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Sally Berger <sally_berger@moma.org> : INDEPENDENT FILM AND VIDEO | 0 8 |
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Jean-Philippe Halgand <jean-philippe.halgand@aecom.org> : e-position | 0 9 |
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ANAT <anat@anat.org.au> : 2 POSITIONS AVAILABLE | 1 0 |
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For more information, contact:
Harris Dew, 212/708-9847
INDEPENDENT FILM AND VIDEO PROGRAMS
FALL 1999 SCHEDULE
Between the months of October and June, the Department of Film and Video
presents the following series of independent film and video work:
* Cineprobe. A forum for avant-garde filmmakers to present and
discuss their work.
* Video Viewpoints. A forum for video artists to present and discuss
their work.
* New Documentaries. Independently made films and videos with an
emphasis on social and political issues and on the arts. Directors often
present.
* Big As Life: An American History of 8mm Films/Big As Life 1999:
Moving Out. A two-year retrospective of small-gauge films, from the early
practitioners of 8mm to artists currently working, ongoing through May 2000.
With this second year of the Museum's large-scale retrospective, focus is
shifted from films that explore the private, intimate worlds of 8mm
filmmakers to works that use small-gauge filmmaking to interact with the
world. Directors often present.
The fall 1999 schedule for these series is listed below. For ticket
information, please see the final page of this release. Please note that
all events are subject to change. Members of the public should call
212/708-9480 to confirm.
Thursday, October 7, 6:00
Big As Life 1999: Moving Out
Mysterious Barricades. 1987. USA. Peter Herwitz. 8 min.
Desert. 1976. USA. Stan Brakhage. 11 min.
Looking for Mushrooms. 1965. USA. Bruce Conner. 11 min.
Lyrics. 1983. USA. Marjorie Keller. 9 min
Last Gasp. 1981. USA. Jacalyn White. 18 min.
don't walk. 1991. USA. Karine Albano. 5 min.
Recuerdos de flores muertas. 1982. USA. Willie Varela. 5 min.
Herwitz's Mysterious Barricades suggests the ephemeral nature of memory, as
fleeting glimpses of the world struggle to be seen through physical effects
created by the filmmaker directly on the film. Brakhage's Desert is a
miragelike evocation of this immaterial, wide-open space in the American
Southwest. Conner's Looking for Mushrooms is a somnambulistic, outsider
view of a lush foreign culture; Keller's Lyrics offers wistful reminders of
past experiences while traveling around San Francisco. White's Last Gasp is
a wonderfully ironic reflection of the humanizing limits of Super 8
technology, as she desperately attempts to document San Francisco's
Telegraph Hill. Albano's don't walk makes the simple journey across a city
street a palpable psychodrama. Varela's Recuerdos de las flores muertes is
a haunted synch-sound portrait of an El Paso desert cemetery.
Total running time 67 min.
Thursday, October 14, 6:00
Big As Life 1999: Moving Out
Prayer Wheel. 1987. USA. Jerry Orr. 3 min.
Pond. 1984. USA. Jerry Orr. 10 min.
Aristotle. 1976. USA. Storm de Hirsh. 4 min.
Mount Sopris and the Cattle Creek Anticline. 1992. USA. James Otis. 6 min.
Red in Blue Letters. 1983. USA. Gail Currey. 12 min.
1st Window. 1964. USA. Ken Jacobs. 3 min.
MoMA. 1980s. USA. (Mr. E). 5 min.
Acceleration. 1993. USA. Scott Stark. 10 min.
Ode to Communism. 1980. USA. Greg Sharits. 16 min.
Orr's near-static Prayer Wheel and Pond present rural landscapes as nuanced
fields for contemplation; De Hirsch's Aristotle is a succinctly percussive
appreciation of the visual rhythms of a country stream; Otis's Mount Sopris
and the Cattle Creek Anticline is a hyperreal vision of the dramatic
alterations of mountain light and atmosphere; Currey's Red in Blue Letters
weaves images recorded by the filmmaker from contrasting settings into a
delightful and mysterious conundrum of rhyming forms and colors; Jacobs's
1st Window is a dazzling balletic breaking-up of the cinematic frame; Mr.
E's MoMA creates new sculptural spaces originally experienced in this
Museum's hallowed galleries; Stark's Acceleration uses the Super 8 cartridge
in unorthodox ways to create a flow of activity on a subway platform; and
Sharits's Ode to Communism uses the single-frame potentials of his camera to
portray city streets with lightning speed.
Total running time 63 min.
Thursday, October 14, 6:30; Friday, October 15, 3:00
New Documentaries
The Odyssey of Captain Healy. 1998. USA. Maria Brooks. The epic story of an
African-American ex-slave who became a ship's captain on the West Coast at
the turn of the century. Called "Ruler of the Arctic Sea," Captain Healy
stood for law and order along a 30,000 mile coast from San Francisco to the
Arctic Sea. Filmmaker present on
October 14. 57 min.
Monday, October 18, 6:30
Cineprobe
Paul Winkler.
Green Canopy. 1994. Australia. Paul Winkler. 16 min.
Time Out for Sport. 1996. Australia. Paul Winkler. 17 min.
Capillary Action. 1997. Australia. Paul Winkler. 16 min.
Rotation. 1998. Australia. Paul Winkler. 17 min.
Paul Winkler presents a selection of his recent short films, including Green
Canopy, a brooding observation on the impending loss of a large tract of
forest; Time Out for Sport, a story of a famous golfer who had a car
accident; Capillary Action, an ode to the translucency of water; and
Rotation, an imaginary journey to the threshold of pain via a symphonic
onslaught of colors and sounds.
Total running time 66 min.
Thursday, October 21, 6:00
Big As Life 1999: Moving Out
Chinese-American Family Home Movie. 1950s. USA. Unknown. 8 min.
Note One. 1968. USA. Saul Levine. 6 min.
Family Dinners. 1995. USA. James Otis. 5 min.
Antonia. 1967-69. USA. Bruce Conner. 10 min.
In the Company of Women. Part 1. 1985. USA. Jacalyn White. 10 min.
Mom. 1983. USA. George Kuchar. 15 min.
Peggy's Blue Skylight. 1973. USA. Joyce Wieland. 11 min.
Shadows of the Son. 1996. USA. silt. 7 min.
A program of transgressive "home movies," stretching the definition of the
genre as well as consciously playing with its implications. These home
movies serve as vehicles for personal stories and at the same time register,
document, and comment on actions. Stylistically, the program encompasses
fast-motion, sound, and silent pieces; the works are similar only in
(re)defining home-movie characteristics (such as jittery, disjointed, grainy
imagery) in varying reflexive, self-conscious manners.
Total running time 82 min.
Thursday, October 21, 6:30; Friday, October 22, 3:00
New Documentaries
Halsted Street, USA. 1998. USA. Directed by David E. Simpson. Narrated by
Studs Terkel. From heartland cornfields to Chicago's boisterous soul,
Halsted Street, USA offers a crash course in cultural geography. This
kaleidoscopic road movie traces the length of one vibrant, disparate
thoroughfare, revealing the American melting pot at full boil. Filmmaker
present on October 21. 57 min.
Monday, October 25, 6:30
Video Viewpoints
Pepón Osorio. Osorio's installations explore the conflict between
traditional and contemporary life, and the tension between past and present,
everyday objects and art. Born in Santurce, Puerto Rico, and now living and
working in New York, Osorio is interested in creating fresh perceptions of
Latino experience and challenging prevailing notions about Latino art. His
creative process is one of observation, listening to stories, uncovering
histories, channeling collective experiences, and transforming these into
works that can serve as reflectors of Latino culture. Presentation.
Thursday, October 28, 6:00
Big As Life 1999: Moving Out
Me and Ruby Fruit. 1989. USA. Sadie Benning. 4 min.
Jollies. 1990. USA. Sadie Benning. 11 min.
Living in the World (excerpt). 1985. USA. Joe Gibbons. 30 min.
Unauthorized Access. 1993. USA. Scott Stark. 30 min.
Benning's Hi8 videos are internalized meditations on the intersection of
privacy and libido, whereas Gibbons's spontaneously shot diary Living in the
World also plays with multiple personae and the perspective of an unreliable
narrator. The claustrophobic feel of Gibbons's work is carried to an
extreme in Stark's investigation of "Big Brother" paranoia, in which the
physical closeness of a depersonalized, first-person camera frantically
pursues its subjects.
Total running time 75 min.
Thursday, October 28, 6:30; Friday, October 29, 3:00
New Documentaries
Women in Black. 1999. USA. Directed by Claudia Sherwood. Catholic school
education, especially in the 1950s and 1960s, had a strong impact on many,
and in this film some describe their experiences of punishment by Catholic
nuns. Others, including a nun, offer an understanding of both the austere
conditions in the lives of nuns of that era, and the rules of the Church and
society. Filmmaker present on October 28. 64 min.
Monday, November 1, 6:30
Cineprobe
Michael Brynntrup:
Todesstreifen-ein deutscher Film (TS VV III) (The Deathstrip-A German Film
(TS VV III)). 1995. Germany. Michael Brynntrup. 10 min.
All You Can Eat. 1993. Germany. Michael Brynntrup. 6 min.
Mein zweiter Vers (My Second Vers). 1993. Germany. Michael Brynntrup. 10
min.
Kain und Abel (Cain and Abel). 1994. Germany. Michael Brynntrup. 10 min.
Aide Mémoire-ein schwules Gedächtnisprotokoll (Aide Mémoire-Gay Document for
Remembering). 1995. Germany. Michael Brynntrup. 16 min.
Loverfilm-eine unkontrollierte Freisetzung von Information (Loverfilm-An
Uncontrolled Dispersion of Information). 1996. Germany. Michael Brynntrup.
22 min.
NY'NY'n why not. 1999. Germany. Michael Brynntrup. 4 min.
Brynntrup presents a selection of his short films, from All You Can Eat
(1993), a humorous and titillating collage of mediated erotic imagery, to
NY'NY'n why not (1999), a stroll along Christopher Street. Total running
time 78 min. Filmmaker present.
Thursday, November 4, 6:00
Big As Life 1999: Moving Out
Films by Bob Branaman, color reel. 1960-63. USA. 25 min.
Diary Footage. 1993-94. USA. Greg Pierce. 15 min.
Super 8 Diary (Part 1). USA. 1979. Robert Huot. 27 min.
Untitled No. 6. 1975. USA. Greg Sharits. 13 min.
These four filmmakers use their regular and Super-8 cameras as notebooks,
filming daily activities spontaneously while remaining sensitive to the
intimate nature of the small-gauge aesthetic. Sharits and Branaman turn the
streets of San Francisco and New York into labyrinths of formal
investigation; Pierce and Huot convey the pulse of daily rural life through
vignettes that record country routines and gatherings.
Total running time 80 min.
Thursday, November 4, 6:30; Friday, November 5, 3:00
New Documentaries
Une Ombre dans les yeux (A Shadowed Gaze). 1998. France. Rafael
Lewandowski. On the famous French art director Willy Holt, who survived the
Holocaust. Filmmaker and Willy Holt present on November 4. 52 min.
Monday, November 8, 6:30
Cineprobe
Caspar Stracke.
Circle's Short Circuit. 1998. USA/Germany. Caspar Stracke. Circle's Short
Circuit moves through a circle consisting of five interlocked episodes that
describe the phenomenon of interruption in contemporary communications.
Along the path of this circle the genre changes with each episode, moving
from documentary, to essay, to collage, to simulated live-coverage, and to
silent film. Filmmaker present. 85 min.
Thursday, November 11, 6:00.
Big As Life 1999: Moving Out
Marjorie Keller Program:
The Web. 1977. USA. Marjorie Keller. 10 min.
Film Notebook, Part 1 (For Saul). 1975. USA. Marjorie Keller. 12 min.
Turtle. 1969. USA. Marjorie Keller. 2 min.
By 2's and 3's: Women. 1974. USA. Marjorie Keller. 8 min.
Misconception. 1973. USA. Marjorie Keller. 40 min.
Big As Life pays tribute to the late Marjorie Keller with a program of her
lyrical regular 8mm films and her major Super 8 sound essay Misconception.
Keller's early regular 8mm films often crossed over into the notebook or
diary mode and were marked by a remarkable delicacy of composition and
editing that brought out the fragility of her subjects. Misconception is a
raw and unsettling synch-sound portrait of a young couple's fantasies and
reflections on the impending birth of their first child.
Total running time 72 min.
Thursday, November 11, 6:30 (Today is a Good Day only); Friday, November 12,
3:00 (The Outlaw Josie Wales only)
New Documentaries
Today is a Good Day: Remembering Chief Dan George. 1998. Canada. Loretta
Todd. Chief Dan George, actor and chief of the Tsleil-Waututh tribe, won
notoriety playing roles that changed the image of indigenous people in
cinema in such films as Arthur Penn's Little Big Man and Clint Eastwood's
The Outlaw Josie Wales. To see Chief Dan George in an acting role, a rare
screening of The Outlaw Josie Wales will take place on Friday, November 12.
Filmmaker present on Novemer 11. 46 min.
The Outlaw Josie Wales. 1976. Produced by Robert Daly. Directed by Clint
Eastwood. Based on Gone to Texas by Forrest Carter. With Chief Dan George,
Sondra Locke, Bill McKinney, and John Vernon. Donated by Warner Bros. in
1985. Eastwood's epic western adventure-drama about the lawlessness of the
West poses some possibilities for healing the wounds of war. 136 min..
Monday, November 15, 6:30
Video Viewpoints
Sylvie Blocher. French multimedia artist Sylvie Blocher produces video and
installation projects that engage the complex relations between camera
technology, authority, and address. Blocher began her ongoing series Living
Pictures in 1993. Living Pictures is structured around questions that
Blocher poses to various groups of individuals: professional actors, fellow
artists, and people met randomly on the street. As the intersubjective
relation shifts with each group, Living Pictures appeals to the ethical
dimensions implicated in the representation of otherness. Presentation.
Thursday, November 18, 6:00
Big As Life 1999: Moving Out
Richard Lerman Transducer Film Series:
# 10 Copper Strip Alone. 1984. USA. Richard Lerman. 3 min.
# 12 On Board the SS Edgerton w/ Brass Screen Tube, a Blue Ribbon Microphone
and a Copper Screen. 1984. USA. Richard Lerman. 10 min.
# 20 Two Square Microphones in the Same Month. 1985. USA. Richard Lerman. 5
min.
# 25 St. Johns Harbor & Port Kerwin. 1986. USA. Richard Lerman. 11 min.
# 33 Sunrise at Yuraygir Nat'l Park. 1986. USA. Richard Lerman. 3 min.
# 48 A Red-Earth Microphone by Mona Higuchi. 1988. USA. Richard Lerman. 8
min.
# 56 Pisaq w/Amplified Thorns and Wind. 1988. USA. Richard Lerman. 4 min.
Dom. 1979. USA. Andrej Zdravic. 20 min.
The many-splendored relation between sound and image-and the struggle in the
viewer's brain to connect them-are investigated by the use of the
transducer, a device that records sounds far away from the image or picks up
inherent sound qualities we can't normally hear. Lerman often works in one
long take and creates astonishing, minimalistic mystery gems. Dom, which
means home in Zdravic's native Slovenian, is an amalgam of rooms and
buildings that have particular meaning for the filmmaker. The sense of
dread and even horror lends an uncanny twist to the meaning of home.
Total running time 64 min.
Thursday, November 18, 6:30; Friday, November 19, 3:00
New Documentaries
New Documentary Shorts from Third World Newsreel.
Dr. Endesha Ida Mae Holland. 1998. USA. Charles Burnett. Dr. Endesha Ida Mae
Holland looks at the playwright (author of "From the Mississippi Delta"),
professor and civil rights activist as she reflects on her turbulent early
life and her later successes. 12 min.
Urga Song. 1998. USA. Jessica Hope Woodworth. A lyrical cine-poem
portraying newly democratic Mongolia from the perspective of two young
artists-a choreographer and a painter-residing in the capital city of Ulaan
Baatar.18 min.
Hair-tage. 1997. USA. A Third World Newsreel Workshop Production. Shawn
Batey. Through interviews and playful camerawork, Hair-tage examines the
motivations and experiences-political, spiritual and fashionable-of people
in African American communities who wear dreadlocks. 10 min.
The #7 Train: An Immigrant Journey. 1999. USA. A Third World Newsreel
Production. Hye Jung Park and J. T. Takagi. The #7 Train follows the lives
of four immigrant passengers and their conflicted relationships with the
city: a Korean who works in a Harlem fish store, two Otavalen street vendors
from Ecuador who work near Chinatown, and a gay Pakistani sari salesman on
Fifth Avenue. 29 min.
Total running time 69 min. Filmmakers present on November 18.
Monday, November 22, 6:30
Cineprobe
Stephanie Barber.
angus mustang. 1996. USA. Stephanie Barber. 6 min.
woman stabbed to death. 1996. USA. Stephanie Barber. 4 min.
a little present (for my friend columbus the explorer). 1996. USA. Stephanie
Barber. 4 min.
pornfilm. 1998. USA. Stephanie Barber. 4 min.
they invented machines. 1997. USA. Stephanie Barber. 7 min.
flower, the boy, the librarian. 1997. USA. Stephanie Barber. 6 min.
shipfilm. 1998. USA. Stephanie Barber. 4 min.
metronome. 1998. USA. Stephanie Barber. 11 min.
A presentation of Barber's experimental short films from 1996 to 1998,
including angus mustang (1996), a film chronicling different travels; woman
stabbed to death (1996), an all-too-jovial trot through the
paranoia-infested waters of radio; and flower, the boy, the librarian
(1997), a classic love story.
Total running time 46 min. Filmmaker present. Thursday, December 2, 6:00
Big As Life 1999: Moving Out
O Places! O Trees! 1997. USA. James Otis. 12 min.
Light Pharmacy. Parts I-III. 1987. USA. Albert Gabriel Nigrin. 5 min.
Colored Rain. 1974. USA. Willie Varela. 3 min.
Ghost Town. 1974. USA. Willie Varela. 3 min.
Moondance II. 1974-79. USA. Willie Varela. 4 min.
A Neon Crescent. 1974-76. USA. Willie Varela. 3 min.
Reaching for the Moon. 1974-79. USA. Willie Varela. 4 min.
Curse. 1978. USA. Renata Breth. 6 min.
Epiphany. 1978. USA. Renata Breth. 5 min.
Citations. 1979. USA. Renata Breth. 6 min.
A program of films that weave images taken from the world into mysterious
tapestries of movement and light. Some, as in the films by Willie Varela
and Albert Gabriel Nigrin, revel in the rhythms that light-reflected from
the moon, puddles, and rainbows, or filtering through abandoned
structures-can create with the 8mm lens. James Otis uses basic features of
the Super 8 camera to magically animate natural landscapes with a throbbing
sense of space unseeable with the naked eye. Renata Breth combines many
kinds of imagery through subtle montage into intricate little puzzles
contemplating social rituals and daily activities.
Thursday, December 2, 6:30; Friday, December 3, 3:00
New Documentaries
Tran T. Kim-Trang. The New York premiere of the first five parts of the
director's investigation into metaphorical and physical blindness.
Alethia. 1992. USA. Tran T. Kim-Trang. An introduction to Kim-Trang's
blindness series, Alethia explores the interwoven issues of cosmetic
surgery, technology, language, race, and gender. 16 min.
Operculum. 1993. USA. Tran T. Kim-Trang. A visit with seven cosmetic
surgeons specializing in eyelid alteration, Operculum juxtaposes text with
consultation footage, painfully revealing this form of self-multilation as
desperate "cure" for "Oriental" features. 14 min.
Kore. 1994. USA. Tran T. Kim-Trang. Kore touches on issues of desire,
empowerment, sexuality and AIDS/HIV as symbolized by the sense of sight. It
delves into the notion of sight, blindness, and power. 17 min.
Ocularis: Eye Surrogates. 1997. USA. Tran T. Kim-Trang. The latest tape in
Kim-Trang's eight tape series on metaphorical and physical blindness,
Ocularis: Eye Surrogates addresses issues of surveillance and technology
that allow us to see what we normally cannot. 21 min.
Ekleipsis. 1998. USA. Tran T. Kim-Trang. This tape delves into two
histories: the history of hysteria and of the Cambodian civil war. It
examines the ascendant quality of personalities that survive great trauma
and loss and looks at how individuals normalize experiences and histories of
unassimilable pain. 23 min.
Director present on December 2. Total running time 91 min.
Monday, December 6, 6:30
Video Viewpoints/Cineprobe
Tom Kalin. Tom Kalin's work focuses on the portrayal of gay sexuality both
in the age of AIDS and historically, as in his highly acclaimed feature film
Swoon (1992). Informed by his work with two AIDS activist collectives, ACT
UP and Gran Fury, Kalin's tapes are characterized by beautiful, murky images
drawn from a variety of film and video sources. Kalin is currently working
on a feature based on the book Savage Grace, and a half-hour film adaptation
of two stories by Jane Bowles. Kalin also served as a producer on the
feature films Go Fish (Rose Troché, 1994) and I Shot Andy Warhol (Mary
Harron, 1996). The program also features the premiere of the completed
series Third Known Nest, which includes nine short works and nine
interstitial pieces shot in Super 8 and finished on video. Presentation.
Thursday, December 9, 6:00
Big As Life 1999: Moving Out
Three Adaptation Studies. 1970. USA. Vito Acconci. 9 min.
Black Out. 1971. USA. John Baldessari. 3 min.
Ice Cubes Sliding. 1974. USA. John Baldessari. 3 min.
New York City Post Card Painting. 1971. USA. John Baldessari. 3 min.
Prowl. 1989. USA. Albert Kilchesty. 3.5 min.
Pasturale. 1982. USA. Albert Kilchesty. 7 min.
Untitled. c.1975. USA. Lee Krugman. 2.5 min.
Near Site. 1977-78. USA. Saul Levine. 1.75 min.
Daffodils. 1979-81. USA. Katrina Martin. 2.5 min.
Piano Funnel. 1983. USA. Michael Snow. 3 min.
Hair Brush. 1976. USA. Gail Vachon. 3 min.
Song 16. 1965. USA. Stan Brakhage. 7 min.
Songs 21 & 22. 1965. USA. Stan Brakhage. 10 min.
An American Poem. 1987. USA. Andrea Kirsch. 4 min.
Crazy. 1987. USA. Scott Stark. 3 min.
Malevich at the Guggenheim. 1974-76. USA. Storm De Hirsch. 5 min.
Punching Flowers. 1976. USA. Joe Gibbons. 3 min.
Portrait of Pamela. 1974. USA. Diana Barrie. 3 min.
Nightmovie #1. 1974. USA. Diana Barrie. 3.5 min.
Waterglass.1984. USA. Melanie Berry. 3 min.
This collection of twenty-three films by fifteen filmmakers work within the
boundaries of the given, manufactured length of unrecorded camera film
(usually 2 1/2 to 4 1/2 minutes) to concentrate and contain improvised
responses to what is in front of the camera's lens. Films range from
performative actions by Vito Acconci and John Baldessari, portraits by
Andrea Kirsch, Saul Levine and Lee Krugman, and image-sound conundrums by
Michael Snow and Scott Stark, to simple portrayals of place by Katrina
Martin and Gail Vachon. Included will be the first repeat screenings of
films in the series by Diana Barrie and Melanie Berry.
Total running time 83 min.
Thursday, December 9 at 6:30 and Friday, December 10 at 3:00
New Documentaries
Regret To Inform. 1998. USA. Directed by Barbara Sonneborn. Sonneborn
learned of her husband's death in the Vietnam War in February 1968. Twenty
years later she set out to understand what her husband died for. With the
assistance of translator Xuan Ngoc Evans, who also lost her husband in the
conflict, she interviewed widows on all sides of the War in the United
States and Vietnam. 72 min.
Monday, December 13, 6:30
Cineprobe
Abraham Ravett.
Horse/Kappa/House. 1995. USA. Abraham Ravett. Animation by Ishida Sumiaki.
The film records the surrounding landscape in a number of small villages in
northeastern Japan in order to create a cinematic space which echoes the
external and unseen world in the environment. 33 min.
Forgefeel. 1997. USA. Abraham Ravett. The children's seemingly random and
often chaotic play at a San Francisco public school is intercut with the
regimentation imposed by the iron gates, morning bells, line-ups, and a
repetitive, daily routine. 12 min.
The Boardwalk. 1998. USA. Abraham Ravett. Photographed over a three-year
period, the Brighton Beach-Coney Island boardwalk reflects the seasonal
changes, daily activities, and the filmmaker's projected future. 29 min.
The March. 1999. USA. Abraham Ravett. Utilizing a series of conversations
conducted over a thirteen-year period between the filmmaker and his mother,
The March details one woman's recollections of the 1945 "Death March" from
Auschwitz. 25 min.
Total running time 99 min. Filmmaker present.
Thursday, December 16, 6:00
Big As Life 1999: Moving Out
The Sky Socialist. 1964-66. USA. Ken Jacobs. A rare screening, with music
chosen by the filmmaker, of Ken Jacobs' lyrical and exquisite paean to the
Brooklyn Bridge, its creator, and lower Manhattan's enchanting cobblestone
streets as seen during the early 1960s. 90 min.
Thursday, December 16, 6:30; Friday, December 17, 3:00
New Documentaries
The Architecture of Mud. USA. 1999. Directed by Caterina Borelli. The
Hadhramaut region, formerly part of the Yemen Socialist Republic, was
isolated until the early 1990s when-after the final wars of reunification
with North Yemen-the borders were opened. This ethnographic documentary
chronicles how, throughout the centuries, the area's population has
developed very sophisticated building techniques and created a unique
architectural environment using the only material available, mud. Director
Borelli explores spectacular structures such as ten-story mudbrick castles
that rise up from the valley's floor, as well as the effects of new building
materials being introduced into the region. Videomaker present. 52 min.
Monday, December 20, 6:30
Video Viewpoints
®(tm)ark. ®(tm)ark was established in 1991 as an anti-corporate artists'
activist group. The organization's strategic actions are directed primarily
against the carefully constructed corporate image, and, in some cases, it
has channeled funds from donors to workers for the sabotage of corporate
products. The group is run by five people who mask their identities with
the protected, pseudo-corporate anonymity of the name ®(tm)ark, enabling
them to avoid personal liability for ®(tm)ark's subversive acts. ®(tm)ark
operates at present by means of a World Wide Web list of projects
(www.rtmark.com) that involve the sabotage of commercial items and of
mass-produced products. Recent projects include The Second Annual USA
Phone-in-Sick-Day and the Taco Bell Liberation Army. Presentation.
Big As Life: An American History of 8mm Films was co-organized by Jytte
Jensen, Associate Curator, Department of Film and Video, The Museum of
Modern Art, and Steve Anker, Director, San Francisco Cinematheque. The
program is accompanied by a catalogue, edited by Albert Kilchesty, that
includes original essays by and source materials from artists, critics, and
other professionals, and complete filmographies of the artists included in
this two-year retrospective.
Cineprobe was organized by Laurence Kardish, Senior Curator, Department of
Film and Video, and Jytte Jensen.
New Documentaries was organized by Sally Berger, Assistant Curator, and
William Sloan, Librarian, Circulating Film and Video Library, Department of
Film and Video.
Video Viewpoints was organized by Barbara London, Associate Curator,
Department of Film and Video, and Sally Berger.
Scheduling and Admission
Cineprobe and Video Viewpoints programs are held on alternate Mondays at
6:30 p.m.
New Documentaries programs take place on Thursday evening at 6:30 p.m. and
the following Friday afternoon at 3:00 p.m.
Big As Life: An American History of 8mm Films screens on Thursdays at 6:00
p.m. in the Museum's Time Warner Screening Room on the fifth floor. Seating
is limited.
Tickets for independent film and video programs are available on the day of
each program on a first-come, first-served basis and are included in the
price of admission to the Museum. General admission is $10.00; seniors and
students $6.50. Fridays 4:30-8:30 p.m. is pay-what-you-wish. Note: After
6:00 p.m., available tickets for that night's program are free.
Major support for these film and video programs is provided by public funds
from the New York State Council on the Arts, and by grants from the
Contemporary Exhibition Fund and The Contemporary Arts Council of The Museum
of Modern Art.
# # #
For photographs or more information on Cineprobe, Video Viewpoints, New
Documentaries, or Big As Life: An American History of 8mm Films, please
contact Harris Dew, Senior Publicist for Film and Video, at 212/708-9847 or
by e-mail at harris_dew@moma.org.
- - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 0 9 |
- - - -
Invitation:
The IAAF-informative arts art foundation ( http://iaaf.free.fr )
presents
from october 19th to december 15th 1999:
e-position
Eric Maillet
curators: Yann and Annie
opening october 19th on IRC at 19h GMT+1
Server: irc.webmaster.com
Port: 6667 or 7000
Channel: #iaaf
courtesy Galerie le Sous-Sol
9, Rue de Charonne 75011 Paris
sous-sol@club-internet.fr
Clement Thomas
Yann Le Guennec
Annie Abrahams
http://iaaf.free.fr
[last days : Messieurs Halgand "mecanique de precision". Curator : Alban
Saporos]
francais
Invitation:
L'IAAF-informative arts art foundation ( http://iaaf.free.fr )
presente
du 19 octobre au 15 decembre 1999:
e-position
Eric Maillet
curateurs: Yann et Annie
vernissage le 19 octobre a 19h en IRC
Server: irc.webmaster.com
Port: 6667 or 7000
Channel: #iaaf
courtesy Galerie le Sous-Sol
9, Rue de Charonne 75011 Paris
sous-sol@club-internet.fr
Clement Thomas
Yann Le Guennec
Annie Abrahams
http://iaaf.free.fr
[dernier jour : Messieurs Halgand "mecanique de precision". Curator : Alban
Saporos]
- - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 1 0 |
- - - -
AUSTRALIAN NETWORK FOR ART & TECHNOLOGY
announces:
2 POSITIONS AVAILABLE: MANAGER, and INFORMATION OFFICER
The Australian Network for Art & Technology (ANAT) is Australia's peak
network and advocacy body for artists working with technology. The role of
ANAT is to support, promote and advocate for the arts and artists, and in
particular in the area of interaction between the arts, science and
technology, both nationally and internationally.
ANAT activities include: advocacy & networking; developing professional
development opportunities for artists; research and development of artist
support programs including residencies, conferences / seminars and other
projects; liaison with Government, industry and arts organisations;
publishing (incl. online); maintaining a database and files of artists
working with technology.
MANAGER (Full-time)
SALARY: $40,000 (AUD) per annum
The Manager will be responsible for management of ANAT staff,
administration, finances, membership and resources such as the newsletter,
library and databases, and provide support to ANAT programs. S/he will have
a knowledge of Government funding procedures, excellent written and verbal
communication skills, experience in desktop publishing, publicity and an
understanding of contemporary art & technology practices. In addition, the
Manager must be computer literate in the areas of online communications,
databases, word processing, spreadsheets, accounting and desktop publishing
applications.
INFORMATION OFFICER (Part-time)
SALARY: $25,000 (AUD) per annum, pro rata
The Information Officer will be responsible to the Manager for maintaining
ANAT's information systems and providing administrative support to the
organisation. The Information Officer will have some knowledge of current
art and technology developments, experience working in an arts
organisation, computer literacy, highly developed written and verbal
communication skills, research and administrative skills. The position will
be for 20 hours per week.
Contact ANAT for job specifications:
PH: +61 8 8231 9037
Email: anat@anat.org.au
Applications close 6pm (CST): Monday, 1 November, 1999.
Applications should be addressed to:
The Chair, ANAT
PO Box 8029,
Station Arcade, SA 5000
Australia
Email applications will be accepted: anat@anat.org.au
PLEASE NOTE: If sending attachments, please contact ANAT before sending
application.
ANAT is assisted by the Australia Council.
----------------------------------------------------------------------------
FROM THE DESK OF THE AUSTRALIAN NETWORK FOR ART AND TECHNOLOGY
anat@anat.org.au
postal address: PO Box 8029 Hindley Street, Adelaide, SA 5000, Australia
web address: http://www.anat.org.au/
ph: +61 (0)8-8231-9037
fax: +61 (0)8-8211-7323
Director: Amanda McDonald Crowley (tel: 0419 829 313)
Administration and Information Officer: Anne Robertson
Administration Assistant: Samara Mitchell
Web and Technical Officer: Martin Thompson
Memberships: $A12 (unwaged), $A25 (waged), $A50 (institutions)
ANAT receives support from The Australia Council, http://www.ozco.gov.au
the Federal Government's arts funding and advisory body
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