Black Nationalism, rural Brooklyn, faces, and monoliths.
Photography versus filmmaking, twenty-somethings, and New Orleans.
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.
“Photographers and artists are alchemists at the highest level, I think.”
Constraint as liberation, knife-wielding film scholars, and the human brain as total cinema machine.
“I’m somewhere between Bresson, Godard, and the NBA.”
Multimedia artist Michael Snow on painterly photographs, photographic paintings, filmic sculptures, and other blends.
Tom Noonan on plays becoming movies, musicians becoming actors, and fantasy becoming reality.
On Siegel’s film Provenance and its insertion into the global circuit of art and design objects.
Sam Fleischner discusses the dramatic process of completing his new film Stand Clear of the Closing Doors.
The artist on performing motherhood and marriage in her new video The Breath We Took and why “write what you know” is limiting advice.
Writer and director Shane Carruth talks about his latest film Upstream Color, Walden, and an integrated filmmaking process.
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.
David Brody follows the trail of interwoven fiction, fact and art in Nabokov, Bruegel, Disney, Eve Sussman, Lech Majewski, and others.
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.
Director Ted Kotcheff discusses his rediscovered Australian film classic Wake in Fright.
“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.”
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.
Colin Beckett reflects on the work of the late Edward Yang, unpacking its dense historical implications.
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.