for National Healthcare and discuss other issues such as violence against LGBTQ+ people. 

This two-part episode features Glenn Belverio and Duncan Elliott participating in an ACT UP demonstration at President George Bush’s summer house in Kennebunkport, Maine, interviewing activists and documenting this historic event. In addition to this, Brenda Sexual and Glennda Orgasm attend Wigstock, an annual outdoor drag festival in Manhattan's East Village. At the festival, they rally for National Healthcare and discuss other issues such as violence against LGBTQ+ people. 

Parry Teasdale is one of the founding members of the video art collective Videofreex, which was active in the 1960s and 70s. In this extensive two-part interview Teasdale explores the collective’s motivations and endeavors, which embodied the social and political concerns of the period.

A stutter-step progression of "extended moments" unmasks the technological "miracle" of Wonder Woman's transformation, playing psychological transformation off of television product.

My TV Dictionary: The Drill (1986) translated through digital filtering in 2014.

Holzer adopts the form and language of commercial messages to disrupt communication, presenting kamikaze texts that are designed to stimulate thought, with humor, and inspire a critical attitude in an often passive audience. As in all of Holzer’s work, these television spots present deceptively simple sequences of text that mix provocative social commentary with resonant poetic reflection.

Television Delivers People is a seminal work in the now well-established critique of popular media as an instrument of social control that asserts itself subtly on the populace through “entertainments,” for the benefit of those in power—the corporations that mantain and profit from the status quo. While canned Muzak plays, a scrolling text denounces the corporate masquerade of commercial television to reveal the structure of profit that greases the wheels of the media industry. Television emerges as little more than a insidious sponsor for the corporate engines of the world.

The Telling (1994-98) shows Anne McGuire telling two acquaintances a secret from her past using a three-camera set-up in the Desi Arnez style. The commodification of intimacy is not the strangest thing about this work. The fractured editing, silences, and lapses in continuity suggest vast narratives far more evocative than anything revealed on screen. McGuire uses television vernacular ambiguously to provoke discomfort, two things that television strives to avoid at all costs.

An experimental video on national insecurities.

The cabin is on fire! Krystle can't stop crying, Alexis won't stop drinking, and the fabric of existence hangs in the balance, again and again and again. – MR

"The Dark, Krystle brilliantly re-purposes the artificiality of stock gesture, allowing viewers to see its hollowness and to feel it recharging with new emotional power. Equal parts archival fashion show and feminist morality play, Robinson's montage rekindles the unfinished business of identity, consumption, and excess in 1980s pop culture."

— Carrie Secrist Gallery, Chicago

Most of TVTV’s work takes place in the city, at the center of some pop culture event. “The Good Times Are Killing Me” takes place in the country – Southwest Louisiana, around the towns of Mamou and Eunice, the heart of Cajun country. This is an indigenous culture of food, music, language, and bawdy French-language jokes – something you don’t see much anymore in America. The event is rural Mardi Gras, where beer-drinking, boudin-eating men and boys on horseback capture and behead chickens for a big gumbo and town dance.

In this video, Brenda and Glennda attend the opening day of The New Festival (now known as NewFest), a queer film festival in New York City. They interview attendees and filmmakers at the festival to discuss the importance of queer film. Videographer Hans Christian Dany pans back and forth between Brenda and Glennda's interviews and onlookers of the festival, some of whom seem intrigued by the crowd gathering outside the theater, and some who seem offended by the openly queer festival goers.

In this episode of The Glennda and Brenda Show, Glennda and Brenda take over a public bus to protest discrimination and violence against queer people who are "out and outrageous". They pick up many other out and proud friends to stage this queer sit-in.

Interspersed with clips of Judy Garland films and televised concerts, Glennda Orgasm and Judy LaBruce (Bruce LaBruce's Garland inspired drag persona) travel to the West Village to "discover their gay roots". They discuss the current state of queer culture with people attending gay bars and patroning queer businesses, with a cameo from Sadie Benning. They discuss the idea of the post-queer movement, and give guests a "post-queer quiz". 

An episode of Glennda and Friends, hosted by Glennda Orgasm and Judy LaBruce.

“Similar in structure to The Speech, this tape suggests the gesture and language of the television proselytizer as opposed to the politician.”

— Doug Hall

“This Is The Truth is a recitation of the rules and social codes that makes evident the results of strategic posturing and facial expression on television. Through emblems and selected phrases, Hall dissects those components that produce the image of authority.”

— Bob Riley, The CAT Fund Presents: Doug Hall (Boston: Institute of Contemporary Art, 1986-87)

“Take back the airwaves: Mexico’s video art doyenne Ximena Cuevas books herself onto the tabloid talk show Tombola (Raffle), toying at first with whimsical deconstruction until she turns the whole affair on its head by seizing the televisual flow itself.”

Modeled after NBC’s long-running science program Watch Mr. Wizard, this tape features Torreano as Mr. Wizard instructing a skeptical boy on how to build a diamond out of pieces of wood. The boy remains unimpressed until Torreano uses a “video paintbox” to create flashy special effects. Painter John Torreano’s use of galaxy clusters as a reference for his fake jewel studded canvases and diamond-shaped sculptures suggested the nostalgic format of this video profile by MICA-TV.

Addressing the imbalance of information flow between the wealthy and the destitute nations of the world, Towards A New World Information Order suggests means by which this imbalance might be rectified, including ways to control the press.

This tape is, in effect, a ready-made. Produced by the Pepsi Cola Company for its own use, it was accidentally substituted for one of my tapes in 1974. The mistake in the transfer was a communications mishap that involved a series of people and corporations... I wonder what accidents of this sort might reveal about secret channels of information. I see the material on this tape, innocuous as it may be, as a phenomenon that affects us without our being aware of its existence.

—Antonio Muntadas