PRINT November 2007


NATHANIEL DORSKY is now at the pinnacle of his powers and reputation as a filmmaker. But he took a long route to his current prominence in the American avant-garde cinema. He had an early start making films, as did most of his strongest peers from the generation who came to cinema in the 1960s. The first works he exhibited, Ingreen (1964), A Fall Trip Home (1964), and Summerwind (1965), established him as a creditable filmmaker at a time when many young aspirants were trying to launch careers. Most of them disappeared quickly and, by the late ’60s, that seemed to have been Dorsky’s fate as well.

Within the large, unruly flock of filmmakers shepherded by Jonas Mekas in those years there were several coteries. Andy Warhol’s was the most famous, of course, and the one that branded its adherents most indelibly. Another was led by Gregory Markopoulos, who generously championed the early work of

to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.