Perhaps the most successful work this year in
this art cinema mode, Maximilian Leo's My Brother's Keeper, betrays similar dissonance, if not outright discomfort, with Germany's well - resourced lives and affluent life - styles.
Not exact matches
2013 saw no shortage of great work being done in the realm of the music video, and while the
mode itself continues to be a somewhat marginalized
art form in general culture, filmmakers are harnessing the opportunities offered by music video projects to craft stunning works of short - form
cinema.
The exhibition is accompanied by an illuminating and unusual volume, in equal parts artist's book and exhibition catalogue, which includes a trio of essays by curators Mark Godfrey, Roxana Marcoci, and Matthew S. Witkovsky that reflect on Williams's engagement with his artistic peers and predecessors, with
cinema (particularly the film - essay), and with
modes of display and publicity in the
art world.
For over 35 years JEFFREY DEITCH has supported every
mode of experimental and investigative visual
art — while including music, fashion, skate culture,
cinema, theater, and performance in his growing understanding of contemporary culture.
The earnest «reflexivity» of the narration, which constantly draws attention to its
modes of discourse; the smug female voice - over artist, who bizarrely mispronounces the numerous French words; the use of another medium — in this case dance — to create a kind of abstract demonstration of the film's content — these things all hark weirdly back to the «materialist» theory that influenced
art school teaching in the Nineties, and further back to the frequently soul - destroying «deconstructed narrative»
cinema of the late Seventies and early Eighties.