porcelain gods
(a collage novel of godard's contempt, 1963)
work in progress january 2018 [abridged version]

cv

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biography

“among the most prolific and original avant garde film and video artists in America...” (Tony Pipolo, Artforum, March 2013)

Master collagist Lewis Klahr has been making films since 1977. Known for his uniquely idiosyncratic experimental films and cutout ‘re-animations’, Klahr’s work has been screened extensively in the United States, Europe and Asia, including The Museum of Modern Art, New York, the Whitney Biennial, the New York Film Festival, the Toronto International Film Festival, the Hong Kong International Film Festival, the London Film Festival and the L.A. County Museum of the Arts. Klahr was awarded the Wexner Center for the Arts Media Arts Residency Award (2010) and the 2013 Stan Brakhage Vision Award, presented by the Denver Film Festival.

His epic cutout animation THE PHARAOH'S BELT received a special citation for experimental work from the National Society of Film Critics in 1994. For the past three years Klahr's shorts (ALTAIR, LULU and PONY GLASS) have been included in the New York Film Festival. LULU was commissioned by Copenhagen's Gronnegard's Theater production of Alban Berg's opera of the same name that opened to critical acclaim in August 1996. CALENDER THE SIAMESE, Klahr's first linear narrative, was included in the 1997 New Directors/New Films series as a featurette. Klahr is a 1992 Guggenheim Fellow and has also received funding from the National Endowment for the Arts, the NY State Council of the Arts, The Jerome Foundation, and the NY Foundation of the Arts and Creative Artists Public Services.

In 2014 Anthony Reynolds Gallery premiered Klahr’s work and in 2015 MoMA showed the world premiere of Sixty Six, organized in 12 discrete chapters, Sixty Six is a milestone achievement, the culmination of Klahr’s decades-long work in collage filmmaking. With its complex superimpositions of imagery and music, and its range of tones and textures at once alluringly erotic and forebodingly sinister, the film is a hypnotic dream of 1960 and 1970s Pop. Sixty Six is the latest, and perhaps most magisterial, entry in Klahr’s open-ended digital series Prolix Satori, in which the artist mines his vast 30-year archive of collage materials. In 2016 the Tate Modern screened the UK premiere of Sixty Six

Commercially he has created special effects and animation for television show openings, music videos, commercials, a documentary and a TV movie.

Klahr lives and works in Los Angeles, USA, and is represented by Anthony Reynolds Gallery, London



exhibitions

  • 2016
  • circumstantial pleasures, a collaboration wth grieder contemporary, zurich
    • 2014
    • sixty six


publications

  • 2018
  • understanding painting: from giotto to warhol, ludion
  • 2011
  • the collected writings of jon thompson, editied by jeremy akerman and eileen daly, ridinghouse, london
  • 2006
  • how to read a modern painting: lessons from the modern mastersthames and hudson
  • 1985
  • ars universitas: jon thompson's ricinullus fragments, john hansard gallery, the university of southampton