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MCDERMOTT: I know that you create everything on a computer before physically printing it. KESH: I consider myself a digital artist, so what I'll do is create everything with technology. For instance, these are all pictures of me taken within this space. I did three different shoots and took about 1,200 images, then went through and found the perfect one that I felt was showing my emotion at the time. I did a shoot in here naked and I took it into different programs and pieced it all together. I strip it down and place different things in different areas. I like to think of them as asteroids or something—I feel like I'm flying through space with these pieces. I like to use things that didn't exist 50 years ago, or 20 years ago even. I want to always do things that are very current and pushing the boundaries of the way we create art. MCDERMOTT: It's interesting that you refer to them as asteroids, considering the way you described living in this gallery as being like you were in outer space. I lived in there for five days straight and I didn't leave the space, but it was an all-glass front. I'd have people observing me throughout that whole space. I lived and I worked and I slept right there, on view.


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Resnais's camera glides over the landscape as if searching for clues to an unsolvable mystery, while photographs of Nazi medical experiments and their sickening results attest to atrocities that can't possibly be fathomed in full. The film has the feel of a ghost story where the dead, despite their eerie silence, beckon the living to preserve their memory. But there must be room for social justice, central to the impulse to pick up a camera in the first place. Barbara Kopple's staggeringly dense record of a Kentucky coal-mine strike is the ultimate example of crusading art: a chronicle of personal pain and sacrifice as ingrained as the soot in these workers' palms. Duke Power Company drove its employees to the brink of ruination, an existence plagued by black-lung disease, insufficient wages and squalid housing. When productivity ground to a halt, pickers found themselves targeted by armed thugs. Kopple captures it all, bringing the drama to a head while finding room for the rich local culture of bluegrass. It invented the fly-on-the-wall rockumentary, following the singer-songwriter as he lounges in hotel rooms and banters with buddies; the illusion of having an all-access pass to a musician's inner life starts here. But the doc's true significance lies in the way it nails a celebrity culture that was just starting to become cannibalistic. Reporters attack Dylan, rabid fans want a piece of him, and everything is reduced to an info-overload blur. The times would be a-changin' for both the media and this 26-year-old messenger very soon. Using scientific research, government statistics, and testimonies on the damage done in Hiroshima and Nagasaki, Watkins presents manufactured scenes of suburban mayhem under the guise of an emergency news report. Fires rage, children expire, and England is turned into a barren wasteland; no one had used the fake-documentary format to such an extent before, or with such urgency since.