No other avant-garde filmmaker explored and celebrated the aesthetics of home movies with more fervor and complexity than Brakhage, most notably in his Songs, Sincerity, Nightmare, and Duplicity series. This program, selected by his wife Marilyn Brakhage, is a sampling of this work. Program 95 min.
“The films in this program represent a number of different stylistic tendencies in filmmaking which coexisted during the 1980s, in an environment where films were screened in clubs along with performances and live music, and often on the same night. The fluidity of performers, filmmakers, and musicians collaborating created a particularly vibrant and unique element of nightlife.
The Museum of Modern Art will present The Women’s Film Preservation Fund: Four Experimental Films January 22nd at 7:15pm in its annual festival, To Save and Project. The films by Peggy Ahwesh, Barbara Hammer, Victoria Hochberg, and Sheila Paige were all recently preserved by The Women’s Film Preservation Fund of New York Women in Film & Television.
Peggy Ahwesh presents a selection of works including the premiere of her new video "The Blackest Sea” in a program with Julie Murray and Bruce Conner taking place at the Museum of Modern Art (MoMA) in connection with the exhibition "Bruce Conner: It's All True" currently on view at the museum.
"Known in part for their distinct approaches to found-footage cinema, which have straddled analogue and digital technologies, filmmakers Peggy Ahwesh and Julie Murray will share some of their own films alongside a pair of melancholic Conner films from the late 1970s: TAKE THE 5:10 TO DREAMLAND (1977) and VALSE TRISTE (1978)." — MoMA, Program Notes
Bruce Conner: It’s All True is the first monographic museum exhibition in New York of the artist Bruce Conner, the first large survey of his work in 16 years, and the first comprehensive retrospective. The exhibition brings together over 250 objects in mediums including film and video, painting, assemblage, drawing, prints, photography, photograms, and performance.
Bruce Conner: It’s All True presents a lifetime of work by Conner (1933–2008), one of the foremost American artists of the 20th century, whose transformative work defies straightforward categorization. An early practitioner of found-object assemblage and a pioneer of found-footage film, Conner was a singular member of both the underground film community and the flourishing San Francisco art world, achieving international standing early in his career. His work across a broad range of mediums touches pointedly on various themes of postwar American society, from the excesses of a burgeoning consumer culture to the dread of nuclear apocalypse. Conner’s diverse practice also anticipated the fluidity between mediums that is a hallmark of 21st-century art making. In addition to moving images and assemblages, he produced paintings, drawings, sculptures, prints, photographs, installations, and conceptual interventions.
Sunday, July 3, 2016 (All day) to Sunday, October 2, 2016 (All day)
With her latest work, Barbara Hammer, who is known for films about lesbian life, history, and sexuality that draw upon avant-garde tradition, examines the little-known aspects of the life of the Pulitzer Prize–winning American poet Elizabeth Bishop (1911–1979). Hammer’s film, shown here in its New York premiere, explores Bishop’s inner life through some of the homes in which she lived and wrote—from childhood to her final days—and through the more private and sensorial poems that were published after her death. Featuring music composed and performed by the experimental singer and musician Joan La Barbara; Bishop’s intimate poems read by Kathleen Chalfant; three actors representing Bishop’s physical presence at different stages of her life; and interviews by historians, poets, and students, Welcome to This House sensitively portrays a complex, private, and challenging writer whose poetry continues to inspire.
Tuesday, May 26, 2015 (All day) to Monday, June 1, 2015 (All day)
Celebrating the longevity of the Millennium Film Journal, and the publication of MFJ 58. With Grahame Weinbren, Kenneth White, and Erica Levin and works by Jean Vigo, Elisa Giardina Papa, Omer Fast and Natalie Bookchin.
MFJ No. 58 "Since 78" is the 35th Anniversary Edition. It highlights the artists’ cinema and its developments during the 35 years of the MFJ’s publication. It is a double-sized issue, giving a unique portrait of three and a half decades, during which time we moved from the black box to the white cube, from film to digital media, from the inside of the museum onto the walls of the museum, and from the big screen to the tiny screen — while never giving up the earlier forms.
MFJ 58 includes 22 texts by the leading writers in the field and 24 pages of color images, including frame enlargements, installation shots and much more.
One of the key figures of the New American Cinema, Gregory J. Markopoulos (1928–1992) made indelible film portraits and interior studies during the brief period when he was living in New York. Ming Green, named after the color of the walls in his apartment on West 11 Street, was his farewell to the city; dedicated to Stan Brakhage, the film was edited entirely in camera. Galaxie is his intimate record of cultural luminaries in mid-1960s New York: 33 painters, poets, filmmakers, choreographers, and critics, including W. H. Auden, Jasper Johns, Susan Sontag, Paul Thek, Maurice Sendak, Shirley Clarke, George and Mike Kuchar, and Allen Ginsberg, whom he observed in their studios or homes and filmed in a single session. While Andy Warhol had his Screen Tests, and Brakhage and Jonas Mekas were also making their own beautiful film portraits, Markopoulos perfected a technique of layering and editing within his Bolex camera that had the effect, he noted, of making "the idea and the image more concentrated; the result a more brilliant appeal to the mind and dormant senses." This program is presented by his partner Robert Beavers, an accomplished filmmaker who has passionately dedicated himself to the Temenos Archive and film theater that Markopoulos established in Lyssaraia, Greece. Restored by the Temenos Archive in collaboration with the Academy Film Archive, courtesy the Austrian Film Museum, Vienna.