A film in five different sections, each containing a different soundscape by Ostrowski. Hand painted film, intense exposure, morphing textures and shapes into a seamless whole; geometrical games sabotaging themselves; and the incessant lure of the abstract paint drift. The soundscapes, of course, build up like fountains of picture, oscillating between contemplative sculptures with electronically manipulated strings and harsh noise attacks on our senses. Despite the use of sound as a central filmic element, Cyanonide stands as a proof of the enduring influence of Brakhage on american avant-film.
A film in five different sections, each containing a different soundscape by Ostrowski. Hand painted film, intense exposure, morphing textures and shapes into a seamless whole; geometrical games sabotaging themselves; and the incessant lure of the abstract paint drift. The soundscapes, of course, build up like fountains of picture, oscillating between contemplative sculptures with electronically manipulated strings and harsh noise attacks on our senses. Despite the use of sound as a central filmic element, Cyanonide stands as a proof of the enduring influence of Brakhage on american avant-film.
2006-01-01
0
The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.
The Jesus Lizard perform at Amsterdam's The Paradiso, with additional backstage interviews.
Live, documented at Chicago's Vic Theatre in April of 1996. 1 Thumbscrews 2 Fly On The Wall 3 Mailman 4 Destroy Before Reading 5 Thumper 6 Bloody Mary 7 Wheelchair Epidemic
Hotel Armada is a curated portrait of dance and expression showcasing talents in the world of contemporary, vogue, and ballet. It is an integration of time, space, movement and sounds highlighting each performer's rawness in their power and beauty.
Beneath towering Brutalist architecture, a man is driven to do what must be done.
A proto-music video: three minutes of experimental animation set to the tune of Romeo Nelson's 'Head Rag Hop'.
A psychedelic, avant-garde collage film designed to accompany PRPL PPL's experimental album of the same name.
Lights flicker & fade as focus shifts from artificial to natural light, ending on a second artificial light speeding through the blackened miasma of the night sky.
Trite, closed memories flagrantly bleed into profuse openings mixed & held together by retaliatory colorations & obfuscations.
A 'reversal' of Jean-Léon Gérôme's 1872 painting Pollice Verso.
Time plods along in spattered irregularities as anger and depression coalesce in confusing amalgamations.
Platitudes begin at peaks then rapidly descend and dismantle in order to ascend more acutely until they repeatedly and successively overwhelm.
A 3D visual vapor release by James Webster.
"River ice sets the scene for Judy Garland's international cri de coeur. It's hard to understate the amount of anxiety created by a Vice President who usurped authority for eight years to start wars and wreck the economy and then sidled off to Wyoming to be a retired 'hero of the right.' Impunity is not just the stuff of autocratic dictatorships in the third world. The American form of impunity is going to get us all killed."
A hybrid artistic bet and therefore binding in which the architectural space ceases to be a scene of contemplation and awakens enhanced by the flow of dance whose impulse in a swing between the volumetry of the space and the sensitive gaze of the camera.
The film traces Sam McKinlay’s early days as a punk skateboarder through his academic development as a conceptual artist into a highly esteemed noise practitioner whose work bridges the gap between the gallery world and the sleaze of exploitation film imagery. It documents the physical processes of his work and the distillation of visuals into sound, most notably addressing the appeal of abstraction—from the cheap effects of old monster movie makeup to the ‘masks’ created by the heavy cosmetic makeup of 1920s flapper culture and actresses like Pamela Stanford in Jess Franco’s Lorna the Exorcist (The Rita has albums or EPs named after several eurotrash actresses, including The Nylons of Laura Antonelli (2009) and Monica Swinn/Pamela Stanford (2016)).
A surreal post-apocalyptic drama by Patrick Kennelly inspired by the clipping. album “Splendor & Misery”
Moonwalker is a 1988 American experimental anthology musical film starring Michael Jackson. Rather than featuring one continuous narrative, the film expresses the influence of fandom and innocence through a collection of short films about Jackson, some of which are long-form music videos from Jackson's 1987 album Bad. The film is named after his famous dance, "the moonwalk", which he originally learned as "the backslide" but perfected the dance into something no one had seen before. The movie's introduction is a type of music video for Jackson's "Man in the Mirror" but is not the official video for the song. The film then expresses a montage of Michael's career, which leads into a parody of his Bad video titled "Badder", followed by sections "Speed Demon" and "Leave Me Alone". What follows is the biggest section where Michael plays a hero with magical powers and saves three children from Mr. Big. This section is "Smooth Criminal" which leads into a performance of "Come Together".
This experimental animated short shows the life of a forest through storms, seasons, and a variety of art forms.