Jason Simon

  • Diane Arbus

    NO ONE COMES TO DIANE ARBUS without a bushel of prejudices. She is the most demonized of the 1960s street photographers, so freighted by her reputation as bad girl and victimizer that it is almost impossible to truly look at her work. In “Pierre Leguillon features: Diane Arbus, A Printed Retrospective, 1960–1971,” recently on view at the Kadist Art Foundation in Paris, however, this is exactly what French Conceptual artist Pierre Leguillon attempted to make us do. To create the show, he trawled the Internet for issues of Esquire, Harper’s Bazaar, Nova, and other English-language magazines that

  • Chris Marker

    WHEN I FIRST SAW Chris Marker’s Sans Soleil (1982), I felt that I was watching a newsreel of consciousness. It is a film that stands alone as a literary document in the medium of cinema, layering intellectual and historical labor and play into a sublimely reflexive discourse. Along with La Jetée (1962), Marker’s science-fiction short composed almost entirely of stills, it has recently been released as a Criterion Collection DVD. (Marker’s other films, fifty-plus and counting, are still hard to find, and the filmmaker has never been much occupied with building their reception.) La Jetée and Sans