Tags: Paul Sharits

Paul Sharits

Paul Jeffrey Sharits (February 7, 1943, Denver, Colorado - July 8, 1993, Buffalo, New York)

Paul Sharits was a visual artist, best known for his work in experimental or avant-garde filmmaking, particularly what became known as the structural film movement, along with artists such as Tony Conrad, Hollis Frampton, and Michael Snow.

Nationality:

United States

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IFI & AEMI Projections & IMMA: Out of Body

By Marcos Ortega on Tue, 18/07/2017 - 10:33

Presented in partnership with IMMA’s exhibition ‘As Above, So Below: Portals, Visions, Spirits & Mystics’, aemi is delighted to collaborate with artist Susan MacWilliam to present ‘Out of Body’, a selection of films that explore the psychic and physical spaces of body and landscape.

Dates:
Tuesday, July 25, 2017 - 18:30
Venue:
Irish Film Institute - Dublin, Ireland
‘I Was a Flawed Modernist’: Collected Writings of and Stories about Paul Sharits – Book Launch

By Marcos Ortega on Tue, 06/06/2017 - 10:08

We celebrate the publication of the collected writings by and on the legendary artist filmmaker Paul Sharits with a screening of his films and conversation with the book’s editor Sarah Markgraf.

‘I Was a Flawed Modernist’: Collected Writings of and Stories about Paul Sharits, published by the New York Film Makers Co-operative collects all of Sharits’ published writings plus personal correspondence and reminiscences from colleagues, friends and family including Carolee Schneemann, Robert Longo and Tony Conrad (much previously unpublished) in one definitive volume.

Dates:
Thursday, June 29, 2017 - 19:00
Venue:
LUX - London, Reino Unido
Scratch: Embodied Fires - The Fire Within

By Marcos Ortega on Mon, 22/05/2017 - 08:53

Carte blanche to Ana Vaz, in her presence.

Light Cone offers a carte blanche to Brazilian filmmaker and artist Ana Vaz whose films, installations and performances elaborate relationships between myth and history, ethnography and speculation, through a cosmology of references and perspectives.

Dates:
Tuesday, May 30, 2017 - 20:30
Venue:
Studio des Ursulines - Paris, France
Resonancias Fílmicas. El sonido en el cine estructural (1960-1981)
Explorar los intersticios estéticos e ideológicos de la dimensión sonora en el cine experimental es el motivo principal de esta investigación. En estas páginas se estudia el sonido desde una posición analítica que enfatiza la idiosincrasia de los procesos de creación acústicos de los cineastas, las rupturas sónicas que formulan sus películas y los desafíos auditivos que suscitan a la audiencia.

Rating:

Average: 3.9 (12 votes)
Category:
Books
Publisher:
Shangrila Textos Aparte
Symposium: Fluxus and Film

By Marcos Ortega on Thu, 04/05/2017 - 08:51

This symposium will expand the defining attributes of Fluxus film by addressing the problematic role of documentation within Fluxus practices, the documentation of performances as material film objects and the performativity of media, and the politics of presence in Fluxus film and performance. Includes screening of film and video works by Wolf Vostell, Eric Andersen, Nam June Paik, Ludwig Schönherr, Paul Sharits, and Carolee Schneemann, among others.

Dates:
Friday, May 5, 2017 (All day) to Saturday, May 6, 2017 (All day)
Venue:
Logan Center for the Arts - Chicago, United States
Independent Frames: Exploded View

By Marcos Ortega on Mon, 13/02/2017 - 04:34

Artists discovering animation in the mid-1960s and early 1970s did so in a culture of pop art, psychedelia and Marshall McLuhan’s media theory. They responded by creating overwhelming works of graphic collage, violent flickering colours and sensory overload. Exploded View begins with a look at several foundational works from animators whose explorations of radical form and content stood out in the 1960s, from established figures like Stan Vanderbeek and Disney animator Ward Kimball to lesser-known, underground artists such as Fred Mogubgub and Irene Duga.
Dates:
Friday, February 17, 2017 - 19:00 to 21:00
Venue:
Tate Modern - London , United Kingdom
'I Was a Flawed Modernist': Collected Writings of and Stories about Paul Sharits
Legendary—yes, infamous--experimental filmmaker Paul Sharits comes to life in two ways in 'I Was a Flawed Modernist': Collected Writings of and Stories about Paul Sharits. A cinema studies page turner, one section of this book features oral histories of the colorful artist, many of which come from artists of their own renown such as Carolee Schneemann, Robert Longo and Tony Conrad. The other section offers all of Sharits' available writings, many of them—including letters to Stan Brakhage and Henry Holmes Smith--previously unpublished.
Rating:

Average: 1 (1 vote)
Category:
Books
Publisher:
The Film-Makers' Cooperative
Concrete Happenings: Reading Fluxus Films

By Marcos Ortega on Mon, 16/01/2017 - 03:36

A hands-on workshop on artists' books precedes a screening of word-based films by George Maciunas, James Riddle, Paul Sharits, Dick Higgins, and Hollis Frampton, presented in conjunction with the exhibition Concrete Poetry, Concrete Book at the Special Collections Research Center. A panel discussion featuring Bruce Jenkins (SAIC), Caroline Schopp (UChicago), Lisa Zaher (UChicago), and Jacob Proctor (Neubauer Collegium) follows the screening.

Dates:
Friday, January 20, 2017 - 16:00
Venue:
BING Art Books - Chicago, United States
François Miron - Paul Sharits
A crucial figure in 1960s-70s avant-garde film, Paul Sharits was a pioneer of structuralist cinema, an approach to filmmaking that emphasizes and explores the formal dimensions and physical properties specific to the medium. A deeply committed and visionary artist, Sharits began exploring the potential of the single frame and the flicker effect in the mid-1960s, and continued to make many films that took as their subject the filmstrip itself.
Rating:

Average: 5 (1 vote)
Category:
DVD
Publisher:
Re:voir
Abstraction in Avant-garde Films
Turim MCheryn. 1985. Abstraction in Avant-garde Films. Studies in Cinema. 32:165pp.
Tracing the rupture of the avant-garde

Beyond reading: image, imagination, aesthetic economies at play

Sound: beyond distinctions between music, noise and speech, a new process a new ordering

Gradual transformations and subtle changes

Visual dynamics, referential tensions and conceptual film

Flickering light, pulsing traces

Scanning landscapes and collapsing architectures: shattering the grounding of the subject/eye