new-york

Bill Morrison

Maya Stendhal Gallery

In A Voyage on the North Sea, Rosalind Krauss recalls that in the late ’60s and early ’70s artists including Richard Serra and Robert Smithson made a habit of visiting Anthology Film Archives, where they absorbed the canon of modernist film up to and including its structuralist endgames. These days, the art world seems to be in the midst of a similar, if more diffuse, engagement with the classics of experimental cinema—viz. Stan Brakhage’s inclusion in the current Whitney Biennial or the modernism-is-dead, long-live-modernism riffing of film and video artists from Jeremy Blake to Haluk Akakçe to Paul Sietsema. Experimental filmmaker Bill Morrison’s recent show, which centered on the feature-length Decasia, 2002, fell into alignment with this convergence; Morrison’s films, which use decayed footage as medium and metaphor, elegize the avant-garde tradition even as they make the case for its

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