1. ANIMAL CRACKERS

    02:07

    from Mark Kirkland / Added

    470 Plays / / 7 Comments

    Recently restored, "Animal Crackers" (1978) is a short animated film created by Mark Kirkland while he was a student mentored under Jules Engel at THE CALIFORNIA INSTITUTE OF THE ARTS (Cal Arts) Film Graphics Department (Experimental Animation). Created & Animated by Mark Kirkland Music and Sound Editing by Rick Conrad Cal Arts African Ensemble Lead by Kobla Ladzekpo Mixed by Don Worthen Digital Restoration by James "Jim" Darby at Level3 Post Burbank Ca 2010 Winner of a CINE EAGLE, "Animal Crackers" has been showcased at REDCAT THEATER LOS ANGELES, ANIMA MUNDI, THE BURBANK INTERNATIONAL FILM FESTIVAL, THE MUSEUM OF MODERN ART (NYC) and is copyrighted & registered with THE LIBRARY OF CONGRESS. http://en.wikipedia.org/wiki/Mark_Kirkland

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    • "Space is Process" a film about Olafur Eliasson

      04:59

      from martin køhler / Added

      13.2K Plays / / 3 Comments

      “This is a longer trailer for the film "Space is Process" about the Danish-Icelandic artist Olafur Eliasson. This short film focuses on the public project The New York City Waterfalls, and the survey exhibition at The Museum of Modern Art and P.S.1 Contemporary Art Center, New York.” Trailer edited by Martin Køhler Jørgensen

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      • Julia Hoffmann – Disclosing MoMA's Identity

        05:44

        from Gestalten / Added

        5,905 Plays / / 2 Comments

        “With great power, comes great responsibility.” As the Creative Director of Advertising and Graphic Design at MoMA in New York, Julia Hoffmann leads a creative team that designs and implements the institution’s powerful visual communications. While Julia was hosting a workshop with us, Gestalten.tv took the opportunity to speak with Julia and bring you insights into her works with Tim Burton, her views on visitors’ hidden creativity, and her “ego-less” approach to making art shine like a star. Related book http://shop.gestalten.com/introducing-culture-identities.html

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        • Rio at Moma 2' version

          02:55

          from carlito carvalhosa / Added

          4 Plays / / 0 Comments

          Public action by Carlito Carvalhosa at The Museum of Modern Art, New York, on May 20th and 21st, 2014

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          • "…what I most want to do is be influential…" - Philip Johnson in a letter to Alfred Barr

            04:55

            from The Glass House / Added

            191 Plays / / 0 Comments

            "...what I most want to do is be influential..." -Philip Johnson in a letter to Alfred Barr. This film addresses Philip Johnson’s more than sixty year relationship with The Museum of Modern Art as a curator, donor, architect, and Trustee. Johnson was director of the Museum’s newly created Department of Architecture from 1932-1934 and from 1946-1954 (renamed the Department of Architecture and Design in 1949). As a curator, he organized some of the most influential exhibitions in his field, including the 1932 show Modern Architecture: International Exhibition, which helped to introduce America to the International Style, and the 1934 exhibition Machine Art. He has also donated or provided funds for the purchase of numerous works of art in the Museum’s collection. Images courtesy of The Museum of Modern Art. Film, no audio, also on view at The Philip Johnson Glass House Visitor Center in New Canaan, CT, USA. The Philip Johnson Glass House philipjohnsonglasshouse.org

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            • TRAP/bat - [MoMA installation doc. 1993]

              06:13

              from John Sturgeon / Added

              173 Plays / / 0 Comments

              TRAP/bat Video Installation by - John Sturgeon Commissioned by The Museum of Modern Art, New York, for the MOMA Video Gallery - Curator: Barbara London (Exhibition September-November, 1993) TRAP/bat is a sculptural video installation, that utilizes 5 channels of pre-recorded video and one channel of live video for display on video projector, rear screen monitors and video monitors forming a conceptual cave-like space for the viewing experience. The entire gallery and entryway are black, with the exception of the sculptural and video elements. The primary cave-like image is the projector screen, which is a large flat, designed as abstracted, cutout shapes of closely situated stalactite and stalagmite forms. Seen through the negative spaces in the cave/screen's stalactite and stalagmite forms is a freeze frame, video image of the viewer. This image has been trapped by a surveillance camera in the entry hall and inverted, like a bat, on a large rear screen monitor in the midst of the cave. A second rear screen monitor within the cave displays a slightly delayed repeat or echo of the projector's video scenes. Several (6) video monitors hang from the ceiling and are on the floor, screen sideways, vertically elongated, displaying computer graphic images of stalactite and stalagmite shapes set in video black. These computer graphic shapes contain video and computer animation imagery that are texture mapped inside the surfaces, opening to reveal symbols of various social/cultural crises. The intent of TRAP/bat centers on creating a ritual space of initiation (a symbolic death and rebirth) for an experience of realization by the viewer. The content of the work is directed towards a symbolic healing or enlightenment to the metaphysical core of the current world predicament. The core aspect primary to this piece is that proclivity of the human mind to project externally that which is denied or un-integrated internally, the consequences of which continually truncate and separate the self from a larger and more inclusive view of its self and its integration with the world. This projection process projects that which is perceived as not self onto the dreaded - other. And it is this phenomena that in part creates or manifests as our physical & psychological sicknesses and social and cultural ills - racism, war, poverty, homelessness, social/sexual abuse, etc. The internal response extends even to the extent of rejecting our own body, our own emotional and sexual being. _____________________ excerpt from: "Radical Mysticality: The Work of John Sturgeon" "The viewer is fully enveloped in a dark cave construction that has video projected on its screenal stalactites and stalagmites. Many of the images are of cultural extremes—war, police actions, riots, homelessness, and general destruction, but these phenomena do not fit neatly into polarized boxes. In fact, even in these times of horror, there are moments of liberation due to the vast multidimensional perspective that this installation provides. ---- It’s monumental, full of action, a riot of semiosis, but it is only just that—a simulacrum that actually ties one down into a little room where, as the soundtrack suggests, there is no consciousness, or as Plato believed, where there is no sun to light the world and erase the shadows. As if this situation isn’t disturbing enough, Sturgeon intensifies the moment by adding images of bats flying around in frenzy. While there is order to these configurations, it still conjures a feeling of chaos indicative of a very nervous culture that is always flying blind." Steven Kurtz, C.A.E.

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              • Andreas Gursky

                04:18

                from Matej Sitar / Added

                42 Plays / / 0 Comments

                Music: SilverAge by Texture (http://www.blacklanternmusic.com)

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                • working with DAN MILLER who exhibits his Art at “The Museum of modern Art MoMA” (Workshop: Maciel’s HALO BETWEEN project)

                  03:57

                  from rick maciel / Added

                  255 Plays / / 0 Comments

                  I'm working with a huge human being, an artist who exposed his Art at the “The Museum of Modern Art ” (MoMA) right now. WEB ABOUT DAN MILLER : MOMA link: http://www.moma.org/collection/artist.php?artist_id=32464 C.G ARTS CENTER link: http://creativegrowth.org/artists/dan-miller-2/ Dan Miller’s artwork reflects his perceptions. Letters and words are repeatedly overdrawn, often creating ink layered masses, hovering on the page and built up to the point of obliteration or destruction of the ground. Each work contains the written recording of the artist’s obsession with objects like light bulbs, electrical sockets, food and the names of cities and people. In 2007 Dan had a solo exhibition at White Columns, New York and participated in group shows at Gavin Brown’s enterprise, ABCD, Paris and was featured at The Armory Show, New York.

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                  • Careers In Photography: Sarah Hermanson Meister, Museum Curator

                    04:53

                    from Forward Thinking Museum / Added

                    254 Plays / / 0 Comments

                    THE SERIES: Careers In Photography introduces young visual artists to some professionals who have carved out a niche for themselves by combining their own personal interests and photographic skills. Watch these videos, as they share insights about their work and how they got to where they are today. The series is entirely produced by Joy of Giving Something, Inc. and the Forward Thinking Museum for the Resolution youth program. http://www.jgsinc.org/resolution/ BIO: Sarah Meister is a Curator in the Department of Photography at The Museum of Modern Art. Recent projects on view at the Museum include Pictures by Women: A History of Modern Photography (co-curated with her colleagues Roxana Marcoci and Eva Respini), and a display of photographs within Abstract Expressionist New York: The Big Picture. Sarah is also the author of several essays, books and catalogs.

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                    • EL VELADOR / THE NIGHT WATCHMAN Trailer

                      01:31

                      from Icarus Films / Added

                      "El Velador / The Night Watchman" A Film by Natalia Almada / An Icarus Films Release icarusfilms.com/new2011/vela.html Martin, the night watchman, arrives with the setting sun in his rumbling blue Chevrolet. The cemetery mascots, EI Negro y La Negra, chase his truck down the road and greet him with wagging tails. The sound of construction fades away as the daytime workers leave and Martin is left alone, looking out over the skyline of mausoleums where Mexico's most notorious drug lords lie at rest. Crosses and steel construction bars pierce the purple and pink sky. As night descends luxurious cars fill the dirt roads. Mercedes, a sexy young widow, arrives with her little girl in a pristine white Audi. A portrait of her husband, a corrupt policeman holding a machine gun, watches over them as they sweep and mop the shiny marble floors. The coconut vendor's radio blasts a gory list of the day's murders: "Culiacán has become a war zone." The buzz of cicadas fills the air with anticipation. Through Martin's vigilant eyes we watch time pass in this place where time stands still. A portrait of the daily life of the cemetery allows us to see the intersection between those who make a living there and those who rest there—innocent or guilty. A construction worker hovers over the grave plastering the inside of the cupola while a young widow lights a candle to her recently killed husband. Eventually mourning too becomes work as the widows return day after day to tend to their husbands mausoleums, a perversely gaudy reminder of the violence that is wounding Mexico, and of the socio-economic conditions in which this violence flourishes. A worker covets the luxuries his wages will never afford him as he hangs a chandelier. The women look too young to be widows; the children play hopscotch on tombs the way others play in sandboxes and on jungle gyms. The code of silence makes conversation dangerous. The word "narco' is forbidden. The teetering scaffolding, the rotting wooden ladder, the photograph of a man who died at 23: life is precarious for everyone with business here. EL VELADOR lingers at the threshold of violence. By refusing to show the graphic images that the press feverishly disseminates Almada asks us to dwell in the moment when violence has just left its mark and when violence is imminent. Her camera enters into the intimate and ordinary routines of this world with patience, restraint and tenderness. EL VELADOR / THE NIGHT WATCHMAN is a film about violence without violence. "An unsettlingly quiet, even lyrical film about a world made and unmade by violence." —A. O. Scott, The New York Times "Mesmerizing!" —Time Out "An exquisite study of a rapidly expanding cemetery." —Variety "(An) hypnotically detailed feature documentary depiction of life and death." —The Wall Street Journal "Deliberate, repetitive, and deceptively peaceful. Watching it feels at first as if you're eavesdropping on someone else's daydream." —Slant Magazine "The United States pours billions into a distant conflict in Afghanistan but hardly acknowledges this ongoing terror on its very doorstep." —Video Librarian 2011 New Directors/New Films 2011 Cannes Film Festival: Directors' Fortnight 2011 Los Angeles Film Festival

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