At Least I Open My Eyes

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Michel Auder, Barnett Newman and Viva Superstar at the
opening of Newman's show at M Knoedler and Company,
New York (1969).

Now through July 1, Anthology Film Archives is screening artist and filmmaker Michel Auder's The Feature. The nearly 3-hour film memoir is culled from Auder's vast archives of footage of everyday life from the 1960s on (if by "everyday" you include the Factory scene, marriages to Viva and Cindy Sherman, a room at the Chelsea Hotel, and general bohemian jet-setting). Sounds chic. From Nathan Lee's 2009 review in the New York Times:

Ubiquitous as video has become, we still don’t have a well-developed sense of (or perhaps consensus on) what constitutes beauty in the medium. Mr. Auder’s videos belong to any discussion of these evolving criteria. Now that high definition is de rigueur, there’s great pleasure to be had in contemplating his early, bleary, low-resolution black-and-white images, which now look less like disposable doodling than choice examples of video primitivism. They are as elusive and tantalizing as the photo-based paintings of Gerhard Richter or the recent low-fi video experiments of David Lynch.

The screening coincides with exhibitions of Auder's work at Zach Feuer Gallery, Participant Inc., and Newman Popiashvili.