Mark Asch
Experimental silent films by Man Ray, restored and with new scores, return to the big screen
Four short films May Ray made in the 1920s are being re-released with new music by Jim Jarmusch and Carter Logan’s band SQÜRL
Film-maker Wim Wenders takes a 3D journey through Anselm Kiefer’s studios and catalogue
The filmmaker has applied the original immersive technology to his new documentary about the German giant of contemporary art
An experimental ‘art heist’ film leaves paintings in the vault and strands unresolved
Director Isiah Media’s new film “He Thought He Died”, which premiered at the Toronto International Film Festival, was shot in part inside the storage facilities of an Ontario museum
Long-awaited Lee Miller biopic starring Kate Winslet falls short of its subject’s artistry
The film about the famed photographer and war correspondent had its premiere at the Toronto International Film Festival
A film about self-taught artist Nellie Mae Rowe shows the limitations of the artist documentary genre
"This World Is Not My Own", which recently premiered at South by Southwest, parallels Rowe’s life with that of the gallerist who championed her work
Artist Mika Rottenberg’s first feature film captures a futuristic but familiar domestic isolation
‘Remote’, co-directed by Rottenberg and Mahyad Tousi, finds Okwui Okpokwasili’s main character escaping her apartment through virtual reality
'Dalíland' offers a by-the-numbers biopic no one needed or will remember
The film, starring Ben Kingsley as the late Surrealist artist, premiered at the Toronto International Film Festival this month
Laura Poitras’s Nan Goldin documentary powerfully balances biography with anti-Sackler activism
In All the Beauty and the Bloodshed, currently showing in Toronto, the Sacklers become a personification of the oppressive social order that cost many of Goldin’s peers their lives
A new documentary offers an elegy for the Chelsea Hotel and New York’s bohemian middle class
“Dreaming Walls: Inside the Chelsea Hotel” avoids outright nostalgia for an earlier New York, instead impressionistically bemoaning its disappearance