Drecrors GUILD of Ofum Suite 815, 22 Front St W., Toronto 116 Ontario (416)364-0122

Total Page:16

File Type:pdf, Size:1020Kb

Drecrors GUILD of Ofum Suite 815, 22 Front St W., Toronto 116 Ontario (416)364-0122 DRECrORS GUILD OF OfUM Suite 815, 22 Front St W., Toronto 116 Ontario (416)364-0122 Dear Members: Four projects, ROSEDALE LADY weeks. SCOTT MAITLAND on location "WEEKEND" with CBC. FRANK PHIL­ submitted by DON OWEN, and "PEEP" with "MOTHER'S DAY" in Lunenburg, LIPS and TOM TEBBUTT working CBC sui>mitted by JACK CUNNINGHAM, Nova Scotia - due to wrap this month. shoots. ALLAN KING, RENE BON- both set for production in Toronto; and DARREN MCGAVIN is in on Guild NIERE, GRAHAM PARKER, PETER Montreal productions TU BRULES for permit. PETER PEARSON, JIM MAR- CARTER, BOB SCHULZ wrapping or I'Association Cooperative de Productions GELLOS, AL SIMMONDS, ROB prepping CBC shoots. GORD MAC- Audio-Visuelles to be directed by JEAN- IVESON, BOB LINNELL have wrapped DONALD, HUMPHREY CARTER, GUY NOEL, and BAR SALON sub­ "LAST OF THE BIG GUNS" shot on TONY THATCHER, RAY ARSE- mitted by Les Ateliers du cinfema que­ location in Saskatchewan. GORDON NAULT, GRAHAM ORWIN, BARRY becois Inc. to be directed by ANDRE ROBINSON, CHIP HALL and GERD BERGTHORSON working commercial FORCIER, have been approved by the KOECHLIN are in pre-production on shoots. HARVIE MCCRAKEN working Canadian Film Development Corporation Columbia Pictures/Acrobat Films produc­ "BEACHCOMBERS" for CBC Van­ under its special program for low-budget tion of "THE LAST DETAIL" due to go couver. GARY FLANAGAN and TONY features. $60,000.00 will be invested in before the cameras in November. HAL LUCIBELLO working "PAPER CHASE" each of these productions provided the ASHBY and MARVIN MILLER are in on for Twentieth Century-Fox. filmmakers comply with CFDC require­ Guild permit. HARVEY HART wrapping Our July newsletter outlined a few of ments. The production budget in each "PYX" on location in Montreal. JOHN the concrete proposals put forward by case does not exceed $100,000.00. BOARD and SAM JEPHCOTT have just the Secretary of State at the Press Con­ $360,000.00 is still available, and film­ wrapped "TOM SAWYER" for Hal ference held in Montreal on July 10th re makers requesting production funds Roach in Morrisburg. DAN PETRIE, the proposed Film Policy, including the SANDY HOWARD, GERRY ARBEID, under this program must SUBMIT THEIR creation of an Advisory Committee on DEANNE JUDSON, PAT GRUBEN, PROPOSALS BY DECEMBER 15, 1972. Film, consisting of representatives from BILL ZBOROWSKY, JIM ROSS working Information and application forms availa­ the five Federal cultural agencies (NFB, "THE NEPTUNE FACTOR - UNDER­ ble from the CFDC offices in Toronto CBC, CFDC, Canada Council and Public SEA ODYSSEY" in Toronto and Klein­ and Montreal. Archives), and five representatives from burg. TONY BEDRICH working with TRACKER FILM PRODUCTIONS the Private Sector. This Committee's task JAN KADAR. IAN MCDOUGALL work­ LIMITED, based in Vancouver, has is to advise the Secretary of State on all ing "GET BACK" directed by DON aspects of government action in this area. switched from their highly successful SHEBIB. SYLVIA SPRING working lensing of big game hunting, to feature At the same meeting, Mr. Pelletier films. Three projects are ready t(? go stressed the need of industry's assistance within the next year, the first of which, in drafting upcoming legislation to enable VALLEY OF VANISHING MEN, is them to meet our needs and aspirations already underway. Tracker is a wholly more fully. owned Canadian company with estab­ WITHOUT CONSULTATION WITH lished studios in B.C. ANY OF THE INDUSTRY'S GUILDS, UNIONS, OR MEMBERS, THEY'VE WHAT THEY'RE DOING DONE IT AGAIN. The Committee "POLICE SURGEON" due to resume representing the Private Sector has been production in mid-November. MARILYN appointed! Here they are - JOAN FOX STONEHOUSE, BRIAN WALKER, (listed as a Toronto Film Critic); JOHN ECKERT, JOHN RYAN, GARY GEORGE DESTOUNIS, President of LEAROYD and JOHN MEREDYTH Famous Players, Toronto; CLAUDE LUCAS will be heading back for the GODBOUT, President of the Quebec additional eight episodes. PETER CAR­ Producers Association; ROCK DEMERS, TER and ERIC TILL will, schedules President, Faroun Films, Montreal; and permitting, handle the director's chores TOM SHANDEL of Vancouver. on several of the episodes, GEORGE When the Federal election was only KACZENDER and DAVE ROBERTSON weeks away, a number of Guild members wrapping "U-TURN" in Montreal. ERIC Michael Parks (star), Don Shebib (director), and Richard Leiterman (cinematographer). on loca­ took advantage of the opportunity to TILL and ROBBIE MALENFANT in tion of Shebib's Get Back. advise their would-be representatives as to pre-production on "LA GUERRE" due how they felt about this 'representation to go before the cameras in a matter of without consultation.' Cinema Canada 50 TAX WRITE-OFF TO BE "STRICTLY been depreciating at sixty per cent of the CFTO-TV executives have been PRO RATA" production's total cost - regardless of meeting with ABC-TV on plans to film 'VVe have only recently become aware how much they had invested. six mystery-horror television features at of the way in which some film deals have the CTV Toronto studios as part of the been structured for tax purposes. Some FIRST FOR TORONTO DOMINION alternating programming slated for ABC's of them may have got through in the BANK late night slot. past, but they won't any longer. The GET BACK, the feature currently in A Freelance Guild Director interested policy is to allow an investor depreciation production with DON SHEBIB handling in a freelance affiliation with a busy only on that amount of the capital cost the director's chores, has $100,000 in its Toronto based commercial house is that he actually has to risk.' With this production budget of $500,000 from the required. Director's services would be statement, the Department of National Toronto-Dominion Bank. This marks the required on a continual basis throughout Revenue has confirmed that, in future, it first time a Canadian chartered bank has the year. Schedule and interest permit­ has to be strictly pro rata. Investors were decided to invest in the film industry. ting, contact the Guild office. allowed a sixty per cent depreciation rate The balance of financing came from the Note to P.Ms and A.Ds preparing instead of the customary twenty per cent CFDC, Famous Players, and Crawley budget breakdowns - ACTRA rates were because of the high risk in an industry Films who will handle the distribution. increased November 1, 1972. where only two out of eighteen films turn The film stars Michael Parks, Bonnie a profit for the producer (the rest only Bedelia, Hugh Webster, Henry Beckman Kindest regards, for the distributor and exhibitor). The and Chuck Shamata. Producer is Chal­ Evelyn McCartney majority of investors apparently have mers Adams. Executive Secretary CANADIAN FILM-MAKERS' DISTRIBUTION CENTRE ROOM 204,341 BLOOR ST.W., TORONTO M5S 1W8, ONT. PHONE (416) 921-2259 LA REGION CENTRALE CANADIAN FEATURES by Michael Snow NEON PALACE HART OF LONDON by Peter Rowe by Jack Chambers UN GRAND FILM ORDINAIRE LA RAISON AY ANT LA PASSION by Alain Chartrand by Joyce Wieland THE GREAT CHICAGO CONSPIRACY CIRCUS COUNTDOWN CANADA by Kerry Feltham by Robert Fothergill THE ONLY THING YOU KNOW WINTER KEPT US WARM by Clarke Mackey by David Sector ISIS AU 8 STEREO by Roger Frappier by David Cronenberg BREATHING TOGETHER: REVOLUTION CRIMES OF THE FUTURE OF THE ELECTRIC FAMILY by Morley Markson by David Cronenberg ZERO THE FOOL VOULEZ-VOUS COUCHEZ AVEC GOD by Morley Markson by Jack Christie MADELEINE IS MORE THAN ONE by Sylvia Spring by Murray Markowitz CHESTER ANGUS RAMSGOODE SLOW RUN by David Ciernik by Larry Kardish PROXYHAWKS EAT ANYTHING by Jack Darcus by Iain Ewing GREAT COUPS OF HISTORY KILL by Jack Darcus by Iain Ewing All films available internationally directly or by referral. Cinema Canada 51 .
Recommended publications
  • Joyce Wieland and Michael Snow: Conceptual Landscape Art
    Conceptual Landscape Art Johanne sloan Joyce Wieland and Michael Snow Joyce Wieland, 109 Views, 1971, cloth assemblage, York University between 1969 and 1977, both Michael Snow and Joyce vice versa, but rather to suggest that looking at these bodies of Wieland made remarkable works of art using photography, film, work side by side is extremely instructive. In somewhat different and, in Wieland’s case, various unconventional materials to ways, both artists strove to bring the Canadian preoccupation anatomize, explore, and revitalize the legacy of landscape art in with landscape up to date, resituating it in relation to a techno- Canada. Snow began work on La Région Centrale (1970), saying: “I logically expanded visual culture, a shifting sense of nationhood, want to make a gigantic landscape film equal in terms of film to and a destabilized natural world. the great landscape paintings of Cézanne, Poussin, Corot, Monet, Wieland’s and Snow’s idiosyncratic explorations of landscape Matisse and in Canada the Group of Seven.”1 Wieland had by then aesthetics at this time did develop in tandem with international just completed her own “gigantic” cross-country landscape film movements in Land Art and Conceptual Art, while other avant- Reason over Passion (1969), soon to be followed by the multimedia garde filmmakers shared an interest in landscape. The artworks True Patriot Love exhibition at the National Gallery (1971), which under discussion can be profitably compared with multimedia itself included fragments of a script for another feature-length experimental landscape projects from the late 1960s and early film about Canadian landscape (which would eventually get made 1970s by Canada’s N.E.
    [Show full text]
  • Manual No. 7 Richard Serra Films and Videotapes
    Manual No. 7 Richard Serra Films and Videotapes Manual No. 7 Richard Serra Films and Videotapes 20. Mai — 15. Oktober 2017 Die Ausstellung wird unterstützt durch: Fonds für künstlerische Aktivitäten im Museum für Gegenwartskunst der Emanuel Hoffmann-Stiftung und der Christoph Merian Stiftung Stiftung für das Kunstmuseum Basel Dear exhibition visitor, Liebe Besucherin, lieber Besucher This exhibition brings together sixteen films My involvement with different media is based Die Ausstellung versammelt sechzehn Filme und Innenraumskulpturen wie den Splash und Prop and videos made by Richard Serra between on the recognition of the different material Videos, die Richard Serra zwischen 1968 und Pieces, häufig auch mit ortsspezifischen Papier- 1968 and 1979. All of the works are installed capacities and it is nonsense to think that film 1979 angefertigt hat. Alle Werke können – ein- arbeiten. Das mag ein Grund dafür sein, dass separately and can be viewed for the duration or video can be sculptural.” For Serra, the zeln installiert – über die gesamte Laufzeit der immer wieder der Versuch unternommen wird, of the show in their original format. Richard difference between sculpture and film lies not Schau im Originalformat betrachtet werden. den Filmen Serras eine Art skulpturales Prinzip Serra: Films and Videotapes is the first exhibi- least in their reception: film and video – if Richard Serra: Films and Videotapes ist die erste zu unterstellen – eine Perspektive, die der tion to focus in such depth on Serra’s film- understood as two-dimensional media – are not Ausstellung, die in solch umfassender Weise dem Künstler vehement ablehnt: “I did not extend making. For although these works have always concerned with the viewer’s physical movement, fil mischen Schaffen Serras gewidmet ist.
    [Show full text]
  • On Wavelength 1968
    On Wavelength 1968 These various texts were first published in Film Culture 46 (Autumn 1967, published October 1968), the cover of which is reproduced here. In 1968 Snow's film Wavelength won first prize at the Fourth International Experimental Film Competition, Knokke-le- Zoute, Belgium. 39 FILM CULTURE IM.46 Autumn 1967 (published - belatedly - October 1968) $1 FILM CULTURE NINTH INDEPENDENT FILM AWARD CONVERSATION WITH MICHAEL SNOW To point out original contributions to the cinema, by Jonas Mekas and P. Adams Sitney FILM CULTURE is awarding its Ninth Independent Film Award (forthe year 1967) to (Late in the night on August 15, 1968 Michael Snow showed us the rough cut of a film in progress, approximate- MICHAEL SNOW for his film WAVELENGTH ly one hour long, in which a camera fixed to a tripod in a (Past Independent Film Awards: SHADOWS, Cassavetes, schoolroom pans continually left-right-left-right, sometimes 1959; PULL MY DAISY, Frank-Leslie, 1960; PRIMARY, with actions and sometimes with only the empty room. Leacock-Maysles, 1961; THE DEAD and PRELUDE, Following the screenings we asked him to describe his film Brakhage, 1962; FLAMING CREATURES, Jack Smith, career.) 1963;SLEEP, HAIRCUT, EAT, KISS and EMPIRE, Warhol, Snow: I made my first film in 1956 or 57. I was painting 1964; HEAVEN AND EARTH MAGIC FEATURE and before that. I did not make another one until 63. It was in EARLY ABSTRACTIONS, Harry Smith, 1965; Gregory Toronto and we (Joyce Wieland, his wife, and himself) Markopoulos, for his total work, 1966.) actually met while working at a film company, which was Film Culture the first company to make TV commercials in Canada.
    [Show full text]
  • Bibliography (Books & Exhibition Catalogues)
    513 WEST 20TH STREET NEW YORK, NEW YORK 10011 TEL: 212.645.1701 FAX: 212.645.8316 JACK SHAINMAN GALLERY MICHAEL SNOW SELECTED BIBLIOGRAPHY (BOOKS & EXHIBITION CATALOGUES) 2020 King, James. Early Snow: Michael Snow 1947–1962. Figure 1 Publishing, 2020. 2019 White, Kenneth. Michael Snow. MIT Press, 2019. Weibel, Peter. Enzyklopädie der Medien: Band 3. Hatje Cantz, 2019: pp. 136, 154, 596, illustrated. 2018 Farber, Manny, and Helen Molesworth. One Day at a Time: Manny Farber and Termite Art. (exhibition catalogue). Museum of Contemporary Art, 2018: p. 45, illustrated. 2017 Sheehan, Tanya. Grove Art Guide to Photography. 2017: p. 202, illustrated. 2016 Crimp, Douglas. Before Pictures. 2016: p. 105, illustrated. Les editions du caïd. Biennale de L’Image Possible (exhibition catalogue). Centre Culturel de Liège, 2016: p. 101, illustrated. 2015 Magalhaes, Miguel. Pliure (Prologue. La part du feu) (exhibition catalogue). Foundation Calouste Gulbenkian, Paris, 2015: 74-75, illustrated. Trantow, Katrin Bucher, Reinhard Braun, Dirck Möllmann, Katia Hümer, and Peter Pakesch. Landscape (HyperAmerika. Landscape - Image - Reality ) Kunsthaus Graz. Köln: König, Walther, 2015: pp. 252-253, illustrated. Jenkins, Bruce. Michael Snow: Sequences = Seqüències = Secuencias (exhibition catalogue). Barcelona: Ajuntament de Barcelona, 2015. Museum of Modern Art (New York, N.Y.), Quentin Bajac, Lucy Gallun, Roxana Marcoci, and Sarah Hermanson Meister. Photography at MoMA. 2015: p. 82, illustrated. WWW.JACKSHAINMAN.COM [email protected] MichaEl Snow: SElected BibliograPhy PagE 2 2014 Rosenberg, Karen. Multiple Exposures, Looking Both Ways: Michael Snow’s Photographs and other works in Philidelphia. The New York Times, 2014. Langford, Martha. Michael Snow: Life & Work. Toronto: The Art Canada Institute, 2014.
    [Show full text]
  • Michael Snow. Sequences
    MICHAEL SNOW. SEQUENCES 09.07 > 01.11.2015 La Virreina Image Centre Curator: Gloria Moure This retrospective exhibition looks at the career of Canadian artist Michael Snow (Toronto, 1928) and reflects the wide range of media he has worked with: music, film, video, painting, sculpture, books and installations. In all these media he explores the expressive possibilities of sound and image and challenges the vision/representation duality. His creative approach requires the active participation of the spectator, who is invited to see the object, perceive it, become involved with it. His compositions aim to direct attention in different ways and involve the viewer in the creative process. He breaks down boundaries not only by creating crossover pieces—both objects and images—but also by appreciating the space as a visual, plastic and sound element rather than a neutral container for creations. He is also interested in the space itself as a place for experimentation. Ever inquisitive, for ten years (1962–1972) he worked as both an artist and a professional jazz musician. Filmmaking—with a particular focus on exploring the different forms of narrativity— has been a key interest since 1956, and especially so since 1967, when his film Wavelength won the Grand Prize at Exprmntl Experimental Film Festival in Knokke, Belgium, and became a landmark of avant-garde filmmaking eager to reflect on its own language. Michael Snow. Sequences exhibits work from throughout his career, including many pieces never seen before in Europe. The show opens with his first film installation, Little Walk (1964), part of the Walking Woman series he worked on tirelessly between 1961 and 1967.
    [Show full text]
  • The Museum of Modern Art Uwest 53 Street, New York, N.Y
    The Museum of Modern Art UWest 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart NO. 11 FOR RELEASE: February 19, 1976 MICHAEL SNOW FILM AND PHOTOGRAPHY EXHIBITIONS AT THE MUSEUM OF MODERN ART The work of Michael Snow, one of the important avant-garde artists of the past 15 years, will be featured at The Museum of Modern Art in a dual exhibition of large-scale photographic works and a film retrospective both opening February 19. Michael Snow will be present to introduce the film series at 8:00 p.m. beginning with his three-hour work "La Region Centrale." The series includes the premiere of "Breakfast." The photography exhibition, part of the Museum's PROJECTS series devoted to the work of younger artists, is directed by Dennis Longwell, Assistant Curator of Photography, and will be on view in the third-floor Steichen Galleries through April 25. In conjunction with the entire program, which has been made possible by a grant from the National Endowment for the Arts, the Museum is sponsoring a special symposium on Monday, February 23 and 6:00 p.m. on "The Artist as Filmmaker: Michael Snow." The three panelists will be Richard Foreman, playwright and director of the Ontological Hysteric Theatre, filmmaker Hollis Frampton, and Pierre Theberge, Curator at the National Gallery of Canada. Regina Cornwell, critic, teacher, and guest programmer of the film series, will be moderator. Snow belongs to the tradition of artists, such as Marcel Duchamp, Man Ray, and Moholy-Nagy, who have worked in more than one medium.
    [Show full text]
  • Gulkin to Head Motion Picture Institute of Canada
    ^ •«»S$Sdd««»»3a»»SSSd»», »»*»**9*.*»*»99»9a«S* THE WEATHER | I "It is impossible to « make money on a Ca- i nadian film where « distribution IS re- Snowing I stricted to Canada." I - CMPDA Brief I in Florida ft ^€e©«es«s«sfte*«e«s«'«** ** ieeesee** s««*ss«s«*«» 6« vol. 1, no. 3 February 1977 Hart have not yet been able to attend meetings. The objective of the Institute, agreed upon at the founding meeting, is "to better and more profitably serve the Canadian feature film-going public by im­ proving the quality of films and their presentation." "The initial activities of the Institute will include the organiz­ ation of a professional seminar for leading English and French- language directors and produc­ ers, and the establishment of a data bank for the collection and circulation of information relat­ ed to the production and financ­ ing of feature films in Canada," according to a press release. The MPIC contrasts sharply with the Council of Canadian Filmmakers, and marks the in­ creasing importance of lobbying groups in the Canadian context today. The MPIC is non-repre­ sentative and weighted toward the commercial aspects of fea­ ture film production, distribu­ tion and exhibition. The CCFM, Harry Gulkin, president of the new Motion Picture Institute of Canada on the other hand, represents and is accountable to its mem­ ber organizations. Whereas no associations concerned with dis­ Gulkin to Head Motion Picture tribution or exhibition are mem­ bers of the CCFM, neither are any technical or crsift people Institute of Canada members of the new MPIC.
    [Show full text]
  • Listening to Snow Focuses on the Artist's Experiments with Sound Over
    Art Museum University of Toronto — Justina M. Barnicke Gallery University of Toronto Art Centre 7 Hart House Circle Toronto, Ontario M5S 3H3 artmuseum.utoronto.ca December 20, 2019 – Please include in your announcements and listings The Art Museum at the University of Toronto presents Listening to Snow, an exhibition of work by Canadian artist Michael Snow Listening to Snow focuses on the artist’s experiments with sound over the course of his seventy-year career, immersing its audience in the layered audio environments that Snow has created for film-, photo-, and installation-based works. Curated by Liora Belford, the exhibition will be at the Art Museum at the University of Toronto from January 18 through March 21, 2020. Join the Art Museum at the University of Toronto for the opening reception on Saturday, January 18, 2020 3-5pm. The artist will be in attendance. Carefully composed and tuned, Listening to Snow is an experiment: a place where the audience can listen to the ideas and thoughts arising from Michael Snow’s sound-related works. Transforming the Justina M. Barnicke Gallery into a music box, the exhibition situates three sound installations [Diagonale, (1988), Waiting Room, (2000) Tap, (1969–1972)], one screening [Solar Breath (Northern Caryatids) (2002)], two recordings [Falling Starts and W in the D (1975)] and a piano for Snow’s performance – all sharing the same acoustic space. The individual pieces in Listening to Snow offer different experiences of listening: Tap layers image, text and sound while Waiting Room invites audience members to take a number, assigning each a different amount of time to listen to real-time sounds piped in from another space at Hart House; Solar Breath draws tension from repetition, and Diagonale uses 16 speakers to produce a single chord.
    [Show full text]
  • The Complete Works of Joyce Wieland 1963-1986
    THE COMPLETE WORKS OF JOYCE WIELAND 1963-1986 STUDY GUIDE 2 Volume 2: Shorts 1967-69 Essay by Leila Sujir 1 Works Cited 6 it’s about time: Questions 7 film time, living in time, viewing time, the times we live in, time passing, Additional Resources 7 time & the end of irony, “because irony is no good at this time.” Further Viewing 7 — Joyce Wieland About the Author 8 CREDITS 8 The timeframe for the film works on Volume 2, 1967-69, is within a period of incredibly rich production of artwork for Wieland, and falls within the time (1962-71) that she was living in New York with her artist husband Michael Snow. In 1971 she returned to Canada and mounted a solo exhibition at the National Gallery of Canada, True Patriot Love. In the show’s catalogue, she comments on the end of irony in her work, along with the desire to return to Canada. New directions were appearing in her work, including the movement into feature film (The Far Shore), performance and performative elements, and multi-faceted installations of her visual art exhibitions. Her artwork continued to be characterized by her ability to do many things, not just one thing; not just one focus, not just one medium, but many. This strategy, a kind of détournement, created a new trajectory —confounding, complex, humourous, and entirely serious: I don’t think there’s that much irony in my work now as there was in the past… because irony is no good at this time... too frivolous… To do the work that I want to do, I have to be in Canada (Theberge n.
    [Show full text]
  • Nna( Acpherson REALTOR
    DIRECTORS GUILD OF CANADA 25 Prince Arthur Avenue Toronto 5, Ontario (416) 964-6167 The Canadian Film Development Corporation has handed out Koplowicz and Dale Phillips will be the producers of this the first $10,000 of the proposed $50,000 in grants to assist contemporary Canadian Western. Feature will be entirely aspiring feature film makers in English speaking Canada. Canadian - cast, crew and financed. The producers have Judith Steed, Gordon Nault and Peter Duffy each received signed a letter of adherence with ACTRA and casting is now $2,000, David Troster $1,750, Erwin Wiens $1,250 and underway. Michael Asti-Rose $1,000. Sid Adilman, Morey Hamet, Don Shebib, Bob Huber and Lee Gordon formed the Jury. Directors Peter Carter, Julius Kohanyi and Harvey Hart have been set for features to be filmed late summer and early fall, "One Minute Before Death" and "The Oval Portrait", the twin but production details are stUI to be finahzed. Maple Leaf International productions produced in Vancouver by Rickey Torres have wrapped. Director Rogelio Gonzales Jr. David Acomba and Jim Margellos have also set a feature to be is hoping for a return to Vancouver this summer; however, his filmed in Lethbridge, Alberta. Production start in June likely. plans remain tentative pending the outcome of discussions on Additional projects hoping to get into production this year proposed Mexican/Canadian co-production. with C.F.D.C. participation are currently before the Board; however, decisions must await the return of Corporation May 1st saw the start of production in Toronto of Bill Fruet's officials from Cannes and the next C.F.D.C.
    [Show full text]
  • Exhibition Checklist Updated August 31, 2021
    Exhibition Checklist Updated August 31, 2021 Artist's Choice: Yto Barrada - A Raft The Museum of Modern Art, New York, May 8, 2021 - January 9, 2022 Galleries 416 and 518 Organized by Yto Barrada with Lucy Gallun, Associate Curator, and River Encalada Bullock, Beaumont & Nancy Newhall Curatorial Fellow, Department of Photography Gallery 416 VITO ACCONCI (American, 1940–2017) Following Piece 1969 Gelatin silver prints, felt-tip pen, and map on board Frame: 33 15/16 x 43 11/16 x 1 1/4" (86.2 x 111 x 3.1 cm) Image: 29 15/16 x 40 3/16" (76 x 102 cm) The Museum of Modern Art, New York. Partial gift of the Daled Collection and partial purchase through the generosity of Maja Oeri and Hans Bodenmann, Sue and Edgar Wachenheim III, Agnes Gund, Marlene Hess and James D. Zirin, Marie-Josée and Henry R. Kravis, and Jerry I. Speyer and Katherine G. Farley, 2011 VITO ACCONCI (American, 1940–2017) Notes on Movement 1971 Cut-and-pasted gelatin silver prints, typewriting on cut-and-pasted paper, and felt-tip pen on paper 11 × 8 1/2" (27.9 × 21.6 cm) The Museum of Modern Art, New York. Gift of the Gilbert B. and Lila Silverman Instruction Drawing Collection, Detroit, 2018 ANNI ALBERS (American, born Germany. 1899–1994) II from Line Involvements 1964 One from a portfolio of seven lithographs (including title page) Publisher and printer: Tamarind Lithography Workshop, Inc., Los Angeles Edition: 20, plus 9 Tamarind Impressions Composition and sheet: 14 3/4 x 19 13/16" (37.5 x 50.3 cm) The Museum of Modern Art, New York.
    [Show full text]
  • The Works of Michael Snow and Sharon Lockhart, Artists from Distant Generations Who Share
    MOUSSE 49 S. LOCKHART AND M. SNOW THE INTERVIEWS BY ANDRÉA PICARD AND ANDREA LISSONI INVESTIGATE ALL THE ASPECTS— STYLISTIC, FORMAL, CONCEPTUAL, LOGISTICAL, DISCRETIONAL—BEHIND THE WORKS OF MICHAEL SNOW AND SHARON LOCKHART, ARTISTS FROM DISTANT GENERATIONS WHO SHARE Top - Sharon Lockhart, Audition One, Simone and Max, 1994 Bottom - Sharon Lockhart, Audition Two, Darija and Daniel, 1994 © the artist. Courtesy: the artist; neugerriemschneider, Berlin; Gladstone Gallery, New York/ Brussels; Blum & Poe, Los Angeles SHARON LOCKHART BEHIND THE WORK A. LISSONI AND A. PICARD AN EXTRAORDINARILY INNOVATIVE WAY OF USING THE FILM MEDIUM AND A UNANIMOUSLY RECOGNIZED AUTHORITATIVE ROLE IN THE ART CONTEXT. THE CONVERSATIONS REVEAL THEIR PRACTICES IN DETAIL, FROM TECHNICAL CHOICES TO THE INNERMOST STRUCTURING OF THEIR Le interviste di Andréa Picard e Andrea WORKS. Lissoni indagano tutti gli aspetti – decisio- nali, stilistici, formali, concettuali, logisti- ci e oltre – che stanno dietro alle opere di Michael Snow e Sharon Lockhart, artisti di generazioni distanti ma accomunati dall’u- so straordinariamente innovativo del mez- zo filmico e dall’autorevolezza unanima- mente tributata loro dal contesto artistico. Le conversazioni rivelano nel dettaglio le loro pratiche, dalle scelte tecniche alle in- time strutture dei lavori. Michael Snow, Wavelength (still), 1967. Courtesy: the artist MICHAEL SNOW BEHIND 242 THE WORK BY ANDREA LISSONI The question that permeates the work of Sharon Lockhart with sensual, disarming harmony is “what is the place of human
    [Show full text]