Dick Higgins is associated with: Fluxfilm Anthology 1962-1970
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. ...
Watch NowA double murder is committed–presumably. A sleepwalker is unaware where she is going or what the consequences of her actions are–presumably. The law investigates–presumably. Nothing is solved, or is it? Is there a suicide at the end? More mysterious ...
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Featuring home movie footage shot by Higgins and other material derived from his father, MEN & WOMEN & BELLS includes the recurring sound of the bells of Rostov-on-Don in Russia, lending it a mournful quality. ...
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This film belongs to Higgins' 'hard series', meaning that the formal structure is relatively inflexible. The colors shift from the normal to their complements, producing extraordinary after-images, and this is done to a pulse by means of over 3000 splices ...
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The scenario for what might have been quite a beautiful films is projected as a text. In between the blocks of text, two small girls romp, as if from another movie altogether. –D. H. ...
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"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. ...
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Higgins's only feature-length film, THE FLAMING CITY, explores the dichotomy between the lifestyle of Higgins and his artist friends in SoHo, which was viewed as a threat to middle class American values, and Higgins's well-heeled upbringing. The film emplo ...
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On March 24, 1979, The Kitchen presented a two-part program dedicated to the work of various Fluxus artists. The programming began with the premiere of Alison Knowles's "Natural Assemblages and the True Crow." For the piece, Knowles engaged in a dialogue w ...
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"Face Smiling. Hammering a brick. CU of an ear (moving?). Face twitching. Dancing on one leg. Rolls, twitches on the floor. Boxes the wall. ...
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