film/Still: The Price of Everything with Director Nathaniel Kahn
- This event has passed.
“With unprecedented access to pivotal artists and the white-hot market surrounding them, The Price of Everything dives deep into the contemporary art world, holding a mirror up to our values and our times—where everything can be bought and sold.” So begins Nathaniel Kahn’s introduction to his newest documentary, which follows Academy Award nominations for his previous two films: Two Hands (2006) and My Architect (2003). The latter is about his father, the famous architect Louis Kahn.
A discussion and Q&A with Nathaniel Kahn and Producer Jennifer Stockman will immediately follow the screening.
Alamo Drafthouse Cinema
4255 West Colfax Avenue
This event is SOLD OUT.
“This colorful and inquisitive cinematic essay on the state of the art world is occasionally skeptical and consistently thoughtful.” —New York Times
“Kahn is a quiet filmmaker, and he gently prods his sources to go beyond the typical art world hyperbole of ‘gorgeous’ and ‘wonderful.’ And in a cool, clear-eyed way, he reveals how the $400-million sausage is made, how capitalism has turned art from idea into inventory.” —L.A. Times
Nathaniel Kahn is an award-winning filmmaker. His documentary My Architect, about his father, Louis I. Kahn, was nominated for an Academy Award in 2003 as well as being nominated for two Independent Spirit Awards and an Emmy. Kahn also won the 2004 Directors Guild of America award for outstanding direction of a documentary. His short films include the Oscar- and Emmy-nominated Two Hands (2006), about the internationally celebrated pianist Leon Fleisher. Kahn has also made several films on science including Telescope (2015) and Dark Side of the Sun (2016) for Discovery. He is currently at work on a feature-length documentary on the Webb Space Telescope as well as a new screenplay, which he will direct.
The Museum partners with Alamo Drafthouse Cinema to present groundbreaking films that address an array of themes about art and the human experience. We are also grateful for the sponsorship of the Center for Visual Art and Metropolitan State University Department of Art.