Open 7 days a week in August
In August, the Whitney is open every day of the week, and open late Fridays and Saturdays until 10 pm.Buy Tickets
Location: Second Floor
Known since the 1980s for his Super-8 films and performances, Luther Price has, in recent years, turned to 16mm film, creating new works from discarded prints of old documentaries, snippets of Hollywood features, and other examples of cinematic detritus. He re-edits the footage by hand, effaces the image through scraping, buries the films to rot and gather mold, and adds chaotic visual patterns using colored inks and permanent markers. For soundtracks, he frequently uses only the brutal electromechanical noise generated by sprocket holes running through the projector’s audio system. Each reel he produces is thereby a unique object, often altered to such an extent it struggles through the projector, as if playing out the end of film itself; his is a cinema that ecstatically embraces its death drive, so as to achieve maximum potency.
PROGRAM 1 SCREENING TIMES
March 1 and 3
PROGRAM 1 (APPROX. 63 MIN.):
Turbulant Blue, 2006
16mm film, color, sound; approx. 8 min.
Inkblot #1, 2007
16mm film, black-and-white, sound; approx. 6 min.
A Patch of Green, 2004–5
16mm film, black-and-white, sound; approx. 8 min.
After the Garden: Dusty Ricket, 2007
16mm film, color, sound; approx. 7 min.
Dipping Sause, 2005
16mm film, black-and-white, sound; approx 6 min.
Inkblot #15: Helen’s Dreaming, 2008
16mm film, color, sound; approx 10 min.
After the Garden: Silking, 2010
16mm film, color, sound; approx. 5 min.
Sorry – Horns, 2012
16mm film, black-and-white, sound; approx 3 min.
The Mongrel Sister, 2007
16mm film, black-and-white, sound; approx. 10 min.
Screenings are free with Museum admission. Admittance is on a first-come, first-seated basis until capacity is reached. Late admittance is strongly discouraged, so please arrive early.
Projections of Price’s intricately collaged slides are on view on the second and fourth floors.