Michael Blackwood Productions

Renowned English painter, David Hockney, takes us on a visual journey as he shares with us his treasured photo diaries. Consisting of polaroids Hockney has been collecting since 1967, the diaries act as both a tribute and an artist's notebook, often times including images the painter used for his large canvas works. A fine example of Hockney's pictorial inspiration are several photographs of castles he took during a boat trip down the Rhine that were later adapted for a suite of etchings to accompany six Grimm's fairy tales. Seeing his projects long before the work begins, Hockney used his camera to slow time and capture images that would go on to boast his unique style of realism. In David Hockney's Diaries the artist is seen at work on a large canvas of his friends Celia and Ossie Clark and their cat Percy, commissioned by the Tate Gallery.

A documentary film about the life of pianist and jazz great Thelonious Monk. Features live performances by Monk and his band, and interviews with friends and family about the offbeat genius.

In his London studio, Francis Bacon discusses his work and approach with David Sylvester. His representations of the human figure in portraits and triptychs link him to the distorted realism of Van Gogh and Picasso, who also portrayed the intensity of life that Bacon calls “the brutality of fact.”

For his five Cremaster films Matthew Barney's created a multitude of sculptural forms and structures. Recently both the sculptures and the films traveled to museums in Cologne, Paris and New York's Guggenheim. In THE CREMASTER CYCLE: A Conversation with Matthew Barney, the artist guides the camera through this remarkable creation at the Guggenheim Museum while being questioned by Michael Kimmelman, chief art critic of the New York Times.

A light-hearted, toe-tapping portrait of the well-known 8 Oscar winning Hollywood costume designer filmed in her opulent house and garden. Edith Head presents some of her famous designs using glamorous models to impersonate Mae West, Barbara Stanwyck, Dorothy Lamour, Ginger Rogers, Audrey Hepburn, Elizabeth Taylor and Grace Kelly. They move to the music of the films for which she was the designer as Head recalls the times and places that served as inspiration for the famed looks.

Architect Peter Zumthor lives and works in the remote village of Haldenstein in the Swiss Canton of Graubünden where he can keep the politics of architecture at a comfortable distance as he enjoys status and praise for his unique modernist buildings. In "The Practice of Architecture", critic Kenneth Frampton visits Zumthor at his studio where the two are surrounded by models, designs and plans for current and future projects throughout Europe and the United States. Frampton questions the renowned architecture on the motives and methods behind some of his most famous works, including his Zinc-Mine-Museum in Norway and the highly acclaimed Therme Vals, a stunning hotel and spa built over the thermal springs in Graubünden. While walking us through his career, Zumthor discusses his penchant for minimalism, the importance of landscape, light and material, and the architectural theory behind his stunningly precise style

American composers have long struggled against the momentum of the Western European classical tradition and the prestige it has held in America's cultural life. "I did not want to have any stricture at all, I wanted to be completely free." So spoke Harry Partch, describing not only his own path, but also that of two other influential American composers: Lou Harrison and Terry Riley. They were attracted to musical ideas and sounds outside of the surrounding classical mainstream. Together they offer a deeper understanding of what those alternatives are and how they have affected American culture.

In the silent film era, movies were never really silent. In the background of films that made figures like Charlie Chaplin and Buster Keaton into cultural icons, were the musical giants whose compositions defined the very films that captivated a generation of movie-goers. Arthur Kleiner converses with the still-living legends from that bygone golden age of cinema.

Through a blend of Japanese history and Western influence, Arata Isozaki has built a career around his boldly distinctive architectural style. Constantly challenging the concepts of space, form and tradition, Isozaki’s work dares us to imagine a merging of cultures where artistic movements and methods bind together in riveting new forms. "ARATA ISOZAKI II: INTERNATIONAL PROJECTS" follows the architect to many of his most famous sites including the Barcelona Olympic Sports Palace, Disney’s Team Building in Orlando, New York’s Palladium nightclub, as well as the newly completed Museum of Contemporary Art in Los Angeles.

This film includes important examples of the Robert Rauschenberg's diverse and extraordinary accomplishments, tracing his development from his student years and his earliest experiments to a retrospective of his work at the Museum of Modern Art in New York. It features Rauschenberg, John Cage and Merce Cunningham, and was released in 1979.

Documentary examining the life and career of producer/director Roger Corman. Clips from his films and interviews with actors and crew members who have worked with him are featured.

Made in 1980, this film explores the contemporary dance scene through the work of seven New York-based choreographers. They discuss the nature of dance and the evolution of their own work. Filmed at rehearsals, performances, and during interviews, the film is a unique primary source. The artistic roots of these seven artists can be found in Martha Graham's concern with modern life as a subject for dance and in Merce Cunningham's emphasis on the nature of movement. In the 1960s, the interaction of art forms generated choreographic innovations. Especially influential was John Cage, whose radical ideas served as a point of departure for much of the new choreography. Each of the choreographers in Making Dances draws inspiration from the Graham/Cunningham tradition, yet each makes a highly distinctive statement. Structure, movement in non-fictive time and space, and the nature of movement itself are recurring themes.

Crewdson is observed and questioned closely during his work on ten new images in as many different sets.

"Butoh: Body on the Edge of Crisis" is a visually striking film portrait shot on location in Japan with the participation of the major Butoh choreographers and their companies. Although Butoh is often viewed as Japan's equivalent of modern dance, in actuality it has little to do with the rational principles of modernism. Butoh is a theater of improvisation which places the personal experiences of the dancer on center-stage. By reestablishing the ancient Japanese connection of dance, music, and masks, and by recalling the Buddhist death dances of rural Japan, Butoh incorporates much traditional theater. At the same time, it is a movement of resistance against the abandonment of traditional culture to a highly organized consumer-oriented society.

Known for his bold, abstract and stark white buildings, American architect Richard Meier now takes on the challenge of building the Jubilee Church in Rome. Holding the location in high regard, Meier praises the vibrant visual layout of the city and tells us, "Rome is a city of architecture; it's a city of walls and columns and spaces and places and defined places and wherever you look there's architecture" (Richard Meier). Staying true to his signature design style, Meier has created a structure resembling grand soaring sails which appear steady and peaceful as they stand in striking opposition to the city's landscape. Three curved walls separate three distinct spaces: the main sanctuary, the weekday chapel and the baptistry, each with its own entrance. As a contrast he shows us his favorite churches in Rome by his famous colleagues from earlier times.

“Christo: Works in Progress” takes us around the world on a showcase of the artist’s grand environmental installations. With both critique and praise from members of the communities that have hosted Christo and his works, the film takes a deep look into the process and outcome of pieces such as Wrapped Coast, Running Fence, and Wrapped Walkways. While discussing his inspirations and motives, Christo states, “The work of art is not the fabric, steel poles and cable, the work of art is the hills and the ocean, the sky, the gates, the rocks, the people, the light- this is the work of art.” (Christo Vladimirov Javacheff) Though his work may appear to be visually distracting from the landscapes he creates in, Christo’s aim is to bring attention to the land itself and encourage people to take note of their surroundings.

This documentary explores the creation of the Holocaust Memorial in Berlin as designed by architect Peter Eisenman. Reaction of the German public to the completed memorial is also shown.

A concentrated look at one of America's early Pop artists, the film was made during Dine's 4-year residency in London. Actively at work in his studio on several large collages, one can clearly see Dine's masterful balance of artistic freedom and control, as he adds and modifies illusionistic images, written words and real life objects to his compositions. The artist talks about his connections to literature and about his frequent collaboration with poets; he also discusses his own poetry, some of which he reads for the camera. The parks and streets of London are the setting for Dine's frank comments about his voluntary exile in that city. On one walk, Dine encounters Gilbert and George as they endlessly repeat "Underneath the Arches" in bronze make-up, their earliest performance piece.

In 1943 Herbert and Lotte Strauss made the courageous decision to escape from Germany and almost certain extermination in a Nazi concentration camp. This is a personal account of their dramatic flight, building a new life in the United States, and coming to terms with the Holocaust. "We Were German Jews" grapples with the torment of living with the legacy of the Holocaust. The film chronicles Herbert and Lotte Strauss' return visit to Germany. They were not trying to assuage any sense of guilt over having survived; they wanted to confront the past by going back to where they had lived before the onslaught that claimed most of their relatives. This understated, very personal story adds significantly to the body of evidence that explores human behavior in the face of genocide and insists that we remember the past and learn from it.

In Alvaro Siza: Transforming Reality Portugal's renowned architect reviews his work with architectural historian, Kenneth Frampton. While touring his projects Siza discusses his approach to architecture, explaining that it is centered around the idea that setting is integral to design and that a structure should be reinforced by surroundings that both enhance and highlight its potential.