In the aftermath of the sublimely ominous and abstract episode “Part 8” (aka “Gotta Light”), Metrograph organized a wide-ranging program of related films and video art.
The Film Society of Lincoln Center is presenting A Vision of Resistance: Peter Nestler , the first large retrospective dedicated to the filmmaker in the US.
Susan Hiller’s exhibition at Lisson Gallery approaches the weird and the unusual with illuminating, liberating aplomb.
In his solo show at Andrew Kreps Gallery, Kevin Jerome Everson offers an abstracted extension of the more human-centered work he’s known for.
BAM concludes its remarkable Leslie Thornton retrospective with a hefty pairing of digressive, serious works.
Playing at Film Society of Lincoln Center’s Art of the Real series, This Is the Way I Like It II is a playful, entangled follow-up to Ignacio Agüero’s 1985 film.
Peter Middleton’s and James Spinney’s Notes on Blindness is a dramatic account of English theologian John Hull’s loss of sight.
That film is open to all sorts of escapes, inspirations, and incursions has long been the stuff of movies.
The texture and peculiarity of history, place, and the everyday color a ruminative set of short films in this year’s Art of the Real at the Film Society of Lincoln Center.
As Walkers: Hollywood Afterlives in Art and Artifact, the Museum of the Moving Image’s auspicious foray into exhibiting contemporary art, wryly suggests, it might be film and its iconic images that help stave off decay.
Thieves tend to be remembered fondly, grandly, or at least without the usual sort of scorn that characterizes criminality.
Picked apart and poured over by a confederacy of film-obsessed mavens with keen eyes and airtight attention spans, Stanley Kubrick’s opus The Shining (1980) has proven remarkably fecund over its 36-year lifetime.