A letter from Brakhage to the poet Robert Kelly describing his work on the groundbreaking film Mothlight.
Uncovering the artist’s innovations and legacies.
“I don’t make films for the audience, I make them for the subjects, and I try to position those subjects and the camera so that there’s a element of generosity between the two.”
“Immaculate breakage! Elegant mobile! Yes! Yes! That’s it exactly!”
“This is not a movie that invites you to really empathize with these characters, nor is that the point.”
“All evidence is wrong. It’s distressed—just like memory.”
Documentary, reenactment, and comedic failures of democracy.
Infinite configurations: collection, space, and story.
It’s hard to pin down exactly what happens with Lost Portraits, an almost mythical series of Super 8 and 16mm shorts—filmed between 1982–85 in Mexico City and New York—depicting Nicolayevsky’s young friends and peers while he was a film student at NYU.
In the early ’70s, Fitzgibbon made a series of radical films and then put them aside. P. Adams Sitney begins to unravel the story behind Fitzgibbon’s early, seductive flicker films to her latest iPhone movies.
Boston-based filmmaker Luther Price makes consciousness-puncturing works that, viewed once, may never be seen again.
When Andrew Lampert performs his new piece Jacka Spades, he sits somewhere close to the front of a theater, operating a Super-8 projector in plain view of the audience.
An ode to being human and the need to express one’s self, Our City Dreams tells the story of the loves and the sufferings of five women who chose to move to New York City.