Ed Halter

Since his 1974 arrival in New York, James Nares has been a central member of the vibrant downtown art and music scene. Once described by Glenn O'Brien as the last of the Action Painters, Nares attempts to capture his work's own creation. Produced with handmade brushes, his monumental strokes are almost three-dimensional in the degree of detail and depth they reveal. In 2008, the artist rediscovered numerous of his experimental Super 8 films from the 1970s. Now Nares is renowned as both a filmmaker and a painter singularly concerned with physicality and ways to illustrate the unfolding of time. Produced in close collaboration with the artist, this definitive monograph surveys the entirety of Nares's career, including many unpublished works. With essays and commentary by critics including Amy Taubin, Ed Halter, and Glenn O'Brien, the book also includes an illuminating and personal conversation between the artist and Christopher Wool.

In this first collection of film writing from Evergreen Review, the legendary publication's important contributions to film culture are available in a single volume. Featuring such legendary writers as Nat Hentoff, Norman Mailer, Parker Tyler, and Amos Vogel, the book presents writing on the films of Jean-Luc Godard, Pier Paolo Pasolini, Ousmane Sembene, Andy Warhol, and others and offers incisive essays and interviews from the late 1950s to early 1970s. Articles explore politics, revolution, and the cinema; underground and experimental film, pornography, and censorship; and the rise of independent film against the dominance of Hollywood. A new introductory essay by Ed Halter reveals the important role Evergreen Review and its publisher, Grove Press, played in advancing cinema during this period through innovations in production, distribution, and exhibition. Editor Ed Halter began working on this book in 2001 with Barney Rosset, using his personal files and interviews with him as initial research.

The first comprehensive overview of an influential American photographer and filmmaker whose work is known for its intimacy and social engagement Coming of age in the 1960s, the photographer Danny Lyon (b. 1942) distinguished himself with work that emphasized intimate social engagement. In 1962 Lyon traveled to the segregated South to photograph the civil rights movement. Subsequent projects on biker culture, the demolition and redevelopment of lower Manhattan, and the Texas prison system, and more recently on the Occupy movement and the vanishing culture in China’s booming Shanxi Province, share Lyon’s signature immersive approach and his commitment to social and political issues that concern those on the margins of society. Lyon’s photography is paralleled by his work as a filmmaker and a writer. Danny Lyon: Message to the Future is the first in-depth examination of this leading figure in American photography and film, and the first publication to present his influential bodies of work in all media in their full context. Lead essayists Julian Cox and Elisabeth Sussman provide an account of Lyon’s five-decade career. Alexander Nemerov writes about Lyon’s work in Knoxville, Tennessee; Ed Halter assesses the artist’s films; Danica Willard Sachs evaluates his photomontages; and Julian Cox interviews Alan Rinzler about his role in publishing Lyon’s earliest works. With extensive back matter and illustrations, this publication will be the most comprehensive account of this influential artist’s work.Published in association with the Fine Arts Museums of San FranciscoExhibition Schedule:Whitney Museum of American Art (06/17/16–09/25/16)de Young, Fine Arts Museums of San Francisco (11/05/16–03/12/17)Fotomuseum Winterthur (05/20/17–08/27/17)C/O Berlin Foundation (09/15/17–12/10/17)