San Francisco Cinematheque Program Notes)
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The Structural Film: Ruptures and Continuities in Avant-Garde Art
THE STRUCTURAL FILM: RUPTURES AND CONTINUITIES IN AVANT-GARDE ART R. BRUCE ELDER Introduction In 1969, P. Adams Sitney, a precocious film critic of exceptional acuity, issued the most famous and frequently quoted essay ever written on avant-garde cinema. It starts out at high speed: Suddenly, a cinema of structure has emerged. The dominant evolution of the American (and outlands’) avant-garde cinema has been the pursuit of progressively complex forms; so this change of pace is unexpected and difficult to explain. Two points demand immediate clarity. First, what is the tendency towards complex forms? And, second, how is the structural cinema different? (1970: 327) In answer to the first question, Sitney characterised the formal film that preceded the structural film as one of “conjunction” and “metaphor”. The goal of the makers of structural films was different from that of the earlier practitioners of avant-garde cinema, whose purpose had been to construct a compact cinematic architecture that would make disparate elements cohere – to reconcile diverse elements had been the ambition of Stan Brakhage, of Gregory Markopoulos, of Peter Kubelka, and of Kenneth Anger, to cite only those whom Sitney himself named. Between 1965 and 1969, a new tendency appeared, in the films of Tony Conrad, George Landow, Michael Snow, Hollis Frampton, Joyce Wieland, Ernie Gehr and Paul Sharits. The films of these makers seem to belong to a tendency antithetical to the formal film (Sitney emphasised that the antithesis is only apparent) inasmuch as they constitute “a cinema of structure wherein the shape of the whole film is predetermined and simplified, and it is that shape that is the primal impression of the film” (Sitney 1970: 327). -
Film Film Film Film
Annette Michelson’s contribution to art and film criticism over the last three decades has been un- paralleled. This volume honors Michelson’s unique C AMERA OBSCURA, CAMERA LUCIDA ALLEN AND TURVEY [EDS.] LUCIDA CAMERA OBSCURA, AMERA legacy with original essays by some of the many film FILM FILM scholars influenced by her work. Some continue her efforts to develop historical and theoretical frame- CULTURE CULTURE works for understanding modernist art, while others IN TRANSITION IN TRANSITION practice her form of interdisciplinary scholarship in relation to avant-garde and modernist film. The intro- duction investigates and evaluates Michelson’s work itself. All in some way pay homage to her extraordi- nary contribution and demonstrate its continued cen- trality to the field of art and film criticism. Richard Allen is Associ- ate Professor of Cinema Studies at New York Uni- versity. Malcolm Turvey teaches Film History at Sarah Lawrence College. They recently collaborated in editing Wittgenstein, Theory and the Arts (Lon- don: Routledge, 2001). CAMERA OBSCURA CAMERA LUCIDA ISBN 90-5356-494-2 Essays in Honor of Annette Michelson EDITED BY RICHARD ALLEN 9 789053 564943 MALCOLM TURVEY Amsterdam University Press Amsterdam University Press WWW.AUP.NL Camera Obscura, Camera Lucida Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson Edited by Richard Allen and Malcolm Turvey Amsterdam University Press Front cover illustration: 2001: A Space Odyssey. Courtesy of Photofest Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 494 2 (paperback) nur 652 © Amsterdam University Press, Amsterdam, 2003 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
High Performance Magazine Records
http://oac.cdlib.org/findaid/ark:/13030/kt5p30369v Online items available Finding aid for the magazine records, 1953-2005 Finding aid for the magazine 2006.M.8 1 records, 1953-2005 Descriptive Summary Title: High Performance magazine records Date (inclusive): 1953-2005 Number: 2006.M.8 Creator/Collector: High Performance Physical Description: 216.1 Linear Feet(318 boxes, 29 flatfile folders, 1 roll) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: High Performance magazine records document the publication's content, editorial process and administrative history during its quarterly run from 1978-1997. Founded as a magazine covering performance art, the publication gradually shifted editorial focus first to include all new and experimental art, and then to activism and community-based art. Due to its extensive compilation of artist files, the archive provides comprehensive documentation of the progressive art world from the late 1970s to the late 1990s. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Linda Burnham, a public relations officer at University of California, Irvine, borrowed $2,000 from the university credit union in 1977, and in a move she described as "impulsive," started High -
Astria Suparak Is an Independent Curator and Artist Based in Oakland, California. Her Cross
Astria Suparak is an independent curator and artist based in Oakland, California. Her cross- disciplinary projects often address urgent political issues and have been widely acclaimed for their high-level concepts made accessible through a popular culture lens. Suparak has curated exhibitions, screenings, performances, and live music events for art institutions and festivals across ten countries, including The Liverpool Biennial, MoMA PS1, Museo Rufino Tamayo, Eyebeam, The Kitchen, Carnegie Mellon, Internationale Kurzfilmtage Oberhausen, and Expo Chicago, as well as for unconventional spaces such as roller-skating rinks, ferry boats, sports bars, and rock clubs. Her current research interests include sci-fi, diasporas, food histories, and linguistics. PROFESSIONAL EXPERIENCE (selected) . Independent Curator, 1999 – 2006, 2014 – Present Suparak has curated exhibitions, screenings, performances, and live music events for art, film, music, and academic institutions and festivals across 10 countries, as well as for unconventional spaces like roller-skating rinks, ferry boats, elementary schools, sports bars, and rock clubs. • ART SPACES, BIENNIALS, FAIRS (selected): The Kitchen, MoMA PS1, Eyebeam, Participant Inc., Smack Mellon, New York; The Liverpool Biennial 2004, FACT (Foundation for Art and Creative Technology), England; Museo Rufino Tamayo Arte Contemporaneo, Mexico City; Yerba Buena Center for the Arts, San Francisco; Museum of Photographic Arts, San Diego; FotoFest Biennial 2004, Houston; Space 1026, Vox Populi, Philadelphia; National -
Survival Research Laboratories: a Dystopian Industrial Performance Art
arts Article Survival Research Laboratories: A Dystopian Industrial Performance Art Nicolas Ballet ED441 Histoire de l’art, Université Paris 1 Panthéon-Sorbonne, Galerie Colbert, 2 rue Vivienne, 75002 Paris, France; [email protected] Received: 27 November 2018; Accepted: 8 January 2019; Published: 29 January 2019 Abstract: This paper examines the leading role played by the American mechanical performance group Survival Research Laboratories (SRL) within the field of machine art during the late 1970s and early 1980s, and as organized under the headings of (a) destruction/survival; (b) the cyborg as a symbol of human/machine interpenetration; and (c) biomechanical sexuality. As a manifestation of the era’s “industrial” culture, moreover, the work of SRL artists Mark Pauline and Eric Werner was often conceived in collaboration with industrial musicians like Monte Cazazza and Graeme Revell, and all of whom shared a common interest in the same influences. One such influence was the novel Crash by English author J. G. Ballard, and which in turn revealed the ultimate direction in which all of these artists sensed society to be heading: towards a world in which sex itself has fallen under the mechanical demiurge. Keywords: biomechanical sexuality; contemporary art; destruction art; industrial music; industrial culture; J. G. Ballard; machine art; mechanical performance; Survival Research Laboratories; SRL 1. Introduction If the apparent excesses of Dada have now been recognized as a life-affirming response to the horrors of the First World War, it should never be forgotten that society of the 1960s, 70s, and 80s was laboring under another ominous shadow, and one that was profoundly technological in nature: the threat of nuclear annihilation. -
FIRST CENTURY AVANT-GARDE FILM RUTH NOVACZEK a Thesis
NEW VERNACULARS AND FEMININE ECRITURE; TWENTY- FIRST CENTURY AVANT-GARDE FILM RUTH NOVACZEK A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy March 2015 Acknowledgements Thanks to Chris Kraus, Eileen Myles and Rachel Garfield for boosting my morale in times of great uncertainty. To my supervisors Michael Mazière and Rosie Thomas for rigorous critique and sound advice. To Jelena Stojkovic, Alisa Lebow and Basak Ertur for camaraderie and encouragement. To my father Alfred for support. To Lucy Harris and Sophie Mayer for excellent editorial consultancy. To Anya Lewin, Gillian Wylde, Cathy Gelbin, Mark Pringle and Helen Pritchard who helped a lot one way or another. And to all the filmmakers, writers, artists and poets who make this work what it is. Abstract New Vernaculars and Feminine Ecriture; Twenty First Century Avant-Garde Film. Ruth Novaczek This practice-based research project explores the parameters of – and aims to construct – a new film language for a feminine écriture within a twenty first century avant-garde practice. My two films, Radio and The New World, together with my contextualising thesis, ask how new vernaculars might construct subjectivity in the contemporary moment. Both films draw on classical and independent cinema to revisit the remix in a feminist context. Using appropriated and live-action footage the five short films that comprise Radio are collaged and subjective, representing an imagined world of short, chaptered ‘songs’ inside a radio set. The New World also uses both live-action and found footage to inscribe a feminist transnational world, in which the narrative is continuous and its trajectory bridges, rather than juxtaposes, the stories it tells. -
Survival Research Laboratories Featured in the Art Newspaper
r THE ART NEWSPAPER The Robot wars: Mark Pauline and Survival Research Laboratories The Bay Area artist and his team build massive machines that act in dangerous performances—and they are opening their first gallery show in New York HELEN STOILAS 5th January 2018 17:11 GMT Mark Pauline and the Running Machine (1992) Courtesy of Survival Research Laboratories For four decades, Mark Pauline has turned robotics into a performance art. In 1978, the Bay Area artist started Survival Research Laboratories (SRL), a collaborative project with the stated purpose of “re-directing the techniques, tools, and tenets of industry, science, and the military away from their typical manifestations in practicality, product or warfare”. Since then, Pauline and a team of “creative technicians” have been building an army of massive machines—the giant articulated Spine Robot that gingerly picks up objects with its mechanised arm, the dangerously powerful Pitching Machine that can hurl a 2 x 4 at 200mph, and of course Mr Satan, a blast furnace with a human face that shoots flames from its eyes and mouth. These are used in performances that inspire equal parts awe, excitement and fear. Pauline and the SRL team are in New York this week for their first major gallery show at Marlborough Contemporary, Fantasies of Negative Acceleration Characterized by Sacrifices of a Non-Consensual Nature, opening on Saturday 5 January, with performances starting at 4pm. We spoke to the artist from his studio in Petaluma. The Art Newspaper: These machines are meant to have their own life, they’re independent actors in a way? Mark Pauline: Actually, they’re just meant to replace human performers in the events that we stage. -
La Mamelle and the Pic
1 Give Them the Picture: An Anthology 2 Give Them The PicTure An Anthology of La Mamelle and ART COM, 1975–1984 Liz Glass, Susannah Magers & Julian Myers, eds. Dedicated to Steven Leiber for instilling in us a passion for the archive. Contents 8 Give Them the Picture: 78 The Avant-Garde and the Open Work Images An Introduction of Art: Traditionalism and Performance Mark Levy 139 From the Pages of 11 The Mediated Performance La Mamelle and ART COM Susannah Magers 82 IMPROVIDEO: Interactive Broadcast Conceived as the New Direction of Subscription Television Interviews Anthology: 1975–1984 Gregory McKenna 188 From the White Space to the Airwaves: 17 La Mamelle: From the Pages: 87 Performing Post-Performancist An Interview with Nancy Frank Lifting Some Words: Some History Performance Part I Michele Fiedler David Highsmith Carl Loeffler 192 Organizational Memory: An Interview 19 Video Art and the Ultimate Cliché 92 Performing Post-Performancist with Darlene Tong Darryl Sapien Performance Part II The Curatorial Practice Class Carl Loeffler 21 Eleanor Antin: An interview by mail Mary Stofflet 96 Performing Post-Performancist 196 Contributor Biographies Performance Part III 25 Tom Marioni, Director of the Carl Loeffler 199 Index of Images Museum of Conceptual Art (MOCA), San Francisco, in Conversation 100 Performing Post-Performancist Carl Loeffler Performance or The Televisionist Performing Televisionism 33 Chronology Carl Loeffler Linda Montano 104 Talking Back to Television 35 An Identity Transfer with Joseph Beuys Anne Milne Clive Robertson -
Shanks Full Dissertation
UCLA UCLA Electronic Theses and Dissertations Title Performing the Museum: Displaying Gender and Archiving Labor, from Performance Art to Theater Permalink https://escholarship.org/uc/item/5sw8510j Author Shanks, Gwyneth Jane Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performing the Museum: Displaying Gender and Archiving Labor, from Performance Art to Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Gwyneth Jane Shanks 2016 © Copyright by Gwyneth Jane Shanks 2016 ABSTRACT OF DISSERTATION Performing the Museum: Displaying Gender and Archiving Labor, from Performance Art to Theater by Gwyneth Jane Shanks Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2016 Professor Sean Aaron Metzger, Chair In recent decades, art museums’ definition of art has expanded to include not only inanimate objects but also live performers. This shift represents a transformation in museum culture and an increase in curated live performance. Performing the Museum: Displaying Gender and Archiving Labor, from Performance Art to Theater contributes to emerging debates in performance studies that seek to understand how performance is impacted by museums. This project, however, does not look solely at performance in museum spaces. Rather, it is one of the first to align contemporary museum performance with theatrical works that dramatize the creation and subsequent museum exhibition of visual art. The project examines work by Marina Abramović, Asco, Guillermo Goméz-Peña, Maria Hassabi, and the musical Sunday in the Park ii with George. -
FIGURE 7.1. Demonstration/Performance by The
07 Chapter 7.qxd 12/8/2006 2:46 PM Page 192 FIGURE 7.1. Demonstration/performance by the Art Workers Coalition at the Guggenheim Museum, New York, 1971, in support of AWC cofounder Hans Haacke, whose exhibition was canceled by the museum’s director over his artwork Shapolsky et al., Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971. Photographer unknown. L 07 Chapter 7.qxd 12/8/2006 2:46 PM Page 193 7. Artists’ Collectives Mostly in New York, 1975–2000 ALAN W. MOORE The question of collectivism in recent art is a broad one. Artists’ groups are an intimate part of postmodern artistic production in the visual arts, and their presence informs a wide spectrum of issues including modes of artistic practice, the exhibition and sales system, publicity and criticism, even the styles and subjects of art making. Groups of all kinds, collectives, collaborations, and organizations cut across the landscape of the art world. These groups are largely autonomous organizations of artistic labor that, along with the markets and institutions of capital expressed through galleries and museums, comprise and direct art. The presence of artistic collectives is not primarily a question of ideology; it is the expression of artistic labor itself. The practical requirements of artistic production and exhibition, as well as the education that usually precedes active careers, continuously involves some or a lot of collective work. The worldwide rise in the number of self- identiWed artist collectives in recent years reXects a change in patterns of artistic labor, both in the general economy (that is, artistic work for com- mercial media) and within the special economy of contemporary art. -
CHANGING the EQUATION ARTTABLE CHANGING the EQUATION WOMEN’S LEADERSHIP in the VISUAL ARTS | 1980 – 2005 Contents
CHANGING THE EQUATION ARTTABLE CHANGING THE EQUATION WOMEN’S LEADERSHIP IN THE VISUAL ARTS | 1980 – 2005 Contents 6 Acknowledgments 7 Preface Linda Nochlin This publication is a project of the New York Communications Committee. 8 Statement Lila Harnett Copyright ©2005 by ArtTable, Inc. 9 Statement All rights reserved. No part of this publication may be reproduced or transmitted Diane B. Frankel by any means, electronic or mechanical, including photocopying, recording, or information retrieval system, without written permission from the publisher. 11 Setting the Stage Published by ArtTable, Inc. Judith K. Brodsky Barbara Cavaliere, Managing Editor Renée Skuba, Designer Paul J. Weinstein Quality Printing, Inc., NY, Printer 29 “Those Fantastic Visionaries” Eleanor Munro ArtTable, Inc. 37 Highlights: 1980–2005 270 Lafayette Street, Suite 608 New York, NY 10012 Tel: (212) 343-1430 [email protected] www.arttable.org 94 Selection of Books HE WOMEN OF ARTTABLE ARE CELEBRATING a joyous twenty-fifth anniversary Acknowledgments Preface together. Together, the members can look back on years of consistent progress HE INITIAL IMPETUS FOR THIS BOOK was ArtTable’s 25th Anniversary. The approaching milestone set T and achievement, gained through the cooperative efforts of all of them. The us to thinking about the organization’s history. Was there a story to tell beyond the mere fact of organization started with twelve members in 1980, after the Women’s Art Movement had Tsustaining a quarter of a century, a story beyond survival and self-congratulation? As we rifled already achieved certain successes, mainly in the realm of women artists, who were through old files and forgotten photographs, recalling the organization’s twenty-five years of professional showing more widely and effectively, and in that of feminist art historians, who had networking and the remarkable women involved in it, a larger picture emerged. -
Performance Art Context R
Literature: Literature: (...continued) Literature: Literature: Literature: (... continued) Literature: Literature: (... continued) Literature: Kunstf. Bd.137 / Atlas der Künstlerreisen Literature: (...continued) Literature: (... continued) Richard Kostelnatz / The Theater of Crossings (catalogue) E. Jappe / Performance Ritual Prozeß Walking through society (yearbook) ! Judith Butler !! / Bodies That Matter Victoria Best & Peter Collier (Ed.) / article: Kultur als Handlung Kunstf. Bd.136 / Ästhetik des Reisens Butoh – Die Rebellion des Körpers PERFORMANCE ART CONTEXT R. Shusterman / Kunst leben – Die Ästhetik Mixed Means. An Introduction to Zeitspielräume. Performance Musik On Ritual (Performance Research) Eugenio Barber (anthropological view) Performative Acts and Gender Constitution Powerful Bodies – Performance in French Gertrude Koch Zeit – Die vierte Dimension in der (Kazuo Ohno, Carlotta Ikeda, Tatsumi des Pragmatismus Happenings, Kinetic Environments ... ! Ästhetik / Daniel Charles Richard Schechner / Future of Ritual Camille Camillieri (athropolog. view; (article 1988!) / Judith Butler Cultural Studies !! Mieke Bal (lecture) / Performance and Mary Ann Doane / Film and the bildenden Kunst Hijikata, Min Tanaka, Anzu Furukawa, Performative Approaches in Art and Science Using the Example of "Performance Art" R. Koberg / Die Kunst des Gehens Mitsutaka Ishi, Testuro Tamura, Musical Performance (book) Stan Godlovitch Kunstforum Bd. 34 / Plastik als important for Patrice Pavis) Performativity and Performance (book) ! Geoffrey Leech / Principles