Bill Morrison Collected Works 1996 2013

Product Description This five-disc (4 DVDs and 1 blu-ray) set comprises 16 works by filmmaker and multimedia artist Bill Morrison, called "one of the most adventurous American filmmakers" by Variety. Morrison's work is characterized by his sensitive approach to found, often decaying film footage, and his close collaboration with contemporary conmposers, including Vijay Iyer, Johann Johannsson and Bill Frisell. Among other shorts and features, this set includes his acclaimed DECASIA (2002), "the most widely acclaimed American avant-garde film of the fin-de-siecle." (J. Hoberman, The Village Voice). About the Director Director Bill Morrison was born in Chicago, Illinois in 1965, and currently lives in New York. He attended Cooper Union, where he studied painting and animation. After college, he worked with New York's Ridge Theater, making short film backdrops for their avant-garde productions. This work has been recognized with two Bessie awards and an Obie. Morrison's film and multimedia art has been screened at festivals, museums and concert halls worldwide, including the Sundance Film Festival, the Tate Modern, and the Walt Disney Concert Hall. The Museum of Modern Art has acquired eight of his titles for their permanent collection. Morrison has been commissioned to create films for numerous composers, including John Adams, Laurie Anderson, Gavin Bryars, Dave Douglas, Richard Einhorn, Bill Frisell, Michael Gordon, Henryk Gorecki, Vijay Iyer, Jóhann Jóhannsson, David Lang, Harry Partch, Steve Reich and Julia Wolfe. Morrison has received the Alpert Award, as well as fellowships from Creative Capital, the Guggenheim Foundation, the Foundation for Contemporary Arts, and the NEA. Decasia (2002), his feature-length collaboration with composer Michael Gordon, was described by The Village Voice film critic J. Hoberman as "the most widely acclaimed American avant-garde film of the fin-de-siècle", and by Oscar-winning filmmaker Errol Morris as "a definitive work of art, and a new kind of documentary." Writing in The New York Times Magazine, Lawrence Weschler wrote that watching the film, "I found myself completely absorbed, transfixed, a pillow of air lodged in my stilled, open mouth."