Wong spent 30 years in the film industry, though racial attitudes of the time kept his contributions unacknowledged until the 21st century.
“HEWILLNOTDIVIDE.US,” a work by the trio LaBeouf, Rönkkö & Turner, was originally intended to run for Donald Trump’s entire presidency at the Museum of the Moving Image.
The Museum of the Moving Image’s new exhibition on Scorsese brings together some 600 objects — many from the director’s personal collection — and countless visual and aural excerpts spanning his more than 40 years of filmmaking.
Mike Lazer-Walker has repurposed a 1927 Western Electric 551-A switchboard into a hectic game that tasks players with quickly learning the obsolete job.
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.
Francofonia bristles at labeling. The latest whatsit by Russian titan Alexander Sokurov moves comfortably between categories.
New Yorkers could be forgiven this month for confusing their museum itineraries with the schedule of a vintage film festival, or an Anna May Wong-inspired Netflix binge.
A known face at film archives around the world, Austrian filmmaker and architect Gustav Deutsch is one of found footage’s most astute and assiduous artists.
From controlling a flower petal on the wind to experiencing a five minute memento mori in pixels, Indie Essentials: 25 Must-Play Video Games at the Museum of the Moving Image in Astoria brings together some recent touchstones of independent game design in a playable setting.
Somewhere along one of the exterior walls of the Museum of the Moving Image, there is a slot. It’s barely noticeable — a small, dark crevice cut into the wall, incredibly thin and not more than five inches long. If you happened to see it, you’d probably think it looks a lot like a CD/DVD drive — and you’d be right. It is a drive, meant for blank discs. If you bring a DVD, insert it into the slot and then wait a few minutes, the drive will eventually return your disc to you. On it will be a curated exhibition of video art — for the next month, at least. After September 15, the content being offered will change. It will change again a month later, and then again, and on and on indefinitely (or until the museum decides to uninstall the drive).
When I visited JODI’s current exhibition, Street Digital, at the Museum of the Moving Image, I wondered how the notorious duo would take their earlier net art practices into the “street” (or gallery). Joan Heemskerk and Dirk Paesmans of JODI became well-known in the 1990s for upending traditional internet experiences with their online artworks. From wwwwwwwww.jodi.org to http://404.jodi.org/, they presented abstract code and programming glitches as art, bringing the background source of digital works into the foreground. Their work looked more like a crash of your web-browsing program rather than a coherent, readable text.