A deep dive into the experimental film work of Gregory J. Markopoulos, a key figure in New American Cinema.
Artist Bill Brand has long been recognized both as a filmmaker and as the world's leading authority on the preservation of historically important experimental films. His extensive drawing and painting studio practice has been less known, until now.
I WALKED INTO MY SHORTCOMINGS is the first book to gather the writings, teachings and interviews of Ken Jacobs (1933–2025), a towering and singular figure in American art and experimental film. Spanning seven decades of creativity, these texts complement a body of work that ranges from downtown capers and reworkings of historical found footage, to groundbreaking performances of expanded cinema and radical explorations of perception and depth. They reveal an artist relentlessly committed to transforming how we engage with the moving image.
Abigail Child is an American filmmaker, poet, and writer born in Newark in 1948. She specializes in documentary and experimental filmmaking, having created over 40 films, videos, and installations. She is an expert film editor who combines sound and image to create discontinuous narrative forms, using both original and found footage. Abigail Child also investigates history and memory, reclaiming the past through creative and critical essay films. She frequently often raises questions related to the environment, political protest, feminine identity, bodies, and gender.
INDEX Edition 054 is dedicated to a particular group of works from the oeuvre of the major U.S. experimental filmmaker Phil Solomon (1954–2019), namely the trilogy In Memoriam (Mark LaPore), which Solomon – like its predecessor Crossroads –“distilled” from the video game Grand Theft Auto, as well as his two final works, Psalm IV: Valley of the Shadow and The Emblazoned Apparitions.
A rollicking picaresque memoir on moviemaking from the titans of underground trash cinema.
In the underbelly of underground cinema, the Kuchar brothers have long been the prophets of experimental filmmaking. Reflections from a Cinematic Cesspool is a raucous journey through the minds of these two transcendent artists.
“No doubt the fragile stuff of film, made newly strange in an age of immaterial electronic images, encourages the contemplation of change and chance, birth and death; such notions are registered through utterly physical means by Reeves in the fractal cracks of distressed pigment that adorn some of her hand-edited frames, or the tidal flows of thick, opalescent paint, sometimes dotted with stellar bubbles of captured air, that wash across other moments.”
— Ed Halter, Artforum
Lisl Ponger is a visual artist, working at the interface of art, art history and ethnology. Her works dismantle cultural stereotypes and challenge the power of images about others. In the decades of her work with photography, film and installation, the artist has consistently developed a characteristic "Pongerish perspective" on the world. Her pictorial constructions are invariably also deconstructions of dominant scopic regimes that operate in the interstitial spaces between art, society and politics.
This critical anthology of newly commissioned essays by established and emerging scholars examines the work and legacy of Annette Michelson (1922–2018), pioneering critic and theorist of avant-garde cinema. Michelson’s insights transformed our understanding of cinema through her provocative and profoundly original analyses. As a contributor and editor for Artforum in the 1960s and early 1970s, then founding editor of the journal October, Michelson defined the terms of moving image art and its relation to painting, sculpture, and performance.
BOOM! is the secret history of the Exploding Cinema told by its key activists. And in particular it is the history of the Exploding Collective, a unique experiment in total democracy, open access, collective ownership and voluntary action. For the last 3 decades, this unfunded gang of radical cinema activists have been staging regular monthly open access nights of short D.I.Y. underground film in pubs, clubs and squats across London; turning shabby interiors into temporary convivial utopias that seethe with multiple moving projections.
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