Stuart Sherman
Directing
Known For
An experimental documentary that looks at its subject John Cage through the eyes of contemporary Avante-Garde artists as well as those who play his music.
John Cage: Man and Myth
No description available.
Flying
No description available.
Fountain/Car
No description available.
Portrait of Benedicte Pesle
No description available.
Eating
No description available.
Golf Film
No description available.
Piano/Music
No description available.
Racing
A short film about the actress Black-Eyed Susan
Black-Eyed Susan: Portrait of an Actress
No description available.
Tree Film
No description available.
Mr. Ashley Proposes (Portrait of George)
No description available.
Camera/Cage
No description available.
Typewriting (Pertaining to Stefan Brecht)
Juxtaposition and editing are used in this meditation on the human/environmental act of skating and its component parts.
Skating
Cultural and perceptual contrasts are evoked in this non-linear mythic episode in which a hammer, a paintbrush, a bucket, a pile of clothes, a window full of globes and a couple are manipulated via the filmmaker/demi-urge.
Globes
No description available.
Edwin Denby
No description available.
The Discovery of the Phonograph
Through "solipsistic, demiurgic actions," Sherman leaves his imprint on the theater world. He sits in a seat in the audience, occupies a chair onstage and stands at the door of the theater. Becoming transparent, he leaves his trace everywhere.
Theatre Piece
Constructed as a visual simile, Sherman's film utilizes a water faucet as the central image in a mysterious vignette that subverts conventions of causality and temporality. Alternating between interior and exterior locales and the stylized actions of a man (the filmmaker) and a woman, the film "is rhythmic in an almost musical way, developing images of water from glass to tub to ocean, through clusters of oppositions such as water/fire, man/woman, turning on/turning off, inside/outside." At the end, the protagonists achieve unity and stasis as they sit together on bentwood chairs facing the ocean.
Scotty and Stuart
Hors Titre I (Off-Title I) is a hermetic movie deliberately mysterious. Figure interpreted by Stuart Sherman shines in the first part of the film by his anonymity. The man drowned in the crowd, activity, all this urban life that is foreign to him. It expresses nothing, does nothing, to the point of appearing to blur the image. In the second part, it works. Always very mysteriously. The viewer built himself a sense of all these actions cut by the film. Whatever it is, its activity is internalized: slide analysis, reading, writing. The outlines of this figure then draw, and blend back into the urban landscape, this time in the open. The character became somebody through a symbolic initiation: nighter? read de Sade? photographic activity? maybe three at a time, perhaps in a dream. The key is in becoming.