View allAll Photos Tagged brakhage
I didn’t expect to take these pictures. I just knew that the bulb that blew in the lamp that I keep on my office desk made a lovely white blast pattern on the glass and that I wanted to shoot it, but I didn’t expect this play of color and light when I did.
The results surprised me the way filmmaker Stan Brakhage’s The Text of Light (shot through a crystal ashtray) surprised me when I first saw it as a student, lucky enough to be at one of his screenings.
I know it’s not even close to what he pulled off, but a girl’s gotta start somewhere.
"Calm down, you assholes, shut up!
First of all, I think the cinema is too rich. It’s obese.
It’s reached its limits, its maximum capacity.
A mere blockage will shatter this fat-filled pig into a thousand pieces.
I hereby announce the destruction of cinema,
the first apocalyptic sign of disjunction, the rupture of this ballooning,
and pot-bellied organism known as film."
(Excerpt from Venom and Eternity, Isidore Isou)
The Experimental Film Club is presenting a new programme of magnificent films curated by moi and Foreman with the generous help of Pip Chodorov from Re-Voir Paris.
Gems on the programme:
Isidore Isou's Traité de Bave et d’Éternité (1951)
Stan Brakhage's The Dante Quartet (1987)
Aldo Tambellini's Black Films (1965-67)
You can read what I wrote here:
experimentalfilmclub.blogspot.com/
(It is poZzibly pozZible that blog's layout looks wrong due to your PC contraption not mine)
After being wrapped between the images of an original copy of Stan Brakhage's "Garden of Earthly Delights" , these leaves absorbed the resolution. The transfer was assisted by fire, freezing, baking, peroxide, bleach, and years of devoted attention by my neighbor, Carl. The plan is to show the finished product at the New York Film Festival. The unfolding process was so exquisite, it brought tears to our eyes.
36/365. You should view on black. :B
"Art is a sense of magic."
-Stan Brakhage
I've done something similar to this before, but I finally got the fairy dust to look how I want.
I'll be leaving around the 12th for a week. Unfortunately, I won't have access to the internet so I won't be able to upload for that time span. I will keep with my 365 and take pictures, however. And, I will send out prints to the print winners when I announce them on the 13th.
I'll have to catch up with everyone's streams when I return.
Print Giveaway! There are only two days left!!!
how can i put together sequences in one image...
many thanks to shadowplay for implied me about the experimental film + brakhage:)
I got tagged with that "16 things" thing a million years ago. Since I just don't have much time I'm going to cheat and post my "25 things" list that I made for Facebook. Choose your favorite 16.
I've been tagged a few times with this one, and I like reading other peoples' 25 random things, so I've decided to post my own. I'm not going to tag anyone else though, because some people resent that kind of thing, you know. Besides, everyone's eventually going to be tagged with this one anyway.
1) I have an early memory of standing in the yard of my grandmother's house in Bolinas, trying to learn to whistle. There was a hummingbird flying around the yard and it suddenly swooped down and skimmed through the top of my hair. At that moment, I whistled.
2) In high school, I spent an inordinate amount of time designing and drawing plans for a perversely large mansion of the 80s neoromantic-artist/rock-aristocrat variety. These plans were drawn by hand, with pencils, rulers, and ink. There was no handy CAD machine in sight. It was quite a labor of love, or at least adolescent daydream fantasy. There was a two-story entry room with a marble chessboard for a floor and a balcony around the room so you could look down to better judge your next move. There was an Olympic-sized indoor swimming pool in a two-story room with skylights and roman columns. There were cypress trees out front because that was very, um, 'classical.' There was a room just for statues. There were hot tubs and fireplaces, a darkroom, and even a urinal (just to have one). My classmates nicknamed the house "The Chainsaw," because it kind of looked like a Husqvarna from the aerial view. Perhaps those fantasies were in part fueled by a bottle of Everclear that was secretly stashed away in the back room for years. These days I much prefer the aesthetics of shack architecture.
3) I find myself strangely addicted to television shows that I never would have imagined watching regularly four years ago. These days it's House, The Most Dangerous Catch, and just about every game that Arsenal plays. I also find myself watching a lot Star Trek: The Next Generation reruns. I find Sponge Bob Squarepants to be the most deeply absurdist homage to surrealist tendencies imaginable, and if you don't find it to also be deeply perverse than you're really not looking very hard (often it reminds me of the kind of horrifying erotics of Dali's The Great Masturbator). Plus it has great comic timing.
4) My first memories of television are of watching The Making of Star Wars on PBS while desperately futzing with the antenna to get better reception. Then I moved to San Francisco and watched a ton of Ultraman on Channel 2, as well as Godzilla movies, anything on Creature Features, and, strangely, I also remember watching Gone With the Wind. That was all in glorious black and white. I didn't live in a house with a television after that for about 20 years. The TV I own now is the first one I've ever bought — it's 3.5 years old.
5) I'm sure that far too many of my libidinal desires were shaped by early exposure to Elfquest and The X-Men. The very first comic I ever bought was an X-Men comic.
6) Jacques Cousteau was my childhood hero, and I still count him as one of the major influences in my life. And not just because on that one episode they drank some of the unopened wine they discovered on the wreck of a Roman ship. The Silent World is an incredibly beautiful book, and The Cousteau Almanac was deeply influential on the formation of my environmental consciousness (and way ahead of its time —seriously discussing wind power, alternatives to fossil fuels, and solar power, all back in 1981). I spent a huge part of my childhood wanting to become a marine biologist and reading volume after volume about undersea life. Nudibranchs are perhaps the most beautiful creatures that live on this planet.
7) I tend to ramble when I write prose. I haven't decided if that's a good thing or not. At least I don't write like someone who thinks they're going to be the new Hemingway.
8) For someone who really has no background in electrical engineering I know way too much about 12AX7s, ECC82s, EL-34s, 6L7s, KT88s, and, of course, the 300B.
9) Things I usually have in my bag when I go out: iPod, loaded up with music, Football Weekly, Democracy Now, and Against the Grain; a copy of The London Review of Books, Harper's, or The Wire (soon this list will include Radical Philosophy); a pair of chopsticks — I don't like to use disposables; a camera (always, always carry a camera!); ibuprofen; tissue papers; a pencil case, full; a notepad, full; a spare pair of batteries for my Voigtlander Bessa R2A, in case it goes dead. Sometimes I carry my electronic dictionary with me as well (Japanese/English).
10) I often get all weepy at weddings, but I have absolutely no desire to get married myself. Similarly, I love other peoples' pets, but I haven't wanted to own a pet of my own for decades now. When I did want to own a pet, it was an otter. More recently, I was thinking about a hedgehog, but then I found out that they can't be housebroken. That puts them right out.
11) I absolutely love the handmade eyeglasses that come out of Japan.
12) As the old joke among Marxists goes, "I've predicted seven of the last two economic crises!"
13) I was once asked, "Have you started collecting anything since you've moved to Japan?" Here are the collections that are forming: Kokeshi dolls (look it up! —I like the older, more traditional and alien-looking style); vinyl toys, especially representations of Ultraman's enemies; and goshuin stamps — stamps from temples and shrines that you use to round out pilgrimage books. I've always been something of a collector, and luckily I mostly am not completist about my collections (except when it comes to comic books). Here are some other collections that I've started in my time: stamp collection (including a large selection of Soviet stamps, as well as stamps chronicling the rise of Nazi Germany — and yes, I had that Tonga Banana stamp too); a rock collection; a shell collection; a collection of local fungus samples (my mycology phase, not quite over yet); a coin collection (only a lame one); a collection of old telephone-pole glass insulators; a vintage necktie collection; a collection of broken lighters; a pipe collection (I did use them for awhile, but ended up giving them away); of course I have a record/CD collection; a comic collection is de rigeur; a camera collection (not very big, as far as collections go); a fountain pen collection; and a collection of small and rare 1970s poetry magazines from the Bay Area.
14) I want to be on the raft with Jim. Or Huck. Or Huck and Jim. Really, I just want to be on the raft. And I want to run like the spotted camelopard.
15) According to my father, the first DeVore (it would have been "de Vore," of course) came over from France during the French and Indian War and promptly surrendered to the English. Even though it's probably an apocryphal story, this is definitely a family history I would take pride in. More likely the DeVore side of my family were originally French fur trappers, plying their trade up and down the Mississippi.
16) I once caught an alligator lizard that had two tails. And blue-belly lizards (I believe that "Western Fence Swift" is the official non-scientific designation) really do fall into a sleeplike trance when you turn them on their backs and rub their bellies.
17) I think that film photography is one of the most spectral, beautiful, haunting technologies ever invented. When you snap the shutter on a film camera, actual photons of light generated by the physical moment itself make their way onto the film strip and burn an image into it that is both a record of the moment, and contains a physical trace of the moment itself. Digital cameras take this trace and convert it into data, but the film trace is always also a physical part of the moment when the shutter snapped open. The film images of dead friends contain the actual physical trace of photons of light that that were reflected from their living bodies. Every film negative contains the actual physical trace of a moment in time, like an artifact from an archaeological dig.
18) At a zoo in Zurich, I once had my hand held by an elephant. This was not arranged in any way, but happened spontaneously on the edge of the elephant holding area. The elephant had walked to the wall that surrounded the holding area and it held it's trunk out in my direction. I held my hand up to the end of its trunk, and it sniffed my hand for a moment and then folded the very tip of its trunk around my hand. This kind of contact was totally exhilarating, but also quite terrifying since I had never imagined the incredible strength that an elephant has in its trunk muscles until then. The elephant was so strong that it could easily have broken my hand, but it seemed to know that just giving a light grip was the thing to do. This lasted for under a minute, and then something startled the elephant a bit and caused it to back off.
19) My "25 random things" entry is already way too long.
20) The first album I ever owned was Kiss, Destroyer. I left it in the sun and it got a slight warp in it. I used to go over to the house of the girl next door and we would listen to it together on her tiny toy record player. She was totally awesome and she had a silver tooth.
21) I have a deep and abiding memory of the moment when I looked at the word "t-h-e-r-e" and it coalesced in my brain as the word "there." It's the first memory I have of being able to read spontaneously without having to sound out the letters, bit by bit. It was like magic, or even possession.
22) My parents took me along to a Stan Brakhage film when I was just a baby and I ended up getting written up in a San Francisco Chronicle review of the film. "Soundtrack provided by Trane DeVore," or something of the sort. The reviewer wasn't very impressed by Brakhage's work. My parents also took me along to A Clockwork Orange, but apparently I cried so much they had to leave the theater half way. In hindsight, I suppose that was probably a pretty predictable outcome.
23) New things since moving to Japan: I bought my very first television set; I bought my very first mobile phone; I learned to snowboard; I can speak Japanese now (but my reading skills are pretty much nonexistent); I experienced my first typhoon (but it was pretty underwhelming); I made friends with people I had only met on the internet; I've decided that cooked, soy-marinated grasshoppers really are one of the world's great beer snacks; I have a research budget.
24) I once had shoulder-length hair. I cut it off when I woke up one night panicking because I thought that there were spiderwebs all over my face.
25) Did you know, Dear Reader, that I think that you are the most beautiful, intelligent, creative, wonderful and amazing person in the world?
After being wrapped between the images of an original copy of Stan Brakhage's "Garden of Earthly Delights" , these leaves absorbed the resolution. The transfer was assisted by fire, freezing, baking, peroxide, bleach, and years of devoted attention by my neighbor, Carl. The plan is to show the finished product at the New York Film Festival. The unfolding process was so exquisite, it brought tears to our eyes.
A brief snippet of the finished product on YouTube: www.youtube.com/watch?v=hyNgVjibcPE&feature=em-upload...
Note: no sound and not the finished product
A splice of history; this frame was shot from a 50s black and white movie newsreel. Howard and Amelia Earhart are featured prominently in this unique 35MM footage. Carl Fuermann, avant garde filmmaker, is editing and reformatting the film for a showing at the upcoming New York film festival.
About 1980, Lüdenhausen, Kalletal, Germany.
My eccentric friend Udo Brakhage (1957-2002) had a succession of cars during the time of our friendship, from old Porsches, Audis and even a VW Bulli which was more akin to a skip on four wheels.
He was an avid motorcyclist.
In 1980, even I was surprised to find that he had acquired this rare and underpowered 'sports' car.
Charcterised by it's 3 seats abreast cockpit layout and a fibreglass body, the original model was supllied with a wheezy 1,294 cc (79.0 cu in) four cylinder engine, producing just 62.6 kW (84 hp), and a four speed manual gearbox.
From 1976, the facelifted version was fitted with another Simca engine, the 1,442 cc (88.0 cu in) but retained the four speed 'box.
I am not sure which version this car is, but as it is an early version, I suspect it is the lower powered example.
I have some vivid memories of the three of us, Udo, Conny and myself squeezed into the three front seats, while Udo drove like a madman on the 'alpine' like twists and turns of the road to Lemgo; a road he knew so well and traversed every day. Hair-raising!
"Art is a sense of magic."
-Stan Brakhage
I've been behind on checking out everyone's streams lately, sorry. It's been hectic here since my sisters, mom, and I are running a dessert business. I will be sure to check out everyone's uploads this weekend. :B
Tumblr (Just got one so I need some cool people to follow!)
Photoshoot with fire, film, and freezing snow.
It was 15 degrees outside.
Carl wrapped the vintage Stan Brakhage film tightly with twigs between the layers
froze it solid in a bowl of water,
covered it in flammable fluids
and we burned it under the light of the full moon.
Not a bad shoot...if you don't count not being able to feel your fingers and toes after the first hour.
I didn’t expect to take these pictures. I just knew that the bulb that blew in the lamp that I keep on my office desk made a lovely white blast pattern on the glass and that I wanted to shoot it, but I didn’t expect this play of color and light when I did.
The results surprised me the way filmmaker Stan Brakhage’s The Text of Light (shot through a crystal ashtray) surprised me when I first saw it as a student, lucky enough to be at one of his screenings.
I know it’s not even close to what he pulled off, but a girl’s gotta start somewhere.
Flow 2019 @ Helsinki, 11.08.2019
1. The Cure
2. Stereolab
3. Lena Willikens, Vladimir Ivkovic
4. Iisa Pykäri [Pajula] ex- Regina
5. Modeselektor
6. Dustin Muchuvitz
7. Father John Misty (Josh Tillman)
6-7 групп за день вполне OK, главное что два ключевых (для меня) лайва всё же разнесли по времени
в 14:00 воскресную программу открывала Iisa, когда-то вокалистка прекрасно-беззаботной финской synth группы Regina — так рано я ещё не приходил никуда и вот — стилистика несколько поменялась, на сцене была целая толпа музыкантов и красивое шоу, лайк!;
потом случайно забрёл на freak show от друзей парижской techno дивы Dustin Muchuvitz (так зовут и одного из 4 рептоснователей fb, кстати) — там было очень весело и это какая-то совсем другая сторона entertainment industry;
в очередной раз заценил Modeselektor, хотя только что видел их на PPF и теперь предпочёл бы Moderat (хотя мне нравятся оба проекта); по пути попался и странноватый Father John Misty;
The Cure так близко я ещё не видел (это был второй раз, первый на Приме 2012) — удивительно как он помнит все эти песни и голос такой молодой как на альбомах — как будто слетал на машине времени, теперь я бы хотел увидеть в исполнении Кузнецова что-нибудь концептуальное, триаду Seventeen Seconds — Pornography — Faith, например;
The Cure 🇬🇧 @ Flow Festival, Helsinki, Aug 11, 2019
1. Shake Dog Shake
2. Burn
3. Fascination Street
4. Never Enough
5. Push
6. In Between Days
7. Just Like Heaven
8. Last Dance
9. Pictures of You
10. High
11. A Night Like This
12. Just One Kiss
13. Lovesong
14. From the Edge of the Deep Green Sea
15. A Strange Day
16. Play for Today
17. A Forest
18. Primary
19. 39
20. One Hundred Years
encore:
21. Lullaby
22. The Caterpillar
23. The Walk
24. Friday I'm in Love
25 Close to Me
26. Why Can't I Be You?
27. Boys Don't Cry
наконец в третий раз посмотрел одну из своих любимых групп — Stereolab: Helsinki (11.08.2019), Barcelona (01.06.2019) и Петербург (16.07.2004) — конечно ТЮЗ останется навсегда, правда тот лайв многие критиковали за звук (но мне безумно понравилось и тогда), теперь же всё звучит идеально, ну может Прима за счёт общего антуража и покруче, но у Хельсинки свои плюсы и они кажется впервые были в Финляндии, так что все остались довольны, setlist был идентичный;
Stereolab 🇬🇧 @ Flow Festival 🇫🇮, Helsinki, August 11, 2019
1. Brakhage
2. French Disko
3. Double Rocker
4. Miss Modular
5. Metronomic Underground
6. Need to Be
7. Infinity Girl
8. Anamorphose
9. Ping Pong
10. Percolator
11. Lo Boob Oscillator
и уже ночью, после Кью, успел на ещё один techno сэт — где-то в ночных глубинах Flow зажигал дуэт Lena Willikens и Vladimir Ivkovic, класс! и привет оргам PPF;
кроме того, в середине шабаша попал под тропический ливень и промок до нитки; но жили мы в 15 минутах ходьбы в любимом Kallio — отличное место, так что ноу проблем / ноу криминалити, жаль встретил не только лишь всех, но многих — mission complete!
...
кого бы я ещё хотел посмотреть на Флоу, но они играли в другие дни:
Robyn — её команда делает сейчас крутейшее шоу и на #PS2019 они отожгли, посмотрите при случае;
Eva Geist как все помнят стала одной из лучших на #EM2018 в СПб;
Pond на Flow играли в тот день когда меня не было, а на Приме '19 они играли (на сцене абибас, треки типа Ray of Light [Madonna cover] ха-ха) одновременно с Beak>, Julia Holter (в Аудитории) и Laurel Halo (которая рубилась в наиболее отдалённом районе яхт-клуба Барселоны и вот её-то я вообще пропустил в этом году, хнык) и я конечно же выбрал Холтер, нет я не жалею, но я хотел бы и Halo с Beak> и Pond — почему-то до сих пор на этой планете никто не шарит в каком порядке расставлять по сетке фестов мои любимые группы!;
Tame Impala — первый раз я их увидел на Primavera Sound 2016 и там был совсем улёт, плюс только что на Primavera Sound 2019 (уже спокойнее); впервые TI прикатили на Приму в 2013, но играли оч рано — в 20:30 не вариант, я всё проспал, ещё и параллельно с классной тогда группой Metz, на которых я тоже опоздал, лол, чтобы было понятно — нечеловечески крутые The Knife на той же Приме начали в 3:30 утра, например, хотя на след день были Blur и я сразу всё забыл;
Amnesia Scanner — делали одно из самых забойных шоу на EM 2018 в СПб;
Jaakko Eino Kalevi — мне нравится этот финский адепт лоуфайного саунда, а-ля John Maus/Ariel Pink, видел его на SKIF XVIII 2014 и Stereoleto 2017;
и разумеется Nitzer Ebb — кто помнит их разогрев Depeche Mode (4 февраля 2010) тот я;
также хотел бы заценить на Flow'19 — Ana Gutieszca (о ней многие уже сказали); Neneh Cherry; Erykah Badu; Mitski (будет во всех топах 2019); Ash Lauryn; Aïsha Devi; Maarja Nuut & Ruum; Mafalda; Karina (Karin Mäkiranta, Helmi Tikkanen); Astrid Swan & Stina Koistinen feat. Owen Pallett; Katerina b2b Linda Lazarov; Leroy Burgess Band и Maustetytöt (Spice Girls по-фински) — мне кажется что было достаточно интересных артистов и локальных тоже
теперь надо срочно запостить все 80072 фотки из путешествий по EU и 85338 из СПб за все эти годы, ждите и до встречи на Múm или ZRII, хотя вы наверное на Babymetal, штош
...
total recall:
Flow 2019
The Cure, Stereolab, Willikens & Ivkovic, Iisa, Modeselektor, Dustin Muchuvitz
...
участники Flow 2019, которые мне нравятся и попадались на других фестах:
Primavera 2019
Stereolab, Low, Robyn, Le Mystère des Voix Bulgares feat. Lisa Gerrard, Jarvis Cocker, Julia Holter, Primal Scream, Tame Impala, Swervedriver, Aldous Harding, Suede, Piroshka, Róisín Murphy, Kali Uchis, Me and the Bees play The Breeders, Shellac, Janelle Monáe, Built To Spill, June of 44, Rosalía, Drab Majesty
...
Present Perfect 2019
Demdike Stare, Pinkshinyultrablast, Abelle, Modeselektor, Ellen Allien, Andrew Weatherall, Ya Tosiba (Zuzu Zakaria + Mesak), Azymuth, Axel Boman, Chikiss, Mesak, Snork25
...
Electro-Mechanica 2018
Eva Geist, Luceria Dalt, Sobranie 8 18, Amnesia Scanner, Les Trucs, Alexander Robotnick, GhostNoir, Måla, LVRIN, Петроградское Гудельное Собрание, Ilya Artemov
...
Stereoleto 2017
K-X-P, Jaakko Eino Kalevi, Texti-TV 666, FM Belfast, Angelic Milk, Луна, Буерак, Sekuoia, Сплин, UNKLE, Sonic Death, ГШ, Свидание, Filastine & Nova
...
Primavera 2016
Lush, Beach House, PJ Harvey, Tame Impala, Psychic TV, Mudhoney, Julia Holter, Cavern Of Anti Matter, Helena Hauff, Holly Herndon, Air, Moderat, LCD Soundsystem, Thee Oh Sees, Lena Willikens, Merkabah, Chairlift, Ty Segall (Apolo Live), Venom, A.R. Kane, Autolux, Daughter, Holögrama, Deradoorian, Tortoise, Suede, Deerhunter, Pantha Du Prince, Goat, U.S. Girls, Richard Hawley (ex-Pulp), Dinosaur Jr., Brian Wilson — Pet Sounds, Beach Slang, Black Lips, Beirut, Battles, Sun Glitters, Radiohead (это был тот самый фест, когда я свалил с Radiohead на Пещеру антивещества, так-то!), Shellac
...
SKIF XVIII 2014
The Young Gods, Jozef van Wissem, Jaakko Eino Kalevi, Mungolian Jet Set, Broke, Fell
...
Primavera 2012
The Cure, Death In Vegas, Justice, Mayhem (да-да), Grimes, Beach House, M83, Spiritualized, Saint Etienne, The Chameleons, Mazzy Star, Codeine, The Field, Mudhoney, Veronica Falls, Demdike Stare, Chairlift, Thee Oh Sees, Wavves, Wolves In The Throne Room, Franz Ferdinand, Liturgy, Godflesh, Beach Fossils, Dirty Beaches, Chromatics, Iceage, Main, Purity Ring, Sandro Perri, Kings Of Convience, Richard Hawley (ex-Pulp), Kindness, The Go! Team, The Wedding Present, Sleigh Bells, Girls Names, Void Ov Voices, Atleta, Yann Tiersen, Japandroids, Atlas Sound, Black Lips, Olivia Tremor Control, Sharon Van Etten, Jeff Magnum, Труд, Napalm Death, Shellac — вот за такие лайнапы я и люблю Примаверу!
#flow2019 #flow19 #helsinki #suomi #finland #flowfestival2019 #flowfestival
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.
Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).
Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell
USA, 1957 – 1970, 19 minutes, 16mm
According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.
Dripping Water by Joyce Wieland and Michael Snow
USA/Canada, 1969, 11 minutes, 16mm
“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969
Straight and Narrow by Beverly Conrad and Tony Conrad
USA, 1970, 10 minutes, 16mm
Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
Razor Head by Tom Chomont with Ken Chomont
USA, 1984, 4 minutes, 16mm
One brother shaves another in this highly charged erotic performance.
Dervish Machine by Bradley Eros and Jeanne Liotta
USA, 1992, 10 minutes, 16mm
Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.
Garden Path by Mary Beth Reed and Stan Brakhage
USA, 2001, 7 minutes, 16mm
The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.
Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat
USA, 2010, 6 minutes, digital projection
This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
"How many colours are there in a field of grass to the crawling baby unaware of 'green'?
How many rainbows can light create for the untutored eye?"
- Stan Brakhage (experimental filmmaker)
This is definitely one of my favorite shots from Kennedy's birthday. I actually had this as my wallpaper on my laptop before it died. She's definitely one of my favorite people to photograph.
The first film screening by Jon Beacham of Hermitage at The Arm. The work on the walls is by Ed Sanders.
-Rudolph Burckhardt -Eastside Summer 1959 16mm color 12min
A walk on the Lower Eastside, colorful and teeming to the piano of Thelonious Monk.
-Larry Jordan -Cornell, 1965 (1978) 16mm color sound 7min
In 1965 I worked as Joseph Cornell's assistant on boxes and films. I filmed his work extensively, and as much as I could of him. (It is the only film footage that exists of Cornell.) Until 1978 I couldn't edit the film. When I finally learned it would be a kind of personal journalistic tribute to the man who taught me so much, it fell together. What you see are the close-up interiors of many Cornell boxes, some collages, and a few shots of Joseph. You hear the things he said to me (as I recall them) and the thoughts I think about it all. If you are a Cornell fan, there isn't any other film on him.
-Charles Henri Ford -Poem Posters 1967 16mm color sound 24min
... with real-life portraits of Jayne Mansfield, Frak O'Hara, Ruth Ford, Ned Rorem, Virgil Thomson, Claes Oldenburg, Roy Lichtenstein, William Burroughs, Andy Warhol, Rudy Gernreich, Jonas Mekas and others. --C. H. F. Poem Posters (1967), by Charles Henri Ford. Probably filmed in 1966, with motif of an exhibition of Ford’s large-scale text-image collages, it is an invaluable historical document that shows Factory stars Edie Sedgwick and Gerard Malanga cavorting with Beat legend William Burroughs, musician Ned Rorem, film critic Parker Tyler, literary enfant terribles Frank O’Hara and Ted Berrigan, pop artists Jim Rosenquist and Andy Warhol, and many fabulous unknowns. Jane Mansfield makes a show-stopping appearance--this is probably one of her last images. The soundtrack mixes free jazz (by John Handy), ambient sound, the voices of gallery visitors, Charles Ford reading his own poetry, and a wry commentary by Al Hansen. It is a collaborative enterprise, with camerawork by such luminaries as Marie Menken, Willard Maas, Charles Boultenhouse, Gregory Markopoulos, Robert Whitman, Andy Warhol, Rudy Wirtschafter, and Stan Vanderbeek. One can track the influence of almost all of them in the final mix, a luscious color print rich in superimpositions, fish-eye views, and pixelations. --Juan Suarez Documentary of Ford's photo-lithograph exhibition at Cordier & Ekstrom Gallery, New York.
-Wallace Berman -Aleph 1956-1966 8mm transferred to 16mm B&W silent 10min
"This film took a decade to make and is the only true envisionment of the sixties I know." -- Stan Brakhage "Aleph is an artist’s meditation on life, death, mysticism, politics, and pop culture. In an eight-minute loop of film, Wallace Berman uses Hebrew letters to frame a hypnotic, rapid-fire montage that captures the go-go energy of the 1960s. Aleph includes stills of collages created using a Verifax machine, Eastman Kodak’s precursor to the photocopier. These collages depict a hand-held radio that seems to broadcast or receive popular and esoteric icons. Signs, symbols, and diverse mass-media images (e.g., Flash Gordon, John F. Kennedy, Mick Jagger) flow like a deck of tarot cards, infinitely shuffled in order that the viewer may construct his or her own set of personal interpretations. The transistor radio, the most ubiquitous portable form of mass communication in the 1960s, exemplifies the democratic potential of electronic culture and serves as a metaphor for Jewish mysticism. The Hebrew term kabbalah translates as “reception” for knowledge, enlightenment, and divinity. " -The Jewish Museum
The artist project Disinformation exhibits a substantial repertoire of artworks, which reflect long-standing involvement with experimental and expanded photography. These artworks represent a creative philosophy which conceives photography, not just as a representational art-form, but also as a form of kinetic art. Disinformation is also known for exhibiting electromagnetic sound art, for exhibiting works which exploit phenomena from those portions of the electromagnetic spectrum perceived through the medium of RADIO; and those works make ideal accompaniments for other artworks which exploit phenomena from those portions of the electromagnetic spectrum which are normally perceived through the faculty of SIGHT.
“The Origin of Painting” (for instance) is a highly dynamic and interactive optokinetic sound and light artwork, which enables exhibition visitors to photograph their own life-size shadows, to a soundtrack of live (and surprisingly musical) electromagnetic noise. “The Origin of Painting” was first exhibited under the title “Artificial Lightning”, in the “Sonic Boom” exhibition at London’s Hayward Gallery, April to June 2000 (alongside artworks by Brian Eno, Christian Marclay, Ryoji Ikeda, Christina Kubisch and Mika Vainio etc); after which (using the new title) “The Origin of Painting” has since been exhibited more than 30 times.
“Fire in the Eye” (see photo above) is a series of electro-kinetic photograms, first created in 2004, using high-voltage electro-medical equipment to discharge 30,000 volt shocks through Fujichrome ISO400 35mm daylight film. “Fire in the Eye” light boxes were first exhibited at Canolfan Gelf Wrecsam (Wrexham Arts Centre), Oct 2006, and the Saltburn Gallery, Jan 2007; while a 35mm CINEMA version of “Fire in the Eye” was realised in 2007, created by discharging 30,000 volt shocks through the famous Kodak 5294 film stock used by Ridley Scott for the film “Aliens”.
The “Fire in the Eye” photograph shown above also appears on the front cover of the film magazine “Vertigo” (vol. 4, no. 3, summer 2009) and has been used to illustrate Disinformation exhibits at, amongst others, Iniva (London) May 2009, and Palais de Tokyo (Paris) 2009 to 2011. This photograph also appears in the book “2009 A-Z, Palais de Tokyo - Du Yodel à la Physique Quantique” published in 2009.
“Spellbound” (“An Allegorical Portrait of J. Robert Oppenheimer”) is a photomontage (created by Disinformation producer Joe Banks) of historic images by US Army photographers J.J. Mike Michnovicz and Bernard Waldman. “Spellbound” was first exhibited as a framed artwork at the Victoria & Albert Museum (London) Nov 2000, and the Royal Society of Sculptors (London) March 2001. “Spellbound” has since been exhibited as a video installation - at Fabrica Gallery (Brighton) Nov 2001, the Huddersfield Art Gallery, Jan 2003, Quay Arts (Newport, Isle of Wight) Feb 2004, South Hill Park (Bracknell) April 2004, Derby Quad, June 2004, Goldsmiths College (London) Dec 2008 and Sluice HQ (London) Nov 2018.
Other photographic artworks exhibited by Disinformation include “An Allegorical Portrait of Roger Bacon” photomontage (1997), the “Blackout” [Sound Mirrors] video (1997), the “National Grid” [video installation version] (2001), and “Anti-Matter” (2002), “Ammonite” (2009) and “The Rapture” (2021) video artworks. The “Language [as] Meta-Technology” artwork (2nd version, 2022) is particularly notable, in that, rather than being a photographic image, it requires the artwork’s viewers themselves to actively PHOTOGRAPH a visual image, using a mobile Smartphone, in order to activate the audio element of the “Language [as] Meta-Technology” artwork.
While noted for his found objects assembled in boxes creations, Joseph Cornell (1903-1972) also was an avant-garde filmmaker and cinephile. "Rose Hobart" is composed of various snippets from the 1931 pot boiler "East of Borneo," starring Charles Bickford (1889-1967) and the then starlet Rose Hobart (1906-2000).
Cornell spliced disparate scenes together from "Borneo" and projected the film through a filter, accompanied by repetitious and disjointed renderings of music from a scratchy 78 RPM record of Nestor Amarai's version of "Holiday in Brazil." The result is heavily suggestive of surrealism, with its dream like quality. The original screening was through a blue filter, his 1968 version was produced on color stock with a rose hue. While a talkie, Cornell ran "Borneo" without using its sound track. Cornell's use of "found film" strongly influenced other film artists such as Stan Brakhage, Bruce Connor Jonas Mekas, Ken Jacobs and Stan VanDerBeek.
NOTE: An archival, signed, limited edition, matte C-print can be purchased at my eBay gallery store-
stores.ebay.com/David-Lee-Guss-rare-photos-gallery__W0QQ_...
@2005 David Lee Guss Summer monsoon storm in my front yard, Casa Grande, Arizona