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Bradford Young by Sarah Salovaara
Bradford Young 01

Black Nationalism, rural Brooklyn, faces, and monoliths.

Sophie T. Lvoff & Garrett Bradley by Sophie T. Lvoff & Garrett Bradley
Sophie T. Lvoff & Garrett Bradley 01

Photography versus filmmaking, twenty-somethings, and New Orleans.

Chloé Griffin’s Edgewise: A Picture of Cookie Mueller by Pati Hertling
Pati Hertling

Late one night in the summer of 2002 or 2003, I was in Berlin, having just returned after six months in Paris. Friends told me of a woman I just had to meet, a bartender at Barbie Deinhoff’s. 

Adger Cowans by Carrie Mae Weems
Cowans 01

“Photographers and artists are alchemists at the highest level, I think.”

Nicholas Rombes by Andrew Gallix

Constraint as liberation, knife-wielding film scholars, and the human brain as total cinema machine.

Jay Scheib by Alix Pearlstein
​Jay Scheib 1

“I’m somewhere between Bresson, Godard, and the NBA.”

Michael Snow by Alan Licht
Four to Five

Multimedia artist Michael Snow on painterly photographs, photographic paintings, filmic sculptures, and other blends.

Tom Noonan by Sam Alper
Tom Noonan

Tom Noonan on plays becoming movies, musicians becoming actors, and fantasy becoming reality.

Amie Siegel by Lynn Hershman Leeson
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On Siegel’s film Provenance and its insertion into the global circuit of art and design objects.

Sam Fleischner by Liza Béar

Sam Fleischner discusses the dramatic process of completing his new film Stand Clear of the Closing Doors.

Chelsea Knight by Sophie Buonomo

The artist on performing motherhood and marriage in her new video The Breath We Took and why “write what you know” is limiting advice.

Shane Carruth by Anya Jaremko-Greenwold
Upstream Color 1

Writer and director Shane Carruth talks about his latest film Upstream Color, Walden, and an integrated filmmaking process.

Cheap Fun by Clinton Krute
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Jacques Rivette’s Le Pont du Nord and Bob Byington’s Somebody Up There Likes Me are abstract in different ways, but for the same reason: lack of funds.

Ending It All With The First Picture by David Brody

David Brody follows the trail of interwoven fiction, fact and art in Nabokov, Bruegel, Disney, Eve Sussman, Lech Majewski, and others.

Sophie Letourneur by Giovanni Marchini Camia
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Letourneur discusses her film La vie au ranch, a film that observes, in fine detail, the flowering and dissolution of a group of young women.

Of Beasts and Men by Giovanni Marchini Camia
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Director Ted Kotcheff discusses his rediscovered Australian film classic Wake in Fright.

Lucy Raven by Jason Simon
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“The traditional economies of film are a little more transparent, right? Like at the movie theater, you buy a ticket, and you have a sense of the way film production happens. But that whole apparatus is invisible in an art context.”

Rocks and Gravel: Light Industry by Alex Zafiris
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Alex Zafiris talks to Light Industry’s Ed Halter and Thomas Beard about their groundbreaking venue for film and electronic art and curating the film and video program at the Whitney Biennial.

Edward Yang by Colin Beckett
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Colin Beckett reflects on the work of the late Edward Yang, unpacking its dense historical implications.

Rivers’s Edge: Ben Rivers at Views from the Avant-Garde by Colin Beckett
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Colin Beckett looks at the forthcoming series Views from the Avant-Garde, focusing on the deserved loyalty towards Ben Rivers’s work; documentarian and sublime.

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