Take This Waltz (2011) | Video Killed the Radio Star

Robert Downey Sr & Paul Thomas Anderson | Putney Swope

Robert Downey Sr and Paul Thomas Anderson | Babo 73

The Mirror | Andrei Tarkovsky

Somewhere

Anatomy of a Scene: Somewhere

Network (1976) | Sidney Lumet

Tiny Furniture (2010) | Lena Dunham

Man on Wire (2008) | James Marsh

Edgar G Ulmer | Detour (1945)

Edward D. Wood Jr | Plan 9 from Outer Space (1959)

The Historical Box, Hauser & Wirth, London

The War Room, Wally Hedrick, 1967—2002

Oil on canvas

8 parts, 335.2 x 167.6 cm / 132 x 88 in each

 Jouster, Robert Mallary, 1960

Wood, steel, cardboard, tarpaper, dirt and polyester resin

259 x 126.3 x 22 cm / 102 x 49 3/4 x 8 5/8 in

Illuminations Drawings, Simone Forti, 1972

Charcoal and ink on newsprint

3 parts: 61 x 48.3 cm / 24 x 19 in

3 parts: 48.3 x 61 cm / 19 x 24 in

6 Film Stills, Stan VanDerBeek, 1957—1965

16mm films transferred to DVD, Exhibition Loop

The Historical Box, 23 May - 28 July 2012, Hauser & Wirth, Piccadilly, London

‘The Historical Box, curated by Mara McCarthy, director of The Box, Los Angeles showcases key pieces by influential American artists including John Altoon, Judith Bernstein, Simone Forti, Wally Hedrick, Robert Mallary, Barbara T. Smith and Stan VanDerBeek. This exhibition brings together a collection of important performance, film, dance, drawings and sculpture created during the political and social turmoil of the Sixties and Seventies in the USA. It aims not only to broaden the canon of art history, but also to highlight the contemporary relevance of the issues which these artists confronted over three decades ago.

Alex Cox | Repo Man (1984)

Moonrise Kingdom

Tree of Life | Terrence Malick

For "The Tree of Life", the director Terrence Malick once again collaborated with the production designer Jack Fisk, with whom he has worked since his first film, "Badlands" (1973).  While "The Tree of Life" covers the origin of life and, to some degree, the history of the universe, a significant portion of its running time takes place in a small Texas town in the 1950s.  “We tried to make it as universal as possible and never do anything that would pull you out of the story, generally we wanted to create a place that many people could relate to."

Sidney Lumet | Dog Day Afternoon

New York, N.Y. (1986) | Raymond Depardon

City Girl (1929) | F.W.Murnau

Fassbinder's 'World on a Wire' 1973

World on a Wire, 1973

Bruce Conner

A seminal, deeply American artist, Conner (1933–2008) was a master of irony and juxtaposition. Arguably the inventor of the found-footage film genre, he created films that are veritable X-rays of the 20th-century American mind, exposing and describing collective fantasies and fears while ultimately remaining deeply personal, intimate, and darkly elusive.
Conner played a significant role in the underground art movement that originated in the US towards the end of the 1950s, though he might have been better known and wealthier had he been less suspicious of the "conservative art gallery system", stayed off the booze and drugs, and concentrated his energies.
Although his work ranged from assemblage pieces - collage sculptures made from nylon stockings, parts of furniture, broken dolls, fur, costume jewellery, paint, photographs and candles, reclaiming objects that had been discarded and neglected - to mysterious mandala designs, photograms of his own body, ink-blot, Rorschach-like drawings and avant-garde films, all had a blend of humour, iconoclasm and intransigence.
Always afraid of selling out, Conner, as a committed oppositional artist, gradually withdrew from the art world in the late 1970s after he became part of the San Francisco punk scene, working as a staff photographer for the "punkzine" Search and Destroy. During that time, he spent most of his nights at a club called the Mabuhay. "I lost a lot of brain cells at the Mabuhay," he explained. "What are you gonna do listening to hours of incomprehensible rock'n'roll but drink? I became an alcoholic, and it took me a few years to deal with that." Yet, despite the woozy atmosphere, he delivered sharp and characterful photos.

Stutter: Michael Ridel's Filmed Film Trailer (2008) at Tate Modern

Michael Riedel, Filmed Film Trailer 2008
Courtesy of the artist and David Zwirner, New York

Stutter

The onomatopoeic word 'Stutter' refers to an act of speech interrupted by agitated, spasmodic, or involuntary repetitions. As the title for this exhibition, it suggests a metaphor for questions of disruption and discontinuity in processes of thought, systems of communications or conceptions of knowledge. The exhibition encompasses a wide range of artistic practices that incorporate repetition and interruption in order to convey meaning, whether through language, gesture, sound or images. In their highly methodical processes of work, Sven Augustijnen, Anna Barham, Dominique Petitgand, Michael Riedel and Will Stuart create a space for error, irrationality and transformation. Combining actions and strategies such as editing, quoting, translating, conversing, duplicating or indexing, these artists reveal a multiplicity of perspectives, directions and potentialities.
Michael Riedel (b1972, Germany)
Michael Riedel’s Filmed Film Trailer (2008) derives from a 16-hour edit of footage from screenings of experimental films. From 1999 to 2002 over 40 hours of video recordings were made and the results were shown as Filmed Film events at Oskar-von-Miller Strasse 16 in Frankfurt/Main. The auto focus mechanism of the camera often wasn’t able to focus on the film and some of the shots are blurred and appear to be vibrating. Badly filmed, the image moves within the image or the film within the film disappears. Seldom are the original film and the filmed version identical in length, the life of the camera’s battery often determined the duration of the film. Using the programme Final Cut, Riedel distilled the assembly into a frenetic ‘trailer’ for Filmed Film lasting 7 minutes. In the process, an overload of information produces an array of gaps, elisions and errors that create an entirely new work.
Four proposals for the change of modern (2009) belongs to a series of works that Riedel began in 2008 for a group show at The Modern Institute in Glasgow. Cutting the word ‘modern’ from the gallery’s logo out of a piece of black fabric and turning the resulting banner on each of its sides, four new shapes were created by chance. Four proposals for the change of modern foregrounds process by drawing distinctions and opening up an infinite number of abstract forms, which allows the word ‘modern’ to be read as an ever changing moment. Through these methods, Riedel effects a gradual degradation of form and disintegration of language.