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Found Footage & Collage Films: The Artist’s Voice is a limited-edition book. It includes forty original writings from invited visual artists and filmmakers who work with the archive in their artistic practice.
Black Screens, White Frames offers a new understanding of cinematic blankness. Drawing on Gilles Deleuze’s philosophy, Tanya Shilina-Conte provides a detailed examination of non-images throughout film history. In different arts, including cinema, absence has often been understood in a negative way—as a lack or lacuna, a vacuum or void. To remedy this, Shilina-Conte advances the concept of the filmmaking machine as an abstract art machine in constant production, which shifts our understanding of absence in cinema from negative to generative theorization.
An analysis of artistic processes and filmic forms resulting from hybridization with dance. An exploration of a different history of experimental cine-choreographic forms, in which movement inspired by or aspiring to dance takes shape in the material of the film itself, rather than in the physical bodies displayed on screen.
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.
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.
A deep dive into the experimental film work of Gregory J. Markopoulos, a key figure in New American Cinema.
In 2011, a processing facility in Kansas, the last to process Kodachrome, discontinued the K14 developing process. The historical stock became obsolete. In 2010, I photographed 14 rolls of Kodachrome 16mm, which had been stored since 1986. The stock was developed, in the last batch of footage processed. The resulting film is American Colour.
Francisca Benitez’s Preemptive Disappearance, describes the effects of the Patriot Act on artists living in New York as told through the tender recounting of someone who discovers, when returning home one day, that her husband has been arrested for taking photographs ‘in the wrong place’.
Three films by American filmmaker and actress Sheila McLaughlin stand for a trend in experimental film that took place in the 70s and 80s, moving it away from a radically material-based, self reflexive aesthetic towards the narrative forms of independent film, within which new forms of cinematic representation and documentation could be developed.
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