In 1895, brothers Auguste Marie Louis Nicolas and Louis Jean Lumière patented their cinematograph — a hand-cranked motion-picture camera inside a wooden box that weighed 16 pounds — and shot their first film on it, of workers leaving the Lumière factory. A century later, Philippe Poulet of the Museum of Cinema in Lyon restored the Lumières’ original cinematograph and gave it, in turn, to 41 directors, each of whom was invited to shoot a short film on it. The conditions: no longer than 52 seconds, no synchronized sound, and no more than three takes.
The resulting films — collected under the title Lumière and Company — are short, poetic riffs on the nature of narrative, often fleeting meditations on the age-old cinematic question of reality versus fiction (Roger Ebert called them “haiku.”) One of them, by French director Alain Corneau, does this particularly gracefully: it is a single, silent take of a female gypsy dancer. As she twirls and turns her wrists and flutters her arms with expert precision, her dress and veil and pants change color, shifting from subtle turquoise to bright yellow and magenta. The color was all done by hand, with Corneau (or an assistant) hand-tinting the film, and it changes at just the right moments, electrifying the dancer when she pauses for just a fraction of a second. This is live, Corneau seems to say, it’s documentary and it’s real — but it’s also mine, and you’ll never know what kinds of artificial details I’ve added.
For a less subtle but equally entertaining take on the same issue, watch David Lynch’s amazingly creepy contribution to the project.
Your list of must-see, fun, insightful, and very New York art events this month, including Lee Lozano, Cindy Sherman, Tokuko Ushioda, Anas Albraehe, and more.
The art establishment was never quite sure what to do with a self-taught artist like Basquiat, who owed as much to bebop and William S. Burroughs’s cut-up technique as he did to African influences.
International audiences have free access to the media collections of MMCA Korea, Sharjah Art Foundation, and ArkDes through this subscription-based art streaming platform.
Kadish’s fossil-like heads, forms, and figures remind us that every civilization, including our own, eventually collapses.
In every role she held, Vendryes advocated for marginalized people and celebrated the cultural contributions of the Black and queer communities.
Convened by Erika Sprey, Lamin Fofana, Sky Hopinka, Emmy Catedral, and Manuela Moscoso, the public program unfolds this summer at CARA in New York City.
Stanton, who died of AIDS complications in 1984, left behind an engaging body of work, a moving tribute to a bygone generation of creative minds.
Baz Luhrmann’s film Elvis and Danny Boyle’s miniseries Pistol are both overly fixated on the influence their respective musicians’ managers had on them.
The Bay Area art book fair is back this July with free programming at three different on-site venues, new exhibitors, and fundraising editions from renowned artists.
In the wake of the Roe v. Wade decision, arts workers and reproductive rights organizations are collaborating on educational resources for accessing safe procedures.
The couple launched the Futureverse Foundation, a grantmaking organization that aims to “help keep the metaverse widely accessible.”
The museum’s “pay-what-you-wish” policy will remain in place for New York State residents and tri-state students, but out-of-state adults will pay $5 extra.