This year’s Versions conference mostly encouraged a more sober, productive, and critical probing of the cultural landscape of virtual reality, augmented reality, and mixed reality.
The Whitney Museum’s Dreamlands gathers a century of immersive moving image art, cutting across time and technology.
An unfinished film can be any number of things.
“THE FUTURE IS NOW,” reads the header from the online bill for Versions: The Creative Landscape of Virtual Reality, a conference held earlier this month at the New Museum, co-presented by NEW INC and Kill Screen.
It was August when news broke about Metrograph — the first independent movie theater to open in New York City in over a decade.
Many expect 2016 to be the year that virtual reality (VR) finally takes off.
David Lynch has been a stranger to the director’s chair for almost a decade now — since 2006’s Inland Empire, to be exact.
The films of Apichatpong Weerasethakul are inspired by a poetics of everyday life poised between two extremes.
Bergman was a vital, daring force both in the films in which she starred and — through her bold initiative, forging collaborations and instigating projects time and again — in the course of the history of cinema as a whole.
For the last several years now, as the credits roll at the end of her films, artist Hito Steyerl’s name, rather than appearing alongside the typical “Written and Directed by,” is listed with roles (or non-roles) considerably more blurred and expressionistic.
Rarely has a book been so dizzyingly impenetrable while being, at the same time, so eminently readable. Les Unités perdus (The lost unities), by the French poet Henri Lefebvre, manages to both live up to this paradox and flourish within its idiosyncratic ramparts.
Chris Marker’s death two years ago, on the day of his 91st birthday, heralded a surge of renewed interest in the enigmatic French filmmaker. With an impressive retrospective centered on a digital restoration of the film Level Five (1997), the Brooklyn Academy of Music presses on with the project of rehabilitating the fringes of Marker’s career.