Stanya Kahn is an interdisciplinary media artist. Working primarily in video, with a practice that includes performance, writing, and photography, Kahn's work inhabits a space between fiction and document, and stems from an extensive background in live performance. Integrating the visceral and the improvised with the tightly scored and written, her work addresses issues of agency, power, and the uses and failings of language. Kahn's kinetic relationship to the performative and to humor inform a hybrid media practice infused with pop vernacular, documentary tropes and experimental film/video praxis.

Tom Kalin's works traverse diverse genres and forms, from independent feature films to video poems. A prominent figure in the New Queer Cinema, he was a founding member of the AIDS activist collective Gran Fury. Swoon (1992), his first feature film, typifies his mix of narrative, cultural theory and social awareness. His resonant video works, which merge text, music, and poetic images, fuse the personal with the political.

Mike Kelley was one of the most provocative and influential figures in contemporary art. His idiosyncratic works negotiate a charged terrain of desire, dread and sociopathology in everyday life. With deadpan humor, he invests childhood toys, kitsch, and ordinary objects with subversive meaning. His video projects, often created with collaborators such as Paul McCarthy, Raymond Pettibon, and Tony Oursler, inhabit a peculiarly American landscape infused with irony and pop cultural debris.

South African artist William Kentridge has forged a unique practice, one that is rooted in avant-garde theater and traditional forms of Left cultural critique even as it responds to contemporary video and the international art world. Translating his distinctive charcoal drawings into hand-made animated films that show signs of erasure and reworking, Kentridge crafts allegorical, gestural narratives that may be read as specific to the political and social realities of South Africa, at the same time that they function as powerful observations of the human condition.

EAI collaborates with The Kitchen to introduce a selection of rare early video documents from The Kitchen's extraordinary historical archives. Restored through The Kitchen Archive Project, these works include video recordings of important experimental music, dance, installation, and performance art from the early 1970s to the mid-1980s. This selection includes seminal works of artists central to the downtown art and music scene, including Laurie Anderson, Bill T. Jones, Rhys Chatham, Jean Dupuy, Joan Jonas, and Lawrence Weiner, among many others. With this collabaration, EAI and the Kitchen celebrate their shared histories and their commitment to providing access to the vital legacy of experimental art.

German filmmaker Alexander Kluge, one of the most innovative and intellectual figures in contemporary German cinema, has produced a remarkable series of works for television. Traversing realms of desire and culture in the 19th and 20th centuries, these experimental works weave together eclectic references — advertising, cinema, opera, communications — to construct an ironic critical discourse on fantasy, representation, and history.

Ken Kobland has produced independent film and video works since the 1970's, including collaborative projects with the experimental theater company The Wooster Group. Through metaphor, provocation and association, Kobland often explores the historical meaning, critical context, and received notions of a particular place, in sites ranging from Moscow to Shangai.

Shigeko Kubota brought a singular sensibility to her extensive body of video sculptures, multi-media installations, and single-channel videos. Over her five-decade career, Kubota forged a lyrical confluence of the personal and the technological, often merging vibrant electronic processing techniques with images of nature, culture, art and everyday life. A prominent Fluxus artist in the 1960s, she also created an idiosyncratic video diary that spanned the 1970s to the mid-2000s.

George Kuchar was a legendary figure in the underground film scene. Raw and often outrageous, his low-tech video diaries chronicle an ongoing personal history. Kuchar's eccentric presence pervades these "home videos," which veer from the scatological to the sublime as they observe the banality and intimacy of the everyday. With perverse humor and melancholy, his video journals resonate with an unexpected poetry.

French film theorist and artist Thierry Kuntzel is among the major contributors to the textual analysis of film. His theoretical texts apply psychoanalytical and semiological constructs to examine the relation of filmic and psychical apparatuses. Kuntzel's haunting video works, which unfold as elusive dreams, explore perception and representation, memory and the unconscious, in relation to the codes of cinema, photography and painting.