Peggy Ahwesh has been a film and videomaker since the 1970s, working across genres, styles, and approaches throughout. More recently, she has been making work during her stays in the Occupied Palestinian Territories, filming and teaching at Al-Quds Bard College.
It is difficult to overstate the influence of Peter Hutton and James Benning, two towering figures in American avant-garde cinema and the standard bearers for a deeply attentive approach to landscape.
Most of Frederick Wisemans films look at the inner workings of institutions, from zoos and opera houses to high schools and welfare offices. In his latest film, Wiseman turns his signature observational gaze to Londons National Gallery, where he looks at the museums board meetings, exhibition-planning, painting restoration, the act of looking, and, of course, the paintings themselves. Over two dinners, I had the pleasure not only of discussing Freds latest film with him, but also his life and work. We talked about the process of making the film, including color correction and editing, as well as various other subjects including literature, the idea of participatory film, and the possibility of democratic filmmaking