Shout

Sitting on a promenade in nice with a sign: Watch me, that’s all.

"Single Frame sequences of TV or film images, with periodic distortions of the image. The images are airplanes, women men interspersed with pictures of texts like: 'silence, genius at work' and 'ich liebe dich.' The end credit is 'Television décollage, Cologne, 1963."

Swimming across Nice harbour fully clothed. Ben swims across a bay in Nice.

In an endless loop, unexposed film runs through the projector. The resulting projected image shows a surface illuminated by a bright light, occasionally altered by the appearance of scratches and dust particles in the surface of the damaged film material. This a film which depicts only its own material qualities; An "anti-film", meant to encourage viewers to focus on the lack of concrete images.

Each film frame is a different image from the Sears Roebuck mail order catalogue. The film places pictures of the objects sold by Sears to the consumer society side by side with pictures of female models

Single frame exposures of dot-screens.

Various gestures of hand held razorblade, single frame exposures.

"INVOCATION is Higgins' Satie movie... the purest attempt to clear art from any or all historical, esthetic, thematic, ornamental claptrap to regain the lost-eye consciousness." - Jonas Mekas

Word & number gag, no camera.

A smile gradually fades into a neutral facial expression.

Flicker: White and black alternating frames.

Time counter, in seconds and minutes.

Prestype on clear film measuring tape, 10ft. length. No camera. At the end of every foot of film numbers appear, 1, 2, etc to 10

Numerals on clear film from 1 to 1000."

A 16 mm film, featuring Yoko Ono's own eye slowly blinking, shot by Peter Moore with a high-speed camera at 2,000 frames per second, which is projected at normal speed, 24 frames per second, thus creating a slow-motion effect.

Features entrance and exit door signs, fading through black and white.

Begins with a picture of Marilyn Monroe, then shifts to a female body, shot from belly button down, which is wriggling under piles of cellophane.

Begins with a shot of a demarcation line on an asphalt tennis court. A hand points to the distant landscape, then numbers 408 and 409 appear on a female torso.

X-ray sequence of mouth and throat; eating, salivating, speaking.

Collected as part of the Fluxfilm Anthology (a multi-reel compendium of 37 short films assembled by Fluxus founder and central operator George Maciunas), One captures the lifespan of a single match recorded at 2,000 frames per second using a 16mm high-speed camera. The frame rate is then decelerated to the standard 24fps for presentation. The film emphasizes each gesture, sway and flare of flame as the small pinewood carrier ignites across the landscape of the filmstrip and screen, signalling the drama and poetics of this ”minor” event before the fire is extinguished. One also stands as an unassuming beacon, immortalizing on film the essence of some of Ono’s early concerns as an artist. At the slightest touch of fire, they burst into flame. Strike everywhere. Strike often.

This film consists entirely of close ups of famous persons' bottoms. Ono meant it to encourage a dialogue for world peace.

A handful of rocks and chestnuts falling, filmed with high speed camera.

Shot at 2,000 frames per second, this short shows a man exhaling smoke in incredibly slow motion.

Single frame exposures, color. Different image each frame, various items in the room, etc.

Artype patterns, intended for loops. Benday dot patterns. Dots, lines. Screens, wavy lines, parallel lines, etc. on clear film. No camera.

This is fluxfilm No. 21 and without a title

Color test strip from developing tank.

Following a series of title cards, a man in sunglasses briefly flutters his hands like fairy. Owen Land states that this film was not made by George Landow, and believes it should be credited to John Cavanaugh. "George Maciunas had a number of films which didn’t have titles on them. Then he put them together into his Fluxus reel and tried to remember who made them. It was an intentional Fluxus joke." (Owen Land, interview with Mark Webber, 2004)

Single frame exposures of words.

"Face Smiling. Hammering a brick. CU of an ear (moving?). Face twitching. Dancing on one leg. Rolls, twitches on the floor. Boxes the wall."

Cale makes a short film called Police Car. No sound, and it is in black & white. Part #31 in the Fluxus Film series.

Seeing, Hearing, Saying Nothing. Ben stands with ears, eyes, mouth bandaged.

Lifting and holding up a chest of drawers.

Tips of feet walking at the edge of frame, all around the frame.

Face going out of focus by layering sheets of plastic between camera and subject.

In 1961 Lithuanian American artist and impresario George Maciunas established the avant-garde art movement Fluxus. George details the rise of Fluxus following a sensationalized tour of “concerts” in Europe in 1962, and continuing in New York for most of the 1960s and ’70s. During this time Maciunas was converting the dying industrial buildings of Soho into a network of artists’ lofts, creating one of the first official real estate co-ops of artist-owned buildings. Maciunas’s life and legacy—as recounted by artists of his generation, including Yoko Ono and Jonas Mekas—ignited debates that remain pivotal to artists working today.

This film consists entirely of close ups of famous persons' bottoms. Ono meant it to encourage a dialogue for world peace.

For one night Michael Pilz rides through New York with a remarkable taxi driver, Jeff Perkins. Sitting by his side, looking and listening, sometimes intervening, he uses his handy high-8 camera like a writing instrument, a „camera-stylo“.

Five young adults meet on a rainy night in Los Angeles and enter as a group into a series of dreams. Various adventures occur. Sister Midnight allows one of the guys to enter her mind; as a result of this invasion of her privacy, she is reborn.

Feature-length compilation program presenting 37 out of 41 original fluxfilms produced and directed in the 1960s by Fluxus artists, including George Maciunas, Nam June Paik, Yoko Ono, Robert Watts, Paul Sharits, et al.

Forty years in the making, 'The Painter Sam Francis' is artist Jeffrey Perkins' intimate portrait of abstract expressionist painter Sam Francis. The film retraces Francis' life and career from his childhood in California to his artistic maturation in post-war Paris, his time spent in Japan, and his prominence in the United States. It reveals a man in constant struggle with physical maladies and his own demons, but for whom creativity was a powerful life-sustaining force.

Casual, intimate look at Brakhage exploring footage left behind by his friend, the filmmaker Charles Boultenhouse, who had previously passed away