Amy Taubin

Nathaniel Dorsky, Hours for Jerome Part 1, 1966–70/1982, 16 mm, color, silent, 21 minutes.

“IT'S POIGNANT TO ME that the end of the celluloid era might be found in these fragile 16-mm poems,” said Nathaniel Dorsky, one of the most celebrated American avant-garde filmmakers. We were discussing the looming demise of photochemical material—i.e., film—for the recording, printing, and preserving of moving images. The “16-mm poems” are the films that Dorsky has been making for fifty-one years. Thirty-three of them are currently being presented (Sept. 28–Oct. 2) in a retrospective of his work at the Fifty-Third New York Film Festival. The program also includes five films by Jerome Hiler, Dorsky’s life partner and companion in five decades of underground filmmaking. Every work in the retrospective was shot and edited on film and is being projected on film. Hiler, who, if possible, is even more radical than Dorsky in his commitment to the photochemical, will show three

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 PRINT EDITION of the October 2015 issue for $17 or the ONLINE EDITION for $5.99.

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