Friedland’s films conjure a sense of heightened, almost spiritual attunement to a body’s movements.
At Essex Street, Torey Thornton broaches the broader issues of our image-saturated age, considering who (and what) our self-styling ultimately serves.
The patron saint of provocation is back with Early Work 1967-79, her first major New York show since 2011.
At Giverny, by rendering landscapes of his own creation, Monet was not so much replicating nature as, in a sense, collaborating with it.
We might think of Adam Khalil and Bayley Sweitzer’s latest as a cyborg film — both its subject matter and formal approach depend on unifying across difference, a fuck-you to essentialized binaries.
The Moscow International Experimental Film Festival creates an experience of genuine kino pravda.
Price works over his photographs with chemicals, polymer fluids, and powdered earth — decimating digital data through analog means.
Jonas Mekas has called Auder a “voyeur par excellence.”