Like a digital snake eating its tail, digital art now has a (digital) museum it can call home.
As it might be if Harper Lee or Thomas Pynchon ambled out of seclusion and made appearances at bookstores and literary conferences, the world theatrical premiere of Out 1: Noli me Tangere is not simply a coming-out party.
In its day, Auguste Rodin’s now esteemed 1876 sculpture “The Bronze Age” roused the considerable ill will of art critics, most notably for the belief that it was cast from a live model.
The films of Nathaniel Dorsky and Jerome Hiler are silent, brief, and sagely meandering — luminous contemplations of life, film, and the intimacies between the two.
This is going to sound absurd, but: who watches the watchers of the watchmen?
DENVER — It’s tempting to draw a connection between the growth of the biennial and the widespread changes of the surrounding city.
When it comes to the celebrity of film crews, fame is not fickle; it dotes lovingly on the director.
Layered with live performances, multimedia feeds, and casts in which everyone is an actor (including the cameramen and musicians), Doris Mirescu’s plays channel the model of the fun house.
Real, surreal, not quite real, a spectacular con — truth is found in many forms.
Imaginative, aesthetic, historically fixated, and cosmically liberated, afrofuturism could be subject to low budgets, racism, sexism, and indifference, and still count itself a master of radiant ideas.
Anguished, powerful, and problematic as they are, there is a heavy bar to what images of war and suffering can do, and what they can carry beyond cynicism, voyeurism, or spectacle.
Critical, frenzied, imaginative, and committed, the works of Communist Cuba’s first generation of filmmakers helped reinvigorate and reinterrogate revolutionary cinema.