Jeff Keen began making films at the age of 37 when his art school film society needed things to show. And so began over forty years of unique, imaginative, irrepressible filmmaking. This release contains over 9 hours of films and videos by the visionary f
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Third release in the edition of Baillie's film works. This volume contains the newly restored version of Quick Billy (1970)
Rewind: Artists video in the 70s and 80s derives from a four-year research project into the history of an art form that has become the hallmark of contemporary art. Based on an archive of interviews, ephemera and archive copies of tapes and installations from the pioneering period of British video art, this anthology brings together some of the leading scholars in the field, backed by an expert panel, to lay the groundwork for a history of the people, activities, institutions and interventions that made of video art the one true avant-garde in the United Kingdom in the 20th century. Rewind is the founding text for the history of British video art; draws on a unique archive of oral history and personal experience; and opens up the archive for contemporary artists, curators, media historians and archivists.
This comprehensive new monograph on the influential British artist-filmmaker—renown for his playful and formally ingenious subversion of the everyday world—contains essays by Ian Christie, Martin Herbert, Kathrin Meyer, and Ethan de Seife.
Herbert’s text provides an incisive overview of Smith’s work over the past four decades while Christie examines Smith’s oeuvre within the context of English eccentricity. Meyer’s essay discusses Smith’s film The Black Tower in relation to absence and abstraction while de Seife looks at cinematic scale through the prism of Smith’s Gargantuan.
The moods of his films resemble an atmosphere between the dream and trauma. Brehm treats the dream as a source of strategies for association, similar to the secondary process to which according to Freud all the workings of the unconscious are subject. Die
A selection of animated films, from new glass master. Includes the films: L'eau life, Paper view, Lost and found, You won't remember this, Grand Central, Yours, White out, Trigger happy, Tulips, Postcards from Warren, Train of thought, All the wrong reaso
Andy Warhol was a remarkably prolific filmmaker, creating more than 100 movies and nearly 500 of the film portraits known as Screen Tests. And yet relatively little has been written about this body of work. Warhol withdrew his films from circulation in the early 1970s and it was only after his death in 1987 that they began to be restored and shown again. With “Our Kind of Movie” Douglas Crimp offers the first single-authored book about the full range of Andy Warhol’s films in forty years--and the first since the films were put back into circulation.
‘You hear it everywhere: Cinema is tipping over – its epic and dramatic forms are spilling over into television, avant-garde and experimental films have fled to the galleries, and all the images that once belonged to it are now available everywhere, anytime. At the Austrian Film Museum, we tend to refrain from such sweeping and simple-minded swan songs. For this very reason, we are honoured to participate in Vertical Cinema – a project committed to taking one step at a time. Instead of trying to tip cinema in its entirety into the digital netherworld, this project is content with just tipping the screen – observing how an artform changes if you respectfully chafe at its edges.’ – Alexander Horwath, Director of the Austrian Film Museum
Framework: The Journal of Cinema and Media vol.56 issue 1 is devoted entirely to the writings of avant-garde artist Warren Sonbert. The journal features reproductions of Sonbert's original typed, handwritten and published documents. The issue is guest edited by Jon Gartenberg and is organized into sections related to Sonbert's interests in art, music, poetry, travel and film.
Acknowledgments and Accreditations
Book + DVD + Magazine
The heart of Friedl Kubelka’s photographic work (who as a filmmaker goes by the name of Friedl vom Gröller) is constituted by portraiture – whether she captures friends, acquaintances, family members, filmmakers, artists or simply clients, each for the most part gazing directly into the camera. Since 1972 to the present, Kubelka has also placed herself in front of the camera for her project Jahresportraits (Year’s Portraits) in which she mercilessly documents the process of aging. It has become the structural credo of Kubelka’s artistic practice to juxtapose the individual photograph with many other photographs.