Koyaanisqatsi (Godfrey Reggio, 1983, 85m) Rivers and Dams The River (Pare Lorentz, 1938, 31 min)
Up the Yangtzee (Yung Chang, 2008, 90 min) Oil Oil: A symphony in Motion (Artkino, 1933, 8m)
Petropolis (Mettler, 2009, 42m)
Deep Weather (Ursula Biemann, 2013, 10m) Labor Workers Leaving the Factory (Harun Farocki, 1995, 36m) Maquilapolis (Sergio De La Torre & Vicky Funari, 2006, 69m) Workers leaving the GooglePlex (Andrew Norman Wilson, 2011, 11m) Pollution Red Desert (Michelangelo Antonioni, 1964) Space & Place Powers of Ten (Ray & Charles Eames, 1977, 9m) Space is the Place (John Corney, 1972, 85m) Nostalgia The Royal Road (Jenni Olson, 2015, 64m) The Urban Commons Style Wars: The Original Hip Hop Documentary
(Tony Silver, USA, 1983, 70m) Surveillance How Not to be Seen (Monty Python, 1970, 3min) How Not to be Seen: A Fucking Didactic Educational .Mov File (Hito Steyerl, 2013, 15 min) Nostalgia for the Light (Patricio Guzman, 2011, 90m) Topiary Landberg cfb350d468ec5c2054ab0b7ea98b3e2b63e3e296
Style Wars artist between trains
1 2017-10-30T18:02:38-07:00 Topiary Landberg cfb350d468ec5c2054ab0b7ea98b3e2b63e3e296 7087 1 plain 2017-10-30T18:02:38-07:00 Topiary Landberg cfb350d468ec5c2054ab0b7ea98b3e2b63e3e296This page is referenced by:
-
1
media/1-Subway-graffiti-WtC.jpg
media/1-Subway-graffiti-WtC.jpg
2015-11-13T01:12:54-08:00
The Urban Commons
14
Style Wars: The Original Hip Hop Documentary
(Tony Silver, USA, 1983, 70m) image_header 531330 2017-10-31T17:19:39-07:00 Produced in collaboration with renowned graffiti photographer Henry Chalfant, Style Wars is an indispensable document of New York Street culture of the early 1980s: a filmic record of the golden age of graffiti and hip hop — youthful creativity that exploded into the world from a city in economic crisis.Portraying New York City’s ramshackle subway system as both a public canvas and public policy battleground, the film portrays a number of the young artists at work, juxtaposed against the official positions of Mayor Koch, the police and other city officials contending that graffiti is vandalism. A loving portrait of street culture and the spatial politics informing this early 1980s culture, the film ultimately leads to a climactic head when graffiti is “discovered” by the art market and moved inside to galleries. Providing a visceral, visual and auditory chronicle of the first wave of NYC gentrification and the forces of economic “revitalization” which rocked the city and transformed its cultural landscape, Style Wars won the Grand Prize for Documentaries at the 1983 Sundance Film Festival.
