Archive for January 2011 | Monthly archive page
Curated by Vanessa O’Neill and Kathy Geritz Dive into a program featuring recent experimental cinema that observes the world subjectively, drifting between rural and urban landscapes, expansive deserts and watery depths, interspersed with contemplations of historical events, from the sinking of the Titanic to the exploits of Houdini. When you come back up for air,
presented in collaboration with Pacific Film Archive and Prelinger Archives [members: $7 / non-members: $10] While the history of Bay Area cinema-as-art is actively being excavated and revived, more workaday genres remain less examined and often mysterious. As we begin to understand that the history of non-theatrical film isn’t simply composed of parallel strands, but
[members: $5 / non-members: $10] presented in collaboration with Pacific Film Archive During its 30+ years of existence, the San Francisco Art Institute’s New Genres (formerly Performance/Video) department has produced innumerable high-caliber artists and has influenced performance and conceptual art on a global scale. Simultaneously, the department’s commitment to maintaining state-of-the-art production facilities has contributed
[members: $7 / non-members: $10] presented in association with SFMOMA and 23five Incorporated Since 1998, 23five Incorporated has produced the annual Activating The Medium festival—an internationally recognized showcase for the most innovative and visionary practitioners of sound art. This year’s festival explored the use of radio through composition and new media presentation, with one night
A co-presentation with Pacific Film Archive [PFA admissions apply] James Broughton: Mother’s Day (1948); Henry Hills: Porter Springs 3 (1977); George Kuchar: I, An Actress, (1977); Lenny Lipton: Father’s Day/I> (1975); Leslie Thornton: Peggy and Fred in Hell, The Prologue (1984); Dion Vigné: North Beach (long version) (1958)
[members: $7 / non-members: $10] In the 1950s, San Francisco Beat poet Christopher Maclaine made four films—The End, The Man Who Invented Gold, Beat and Scotch Hop. These films—with a collective running time of only sixty minutes—have largely been located at the margins of film history, the subject of rumor and speculation, largely unscreened and
[PFA admissions apply] Theresa Hak Kyung Cha: Re Dis Appearing (1977) and Vidéoème (1976); Bruce Conner: Permian Strata (1969); Nathaniel Dorsky: What Happened to Kerouac? (excerpts) (1986); Jim Flannery: Photoheliograph (1995); Joanne Kyger: Descartes (1968); Sidney Peterson and Hy Hirsh: Horror Dream (1947); Chick Strand: Waterfall (1967); Konrad Steiner: 19 Scenes Relating to a Trip
[PFA admissions apply] Dorsey Alexander: Life and Death of a Sphere (1948); Karl Cohen: Sidereal Passage (1977); Hy Hirsch: Come Closer (1952); Lawrence Jordan: Our Lady of the Sphere (1969); Gunvor Nelson: Light Years (1987); Jane Conger Belson Shimane: Logos (1957); Leonard Tregillus and Ralph Luce: Proem (1949); Dion Vigné: Paper Collage (1955); Edward Silverstone
[members: $6 / non-members: $10] The vulnerability of precious things is beautiful because vulnerability is a mark of existence. (Simone Weil, Gravity and Grace) Devotion is not an idea or a sentiment. It is born out of the vastness and depth of our view. Out of darkness, behind all light, this vastness abides in nowness.
A co-presentation with Pacific Film Archive [PFA admissions apply] Ant Farm: Media Burn (1975); Doug Hall: Game of the Week (1977); TVTV: Lord of the Universe (1974)
presented in association with Pacific Film Archive [members: $5 / non-members: $10] In the middle decades of the twentieth century, the 8mm and Super-8mm film formats were introduced to the consumer markets as amateur mediums, “simpler” alternatives to the more unwieldy 16mm gauge. These small-scale tools attracted artists as well, as much for the spontaneity
A co-presentation with Pacific Film Archive [PFA admissions apply] Bob Branaman: Films by Bob Branaman (1959–61); Ellen Gaine: Fragment (1982–85); Janis Crystal Lipzin: Flapping Things (1974); Steve Polta: Estuary #1 (1998); silt: kemia (1995); Jacalyn White: Waiting for X to Happen (1984)
presented in association with Frameline and in collaboration with SFMOMA in association with the exhibit Exposed: Voyeurism, Surveillance and the Camera Since 1870 [members: $7 / non-members: $10] William E. Jones’ Tearoom consists entirely of footage created in 1962 by the Mansfield, Ohio police department documenting clandestine sexual encounters between men in a public restroom.
A co-presentation with Pacific Film Archive Jordan Belson: Allures (1961); Nathaniel Dorsky: Pneuma (1983); Vincent Grenier: Light Shaft (1975); Elise Hurwitz: Metal Cravings (1990–1997); Patricia Marx: Obmaru (1953); John Schofill: XFilm (1968); Barry Spinello: Soundtrack (1969); Dion Vigné: Stroboscopic Images (1964)
presented in collaboration with SFMOMA in association with the exhibit Exposed: Voyeurism, Surveillance, and the Camera Since 1870 Mass-Observation was an astonishing long-term social research project founded in Great Britain in 1937 by a small collective of creative anthropologists, writers, photographers and filmmakers. Conceived as an innocent homegrown quasi-ethnographic experiment, Mass-Observation eventually involved hundreds of
A co-presentation with Pacific Film Archive [PFA admissions apply] preceded by Lynn Hershman’s Binge (1987)
A co-presentation with Pacific Film Archive [PFA admissions apply] Jeanne C. Finley: Common Mistakes (1986); Lynn Hershman: Confessions of a Chameleon (1986); Dale Hoyt: The Complete Anne Frank (1985); Doug Hall: This is the Truth (1982); Tony Labat: Mayami: Between Cut and Action (1986); Chip Lord: Abscam (Framed) (1981)
A co-presentation with Pacific Film Archive [PFA admissions apply] Craig Baldwin: ROCKETKITKONGOKIT (1993); Bruce Conner: Valse Triste (1979); Jeanne C. Finley: Against a Single Match, The Darkness Flinches (1988); Julie Murray: Conscious (1993); Greta Snider: Futility (1989); Michael Wallin: Decodings (1988)
A co-presentation with Pacific Film Archive [PFA admissions apply] Mindaugis Bagdon: Louder, Faster, Shorter (1979); Richard Gaikowski: Deaf/Punk (1979); Barney Haynes: Thought Crimes in the Satiation Pool (1987); Dale Hoyt: Dancing Death Monsters (1981) and Your World Dies Screaming (1981); The Residents: Third Reich and Roll (1977); Scott Ryser and Rachel Webber: The Units’ Training
A co-presentation with Pacific Film Archive [PFA admissions apply] Jordan Biren: The Body (1990); Cecilia Dougherty: Fuck You, Purdue (1987); HalfLifers: Actions in Action (1997); Doug Hall: These Are the Rules (1983); Tony Labat: Solo Flight (1977); Leslie Singer: Laurie Sings Iggy (1987), My Life as a Godard Film by Whitney Houston (1988) and The
Radical Light: Alternative Film & Video in the San Francisco Bay Area, 1945–2000 A monolithic survey of a half-century of Bay Area alternative media culture, meticulously researched and edited over the course of a decade by Kathy Geritz and Steve Seid (of Pacific Film Archive) and former Cinematheque director (and current CalArts Dean) Steve Anker.