Keith Sanborn

  • Isabell Heimerdinger, Interior 34, 2000, color photograph, 47 1/4 x 63". From “Cinema Like Never Before.”
    previews January 2006

    “Cinema Like Never Before”

    Rather than recuperate film-historical forces for the museum, they propose exploded systemic and thematic views of those forces at work in a variety of media. The eleven artists featured range from the unjustly neglected Klaus Wyborni to the better-known Gustav Deutsch and younger practitioners like Astrid Küver.

    Citing inspiration from Giuseppe Perella and Michele Mancini’s conceptual groupings of bodies and places in their 1981 study of the films of Pasolini, Antje Ehmann and Harun Farocki offer a complex collaborative discourse between film images in an exhibition built around their own and others’ work. Rather than recuperate film-historical forces for the museum, they propose exploded systemic and thematic views of those forces at work in a variety of media. The eleven artists featured range from the unjustly neglected Klaus Wyborni to the better-known Gustav

  • film Summer 2005

    Chris Marker

    AS HE CLOSES the preface to his Philosophy of Right, Hegel tells us, “When philosophy paints its grey in grey, one form of life has become old, and by means of grey it cannot be rejuvenated, but only known. The owl of Minerva, takes its flight only when the shades of night are gathering.” For Hegel, this was a statement of the limitations of philosophy. For the Situationists and for leftist intellectuals of postwar France, it became a favored point of reference—though neither acquiesced to the submission of the individual to the state or to the ineluctable force of history that Hegel coded into

  • previews May 2005

    “Les Grands Spectacles”

    “Les Grands Spectacles” is the latest curatorial project to leverage insights from Debord’s Society of the Spectacle and the Situationist International for investigating culture and technology in the twentieth century. While the curators have made significant efforts to avoid typical reductionist pitfalls, this show of 320 works remains yet another exhibition that invokes the Situationist project but includes only the usual suspects (like Niki de Saint-Phalle and Yves Klein), some of whom were harshly critiqued by the Situationists. Of the SI, only familiar

  • books April 2005

    Guy Debord

    WHILE THE NAME of Guy Debord has become one of the mindlessly repeated mantras of the past four decades via the invocation of his important and influential Society of the Spectacle (1967), he is little read and even less understood. The publication in English, for the first time, of both volumes of Debord’s autobiographical Panegyric (which originally appeared in French in 1989 and 1997, respectively) remains, nonetheless, an event of note. Volume one was previously published in 1991 by Verso in a slightly different version, but this represents the first publication in the English-speaking world