Studio immerses us in material culture. Preserving Chris Marker’s artistic mystique without descending into fetishism – memorializing him without nostalgia – the book is a moving testament to this most elusive of artists
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Latest News: Posts Tagged ‘studio’
“A moving testament to this most elusive of artists.”: The Times Literary Supplement reviews STUDIO: REMEMBERING CHRIS MARKER
Monday, March 12th, 2018Herald Scotland calls STUDIO “a glorious oddity.”
Monday, December 11th, 2017Read here.
“Imperfect memory as a perfect tribute.” STUDIO is reviewed in Tank Magazine
Thursday, August 31st, 2017Read here.
“Chris Marker, the innovative, left-wing filmmaker, is given a moving and insightful tribute in STUDIO,” says Counterfire
Tuesday, August 1st, 2017Read here.
“Chris Marker, whose name was not ‘Chris Marker,’ was a play of masks and avatars, an artist who leapt, like one of his beloved cats, from medium to medium.” An excerpt from STUDIO appears in The Quietus
Tuesday, August 1st, 2017Read here.
“Cat, wherever you are, peace be with you.” STUDIO is reviewed in The Brooklyn Rail
Monday, July 17th, 2017Read here.
“A portrait of the artist in absentia.” STUDIO is featured at The Village Voice
Wednesday, July 12th, 2017Read here.
“A unique and loving remembrance of Marker’s life created by people who deeply cared about him and his work.” ScreenAnarchy reviews STUDIO
Tuesday, July 11th, 2017Read it here.
“A fitting tribute to a filmmaker keen on materiality.” STUDIO is reviewed at Hyperallergic
Monday, July 10th, 2017Read it here.
“The border is the war.” STUDIO is reviewed at 3:AM Magazine
Thursday, June 8th, 2017Studio, as its title suggests, is an exercise not so much in the remembrance of Chris Marker, but a remembrance, as viewed through the sole essay contributed by cineaste-critic Colin MacCabe to the volume. As much as Marker shunned publicity of any kind during his lifetime (1921-2012, remarking pointedly “My films are enough”), for Studio an array of selected photographs of his Paris workspace by Adam Bartos documents the rest.
Read it here.
Filmmaker and artist Lynne Sachs on STUDIO in BOMB Magazine
Tuesday, May 30th, 2017Here, in all its ecstatic detail, we are able to take account of a visible manifestation of the artist’s mind, a mind turned inside-out, the components of his practice revealed through the detritus and treasures of our technological culture. In Bartos’s images, we see numerous Apple computers, catalogues from Marker’s 2005 Museum of Modern Art installation “Owls at Noon,” an array of electronic keyboards, a signed photo of Kim Novak, and a 9/11 Commission Report.
Read the essay at BOMB Magazine.
“Marker’s mind seems spatialized here, as though we were looking into his memory palace, an elaborate, idiosyncratic mnemonic become a memorial.” BEN LERNER and ADAM BARTOS in The Paris Review
Wednesday, April 26th, 2017Ben Lerner on photographs of Chris Marker’s studio by Adam Bartos, now collected in a volume with text by Colin MacCabe, in The Paris Review.
