Directed by Michael and Christian Blackwood, 58 mins. Part one of a two-part portrait, this chapter follows Thelonious Monk and quartet members Charlie Rouse, Larry Gales, and Ben Riley. They play at the Village Vanguard and at recording sessions for Columbia Records in New York, and at a Jazz Festival organized by George Wein in Atlanta.

Directed by Michael and Christian Blackwood, 58 mins. This second half of a two-part portrait features the quartet on a European tour with Ray Copeland, Clark Terry, Phil Woods, and Johnny Griffin, traveling as part of George Wein’s Newport Jazz Festival road company to London, Stockholm, Copenhagen, Berlin, Mainz, and Rotterdam.

Directed by Michael Blackwood, 30 mins. Known for his at times controversial large scale environmental installations, Christo transforms his natural surroundings into something profoundly different. In 1969, Christo traveled to Australia where he wrapped a mile and a half of the continental coastline in synthetic fabric.

Directed by Michael Blackwood, 45 mins. As we join the painter in his Connecticut studio, Motherwell demonstrates the ever-evolving fluidity of painting and movements, describing painting as “a lifelong relationship with a person you really love — there are different moods, nuances, and in one sense a basic real continuity that never alters.”

Directed by Michael Blackwood, 59 mins. An intimate portrayal of Laurie Anderson, Tania Leon, Meredith Monk, and Pauline Oliveros, four New York based composers and vanguards in American music, each pursuing a distinct direction of her own.

Directed by Michael Blackwood, 36 mins. A studio visit with Jean Dubuffet in the Fall of 1973 as he was working on a detail for his musical theatre piece “Coucou Bazar.” The production, which Dubuffet saw as an animated painting, featured performers in costumes resembling figures in his paintings and sculptures.

Directed by Michael Blackwood, 58 mins. In both his paintings and career, Guston did not fear exploration but welcomed it, making paintings that rely heavily on motif and repetition, emphasizing the importance of his often political subjects.