After Rome 78, Nares made a political documentary—a controversial 1980 video interview with an IRA member titled No Japs at My Funeral—but turned to other forms of art for much of the remaining decade, never realizing projects like a feature script he penned with Gary Indiana.

After Rome 78, Nares made a political documentary—a controversial 1980 video interview with an IRA member titled No Japs at My Funeral—but turned to other forms of art for much of the remaining decade, never realizing projects like a feature script he penned with Gary Indiana.

After Rome 78, Nares made a political documentary—a controversial 1980 video interview with an IRA member titled No Japs at My Funeral—but turned to other forms of art for much of the remaining decade, never realizing projects like a feature script he penned with Gary Indiana.

After Rome 78, Nares made a political documentary—a controversial 1980 video interview with an IRA member titled No Japs at My Funeral—but turned to other forms of art for much of the remaining decade, never realizing projects like a feature script he penned with Gary Indiana.

Collage of faces taken from television by James Nares

Nares mocks up Ancient Rome by shooting in faux-classical sites including Tribeca's American Thread Building, where a decrepit penthouse loft with a peeling-paint dome serves as an echoey stand-in for the imperial palace. The latter location required ingenuity: Posing as potential renters, Nares and associates asked the manager to show them the apartment, then unlocked the windows on the way out; a few hours later, they broke back into the space, full cast and crew in tow, to shoot the necessary scenes.

"ARABIAN LIGHTS is the second of only two Super 8mm films deAk is known to have fully edited to completion, and the only work she produced outside the New York club scene. During an extended romantic holiday in Egypt in 1977 with Jamie (then James) Nares, the two young visual artists shared a movie camera and recorded intimate, carefree moments that deAk later edited into this unusual self-portrait. Tourism becomes performance art at legendary historic sites and across the bright desert landscapes as their budding romantic relationship plays out. The film was rarely screened during the period, and MoMA’s new digital preservation is drawn from deAk’s unique original Kodachrome print and a reel of assembled outtakes, both recently acquired for the Museum’s collection." — MoMA

Mini-document of sculptural activity, involving the effects of gravity on weighty objects.

After Rome 78, Nares made a political documentary—a controversial 1980 video interview with an IRA member titled No Japs at My Funeral—but turned to other forms of art for much of the remaining decade, never realizing projects like a feature script he penned with Gary Indiana.

A pendulum swings among old NYC buildings.