The Unfixed Image

Curated by Chrissie Iles, Curator, Film and Video, Whitney Museum of American Art, Mark McElhatten, Bradley Eros and Brian Frye.

In the second part of this survey, the broad chronological form of the 1950s and 1960s film programs gives way to a complex interweaving of chronology and themes. The pluralism of the seventies, which embraced overlapping philosophical, conceptual and linguistic ideas concerning language and the image, landscape, and the erotic and social body, reappears in the 1980s and 1990s in different forms, transformed by the lens of each successive decade.

The chronological sections of these programs chart specific points – structural film, performance, the use of the video camera as a tool with which to explore the social and private self, the McLuhanesque role of video as a radical alternative for communication, the rise of narrative, language and the political and sexual body, the artist’s film – as they first emerged. Interwoven with these historical sections are 99 programs of avant-garde film and video which map a rich aesthetic terrain, unbounded by chronology and connected by a shared aesthetic and thematic sensibility. This layering of different styles, forms and decades reflects the mood at the end of 1990s, as we leave the twentieth century behind and embark on a new future, in which new technology will cast both film and video in a radically different role.

As curators of these programs, we have chosen the microscope rather than the telescope, hoping to offer a kind of partial view in-depth. Rather than the aerial view, we offer a subterranean, worm's eye view of history, not hermetically sealed off from life, but burrowing inside it, boring new holes and pathways like the termite. In these programs, we included both the familiar and the overlooked; the canonized, the deserters, the quarantined. We are presenting not the seven wonders of the world, but seven dozen epiphanies; a rough map that others might compare with their own.

Malcolm de Chazal wrote that space is the result of innumerable mis-aligned concavities, badly adjusted; the holes in the hollows. We tried to allow for movement within these breathing spaces. The process of recovery and rediscovery of which this is a small part will go on indefinitely, and pass through many hands. These programs are about the perceptual act of recognizing, and about being brought to our senses within the experience of art.

Tuesday, December 7

In Blood’s Domaine

"invisibilities devour my star and time restless crawls in center upon center/ cells of life within life conspire..." - Robert Duncan from In Blood’s Domaine.

Noon

Stan Brakhage: Pittsburgh Trilogy

Stan Brakhage, Eyes, 1970, 16mm film, color, silent, 35 min.

Stan Brakhage, Deus Ex, 1971, 16mm film, color, silent, 33 min.

Stan Brakhage, The Act of Seeing With One's Own Eyes, 1971, 16mm film, color, silent, 32 min.

In the early seventies, Stan Brakhage gained access to three of society’s primary institutions: the police (or ‘polis’) the watchmen, or eyes of the city (Eyes), the hospital, in which man assumes power over life (Deus Ex) and the autopsy room, which Hollis Frampton referred to as the "last ditch of individuation". (The Act of Seeing with One’s Own Eyes).

2 pm

Brought to Life

Edison Company, A Trip Down Market Street, 1905, 16mm film (16 fps), b/w, silent, 15 min.

The Burning of Durland's Riding Academy, 1902, 16mm film, b/w, silent, 3 min.

Peter Hutton, Boston Fire, 1978, 16mm film, b/w, silent, 7 min.

Biograph Studio, Interior of a New York Subway 14th St. to 42nd St., 1905, 16mm film, b/w, silent, 2 min.

Ernie Gehr, Serene Velocity, 1970, 16mm film, color, silent, 23 min.

Ernie Gehr, Eureka, 1974, 16mm film, b/w, silent, 30 min.

All cinema is both abstract and documentary. During the seventies, filmmakers and scholars began to study films from the early days of the cinema, discovering links between early film and the avant-garde. At one end of the decade Ken Jacobs’ seminal Tom, Tom, The Piper’s Son opened up one avenue of investigation; at the other, filmmakers like Hollis Frampton and Ernie Gehr explored the paper prints of the Library of Congress.

4 pm

Under the Sun, Under the Skin

"…and yet of that living breathing throng, not one will be encased in a material frame. A company of ghosts, playing to spectral music. So may the luminous larvae of the Elysian fields have rehearsed earth’s well beloved scenes to the exiled senses of Pluto’s Queen." (W.K.L. Dickson)

Jack Chambers, Hart of London, 1969-70, 16mm film, color, sound, 79 min.

Hart of London is both a last will and testament and a precautionary tale. For many filmmakers and viewers, Chambers’ film is one of the most haunting and profound films ever made. Both its emotional intensity and formal poetics left an indelible mark on many of the most affecting avant-garde films of the seventies, eighties and nineties .

Wednesday, December 8

Noon

Magica Laterna: 'We whirl around in the night, and are consumed by fire'

Leslie Thornton, …or lost: episode 1 of The Great Invisible, 1997, 16mm film, color, sound, 7 min.

Kerry Laitala, Retrospectroscope, 1997, 16mm film, b/w, silent, 4 min.

Bradley Eros and Jeanne Liotta, Dervish Machine, 1992, 16mm film, b/w and color, sound, 10 min.

David Sherman, Tuning the Sleeping Machine, 1996, 16mm film, color, sound, 13 min.

Joseph Cornell, By Night With Torch and Spear, date unknown, restored 1979, 16mm film, b/w with tinting, silent, 9 min.

Owen O’Toole, Schmelzdahin, and Alte Kinder, The Flamethrowers, 1989, 16mm film, color, sound, 9 min.

Marjorie Keller, She/Va, 1971, 16mm film, color, silent, 3 min.

Phil Solomon, The Exquisite Hour, 1989, 16mm film, color, sound, 14 min.

Bruce Conner, Valse Triste, 1979, 16mm film, b/w, sound, 5 min.

"The invention without a future" is a resurrection machine. It died a thousand times and lived to tell the tale. This program explores the magic and the mesmerism of the apparatus of the "Dream that Kicks."

2 pm

Beauty, Nevertheless

"his very shade a guardian poison/to be always inhaled though it may bring us death." –Stéphane Mallarmé, Le Tombeau de Charles Baudelaire

Roger Jacoby, Dream Sphinx, 1974, 16mm film, color, sound, 8 min.

Roger Jacoby, L'Amico Fried's Glamorous Friends, 1976, 16mm film, color, silent, 12 min.

Jack Smith, I Was A Male Yvonne de Carlo, released 1997, 16mm film, b/w, sound on tape, 30 min.

Roger Jacoby, Aged in Wood, 1975, 16mm film, b/w, sound, 12 min.

Roger Jacoby, How to Be A Homosexual, Part II, 1982, 16mm film, color, sound, 15 min.

Luther Price, Sodom, 1989, 16mm film, color, sound, 25 min.

4 pm

Fire in the Sky (Sun of the Pharaohs)

Jerome Cook, Midnight Son, 1993, 16mm film, color, sound, 11 min.

Stan Brakhage, Egyptian Series, 1983, 16mm film, color, silent, 17 min.

Kenneth Anger, Lucifer Rising, 1974-80, 16mm film, color, sound, 30 min.

Thursday, December 9

1:30 pm

Mosaic In Confidence

George Kuchar, We, The Normal, 1987, 16mm film, color, sound, 11 min.

Scott Stark, The Sound of His Face, 1988, 16mm film, color, sound, 5 min.

Scott Stark, Chromesthetic Response, 1987, 16mm film, color, sound, 5 min.

Hollis Frampton, Public Domain, 1972, 16mm film, b/w, silent, 14 min.

Vincent Grenier, Closer Outside, 1979-81, 16mm film, color, silent, 9 min.

Leighton Pierce, Glass: Memories of Water #25, 1998, 16mm film, color, sound, 7 min.

Ernie Gehr, Mirage, 1981, 16mm film, color, silent, 9 min.

Morgan Fisher, Standard Gauge, 1984, 16mm film, color, sound, 35 min.

3:30 pm

Practicing Eternity

Jeanne Liotta, Muktikara, 1999, 16mm film, b/w and color, silent, 11 min.

Henry Hills, Porter Springs 3, 1977, 16mm film, color, silent, 7 min.

Barry Gerson, Translucent Appearances, 1975, 16mm film, color, silent, 22 min.

Phil Solomon, Three Studies For Land's End, work in progress, 16mm film, b/w, silent, 8 min.

Phil Solomon, Twilight Psalm II: Walking Distance, 1999, 16mm film, color, sound, 23 min.

Andrew Noren, Imaginary Light (Part VI of The Adventures of the Exquisite Corpse), 1994, 16mm film, b/w, sound, 31 min.

6:45 pm

Anthony McCall: Line Describing a Cone

In a rare screening of this classic conceptual film, the viewer looks into a long beam of light emanating from the projector, which bisects the darkened gallery space. The film begins as a point of light and develops into a long cone, which can only be fully experienced by the viewer moving in and out of the beam. This dismantling of the conventions of film viewing and projection results in a spatial, almost performative experience of film, in which the viewer’s body becomes an active element. The evening will also include a screening of another rarely seen film from the same series, Conical Solid.

Anthony McCall will be present.

Anthony McCall, Line Describing a Cone, 1973, b/w, silent, 30 min.

Anthony McCall, Conical Solid, 1974, b/w, silent, 10 min.

Friday, December 10

35mm Film Day

Noon

Stretching the Canvas

Konrad Steiner, 19 Scenes Relating To A Trip To Japan, 1989-98, 35mm film, color, sound, 15 min.

Bruce Posner, Sappho and Jerry, 1977-78, 35mm film cinemascope, color, sound, 6 min.

Stan Brakhage, Interpolations, nos 1-5, 1992, 35mm film, color, silent, 12 min.

Pat O'Neill, Trouble in the Image, 1996, 35mm film, color, sound, 28 min.

2:00 pm

Sentience

Nathaniel Dorsky, Ariel, 1983, 16mm film (18 fps), color, silent, 16 min.

Stan Brakhage, Chartres Series, 1994, 16mm film, color, silent, 9 min.

Stan Brakhage, Commingled Containers, 1997, 16mm film, color, silent, 4 min.

Stan Brakhage, Self Song/Death Song, 1997, 16mm film, color, silent, 4 min.

Stan Brakhage, Dante Quartet, 1987, 35mm film, color, silent, 8 min.

Vincent Grenier, Tremors, 1984, 16mm film, color, sound, 13 min.

Ken Jacobs, Disorient Express, 1996, 35mm film, b/w, silent, 25 min.

4 pm

Peter Hutton, Boston Fire, 1978, 16mm film, b/w, silent, 7 min.

Phil Solomon, The Snowman, 1995, 16mm film, color, sound, 8 min.

Jack Chambers, Hart of London, 1969-70, 16mm film, color, sound, 79 min.

6:30 pm

Robert Beavers

Robert Beavers, Ruskin, 1974-97, 35mm film, color, sound, 56 min.

Robert Beavers, The Painting, 1972-1999, 16mm film, color, sound, 12 min.

Saturday, December 11

Perception, Identity and The Social Self

In the 1970s, artists began to use the newly available black and white video camera as a perceptual tool. Performative experiments made for the camera examined the role of language, the body and human interaction in the construction of the social self.

11.30 am

Lip Sync

Bruce Nauman, Lip Sync, 1969, videotape, b/w, sound, 60 min.

The video camera, placed upside down, focuses on Bruce Nauman’s mouth and throat as he repeats the words ‘lip sync’. Nauman attempts to synchronize his lip movements with those uttered previously, which he hears through headphones.

12.30 pm

Body, Space, Frame

Vito Acconci, Three Frame Studies, 1969, 8mm film to videotape, color and b/w, silent, 11 min.

Rita Myers, Slow Squeeze, videotape, b/w, sound, 12 min.

Joan Jonas, Vertical Roll, 1972, videotape, b/w, sound, 19 min.

Nancy Holt, Zeroing In, 1973, videotape, b/w, sound, 30 min.

John Baldessari, Walking Forward-Running Fast, 1971, videotape, color, sound, 12 min.

2.30 pm

Mirroring: The Self and The Double

Peter Campus, Three Transitions, 1973, videotape, color, sound, 5 min.

Joan Jonas, Organic Honey’s Visual Telepathy, 1972, videotape, b/w, sound, 17 min.

Vito Acconci, See Through, 1970, super-8 film transferred to videotape, color, silent, 5 min.

Vito Acconci, Three Relationship Studies, 1970, 8mm film transferred to videotape, color, silent, 12 min.

William Wegman, Selected Works 1970 - 78, 1970-78, compiled 1981, videotape, b/w & color, sound, 19 min.

4 pm

Subjectivity/Objectivity: Language and Perception

Dan Graham, Performer/Audience/Mirror, 1975, videotape, b/w, sound, 22 ½ min.

Joan Jonas, Left Side, Right Side, 1973, videotape, 8 ½ min, b/w, sound

Dan Graham, Past Future Split Attention, 1972, videotape, b/w, sound, 17 min.

Two people who know each other speak simultaneously, one predicting the other’s future behavior, the other recalling the other’s past behavior. In this loop, each person’s information is seen as a reflection of the effect that their own behavior has just had, in reversed tense, creating a psychological re-structuring of time.

Richard Serra and Nancy Holt, Boomerang, 1974, videotape, color, sound, 10 min.

As Richard Serra observed, in Boomerang, "language and image are being formed and revealed as they are organized". Nancy Holt sits in a recording studio, listening through headphones to her own voice both as she speaks and as it emerges few seconds later through an audio feedback system. Hearing her own speech simultaneously evolving in both real and delayed time, Holt describes her words as becoming detached from her thinking process; "Your hearing and seeing is a world of double reflection and refraction…Instantaneous time is an immediate perception whereas delayed time is more like a mirror-reflection".

Vito Acconci, Association Area, 1971, videotape, b/w, sound, 62 min.

Blindfolded and wearing ear-plugs, Acconci and another man attempt to intuit and imitate each other’s movements, in an attempt to dismantle the invisible boundaries between them.

Sunday, December 12

Soho as an Artistic Center in the Seventies

In the early 1970s, Soho became the center of a thriving artistic community in New York, building on the earlier influx of artists to the area in the mid 1960s and the activity of George Maciunas, a key figure in the Fluxus movement, who rented cheap spaces in Soho buildings, called ‘Fluxhouses’, for artists to live and work. Many of the new experiments in film, video and performance during the seventies were made by artists living and working in lofts, studios, gymnasia, galleries and alternative spaces in and around the Soho area, including 112 Greene Street, The Kitchen, Anthology Film Archives, and Food Restaurant. This selection of work made and presented in Soho includes specially restored historic videotapes from some of the earliest screenings and performances.

Noon

Video at Anthology Film Archives

In 1970, the New American Cinema Group found a home at 80 Wooster Street, one of George Maciunas’s ‘Fluxhouses’, where regular screenings of avant garde film took place. In 1974, the schedule expanded to include a weekly videotape program curated by Shigeko Kubota, which, along with the Kitchen, became one of the most important forums for the presentation of experimental video in New York. This program presents selections from Anthology’s video program, demonstrating the range of experimental video being screened in Soho during this period.

Douglas Davis, Street Sentences, 1972, videotape, b/w, sound, 25 min.

Bill Viola, Red Tape - Collected Works, 1975: Playing Soul Music to My Freckles, 2 min., A Non-Dairy Creamer, 5 min., The Semi-Circular Canals, 8 min., A Million Other Things (2), 4 min., Return, 7 min. color, sound, 30 min total.

In each of these early performative, structuralist exercises, Viola establishes themes which were to recur throughout his work, including cycles of light and dark, and the metaphorical re-structuring of the passage of time.

Jud Yalkut, The Whirling Ecstasy, 1973, videotape, b/w, sound, 10 min.

Shigeko Kubota, Marcel Duchamp and John Cage, 1972, videotape, b/w, sound, 28 min.

2 pm

The Kitchen

A selection of videotape from the early programs of The Kitchen, an alternative space for experimental art, video, music and dance, presented in its Wooster Street location. Founded in 1971 by Steina and Woody Vasulka, the Kitchen’s unique inter-disciplinary program established it as the center for alternative arts in New York. During the seventies and eighties, it pioneered new work by artists, musicians and dancers including Philip Glass, Steve Reich, Tony Conrad, Lawrence Weiner, Charles Atlas, Laurie Anderson, Bill Viola, Bill T. Jones, Molissa Fenley and Eric Bogosian.

Steve Reich, Clapping Music, 1972, videotape, b/w, sound, 5 min.

Steve Reich, Music for Pieces of Wood, 1973, videotape, b/w, sound, 11 min.

Ernest Gusella, Video-Taping, 1975, videotape, b/w, silent, 3 mins.

Simone Forti, Solo 1, 1975, videotape, b/w, sound, 8 min.

Lawrence Weiner, Do You Believe in Water?, 1976, 16mm film transferred to videotape, b/w, sound, 39 min.

Steina and Woody Vasulka, Selected Works I, 1974, videotape, color, sound, 30 min. Includes Solo for 3, 4 min., Reminiscence, 5 min., Soundgated Images, 9 min., Noisefields, 12 min.

4 pm

Soho performance

During the 1970s,the lofts, gymnasia, streets and alternative spaces of Soho were used by artists as locations for performances and performative videotapes, which explored the boundaries of social and private space and created a new language of artmaking. This program presents a selection of these key works, made and presented in an atmosphere of freedom and flexibility unique to Soho, Tribeca and the surrounding downtown areas during this period.

Simone Forti and Anne Tardos, Statues, 1977/99, videotape, b/w, sound, 14 min.

Joan Jonas, Glass Puzzle, 1973, videotape, b/w, sound, 17 min.

Chris Burden, Back to You, 1974, videotape, b/w, sound, 3 min.

Chris Burden performed this piece in the elevator of the 112 Greene Street gallery.

Vito Acconci, Recording Studio from Air Time, 1973, videotape, b/w, sound, 36 min.

In this documentation of a performance at Sonnabend Gallery, Acconci sat alone in a sealed space for two weeks, the video camera filming his reflection in a mirror as he spoke confessionally of an intimate relationship. A monitor and speakers transmitted his monologue into the gallery, making public his intense verbal self-examination.

Gordon Matta - Clark, Open House, 1972, 16mm film transferred to videotape, color, silent, 41 min.

Open House, also known as Drag-On and Dumpster, formed part of Matta-Clark’s ongoing investigation into discarded materials and the physical manipulation of architecture to create new perceptions of space. A dumpster placed between 98 and 112 Greene Street was divided by Matta Clark into ‘rooms’ using old pieces of wood and doors, which anyone could walk through, or even inhabit. The structure also became the location for a dance performance. This film documents the creation of the piece in the center of Soho in May 1972.

5.30 pm

Castelli-Sonnabend Videotapes and Films

In 1972 Leo Castelli and Ileanna Sonnabend created a distribution system for the newly emerging area of artists’ films and videotapes. This program presents a selection of the videotapes and films which were shown and distributed at the two galleries in 426 West Broadway through the seventies.

Lawrence Weiner, Beached, 1970, videotape, b/w, sound, 3 min.

Hermine Freed, 360 degrees, 1972, videotape, b/w, sound, 8 min.

John Baldessari, Inventory, 1972, videotape, b/w, sound, 23 ½ min.

Nancy Holt, Underscan, 1974, videotape, b/w, sound, 20 min.

Keith Sonnier, TV In and TV Out, 1972, videotape, b/w, sound, 10 min.

Paul Sharits, T, O, U, C, H, I, N, G, 1968, 12 min, color, sound

On a monitor outside the Film and Video Gallery:

Douglas Davis, Three Silent and Secret Acts, 1976, videotape, color, sound, 60 min.

This combination of ‘live’ and previously recorded images was one of the first artworks broadcast on cable television. Produced by Manhattan Cable Television with the Kitchen, it brought cable to Soho.

Tuesday, December 14

Noon

Abigail Child, B/Side, 1996, 16mm film, b/w and color, sound, 38 min.

Louis Hock, The Mexican Tapes: A Chronicle of Life, Part III- The Winner's Circle and La Migra, 1986, videotape, color, sound, 53 min.

2 pm

If Taken Internally…

Luther Price, Ritual 629, 1999, 16mm film, color, sound, 10 min.

Manuel de Landa, Harmful or Fatal If Swallowed, 1982, Super-8mm film, color, sound, 8 min.

Manuel de Landa, The Itch/Scratch/Itch Cycle, 1977, 16mm film, color, sound, 8 min.

Manuel de Landa, Ismism, 1979, Super-8mm film, color, silent, 18 min.

Manuel de Landa, Incontinence, 1978, Super-8mm film, color, sound, 8 min.

Manuel de Landa, Judgement Day, 1982, Super-8mm film, color, sound, 7 min.

Manuel de Landa, Raw Nerves, 1980, 16mm film, color, sound, 30 min.

4 pm

The Shattered Image

Saul Levine, Notes of An Early Fall (Part One), 1976, Super-8mm film, color, sound, 33 min.

Saul Levine, Notes After Long Silence, 1989, Super-8mm film, color, sound, 15 min.

Luther Price, Jellyfish Sandwich, 1994, 16mm film, color, sound, 17 min.

Luther Price, Run, 1994, Super-8mm film, color, sound, 13 min.

Saul Levine, Crescent, 1993, Super-8mm film, color, sound, 5 min.

Wednesday, December 15

Noon

Babette Mangolte, The Camera: Je or La Camera: I, 1977, 16mm

Michael Snow, One Second in Montreal, 1969, 16mm film, b/w silent, 26 min.

3 pm

Anita Thacher, Homage to Magritte, 1975, 16mm film, color, sound, 9 min.

Babette Mangolte, What Maisie Knew, 1975, 16mm film, b/w, sound, 55 min.

Anthony McCall, Sigmund Freud’s Dora, 1982, 16mm film, color, sound, 30 min.

Thursday, December 16

Structural Film and Beyond: Time, Frame, Surface, Material

1.30 pm

Surface, Material

Taka Iimura, 24 Frames Per Second, 1975, 16mm film, b/w, sound, 10 min.

Paul Sharits, Axiomatic Granularity, 1972 - 73, 16mm film, color, sound, 20 min.

Paul Sharits, Analytical Studies III: Color Frame Passages, 1973 - 74, 16mm film, color, sound, 21 min.

2.30 pm

La Région Centrale

Michael Snow, La Région Centrale, 1970 - 71, 16mm film, color, sound, 3 hrs 10 min.

Friday, December 17

Time, Frame, Surface, Material: Structural Film and Beyond

Noon

Time, Frame

J.J. Murphy, Sky Blue Water Light Sign, 1972, 16mm film, color, sound, 8 min.

Peter Gidal, Clouds, 1969, 16mm film, color, silent, 10 min.

Larry Gottheim, Blues, 1970, 16mm film, color, silent, 8 min.

Hollis Frampton, Lemon (for Robert Huot), 1969, 16mm film, color, silent, 7 min.

1 pm

Hollis Frampton - Hapax Legomena: The Complete Series

Hollis Frampton, Nostalgia (Hapax Legomena I), 1973, 16mm film, b/w, sound, 36 min

Hollis Frampton, Poetic Justice (Hapax Legomena II), 1972, 16mm film, b/w, silent, 31 min.

Hollis Frampton, Critical Mass (Hapax Legomena III), 1971, 16mm film, b.w, sound, 25 min.

Interval

3 pm

Hollis Frampton, Traveling Matte (Hapax Legomena IV), 1971, 16mm film, b/w, silent, 33 min.

Hollis Frampton, Ordinary Matter (Hapax Legomena V), 1972, 16mm film, b/w, silent, 36 min.

Interval

4.30 pm

Hollis Frampton, Remote Control (Hapax Legomena VI), 1972, 16mm film, 29 min, silent

Hollis Frampton, Special Effects (Hapax Legomena VII), 1972, 16mm film, b/w, sound, 10 ½ min.

Saturday, December 18

Time, Frame, Surface, Material: Structural Film and Beyond

Noon

Depth of Field

Michael Snow, Wavelength, 1966 - 67, 16mm film, color, sound, 45 min.

Ernie Gehr, Serene Velocity, 1976, 16mm film, color, silent, 14 min.

1.30 pm

Photographic Memory

Hollis Frampton, Nostalgia (Hapax Legomena I), 1973, b/w, sound, 36 min.

Morgan Fisher, Production Stills, 1970, 16mm fim, b/w, sound, 11 min.

Meredith Monk, Ballbearing, 1968, 16mm film, color, silent, 7 min.

Michael Snow, One Second in Montreal, 1969, 16mm film, b/w silent, 26 min.

Larry Gottheim, Doorway, 1971, 16mm film, b/w, silent, 7 ½ min.

Bill Brand, Moment, 1972, 16mm film, b/w, sound, 23 min.

3.30 pm

Apparatus Sum

Hollis Frampton, Apparatus Sum (Studies for Magellan #1), 1972, 16mm film, color, silent, 2 ½ min.

Hollis Frampton, Zorns Lemma, 1970, 16mm film, color, sound, 60 min.

4.45 pm

Color Sound Frames: Paul Sharits

Paul Sharits, Epileptic Seizure Comparison, 1976, 16mm film, color, sound, 34 min.

Paul Sharits, Dream Displacement, 1976, 16mm film, double screen, color, sound, 24 ½ min.

Please note: these films involve optical flickering, which can trigger epileptic seizures.

Sunday, December 19

The Artist’s Film

11.30 am

Film as Process

Richard Serra, Hand Catching Lead, 1968, 3 ½ min, b/w, silent

Richard Serra, Hands Tied, 1968, 4 ½ min, b/w, silent

Richard Serra, Hands Scraping, 1968, 4 ½ min, b/w, silent

Robert Morris, Slow Motion, 1969, 16mm film, b/w, silent, 18 min.

Yvonne Rainer, Lives of Performers, 1972, 16mm film, b/w, sound, 90 min.

2 pm

Mapping Space

Gordon Matta Clark, Substrait (Underground Dailies), 1976, 16mm film transferred to videotape, b/w and color, sound, 30 min.

Richard Serra, Railroad Turnbridge, 1976, 16m film, b/w, silent, 19 min.

Robert Morris, Mirror, 1969, 16mm film, b/w, silent, 9 min.

Nancy Holt and Robert Smithson, Swamp, 1971, 16mm film, color, sound, 6 min.

Robert Smithson, Spiral Jetty, 1970, 16mm film, color, sound, 35 min.

4.30 pm

Lawrence Weiner, A First Quarter, 1973, 16mm film, b/w, sound, 85 min.

Tuesday, December 21

Noon

Table of Elements (Almanac)

Hollis Frampton, Winter Solstice (Solariumagelani), 1974, 16mm film, color, silent, 33 min.

Hollis Frampton intended this film to be shown on the Winter Solstice.

Ernie Gehr, Wait, 1968, 16mm film, color, silent, 7 min.

Hollis Frampton, Autumnal Equinox (Solariumagelani), 1974, 16mm film, color, silent, 27 min.

2 pm

Charles Burnett, Killer of Sheep, 1977, 16mm film, b/w, sound, 87 min.

4 pm

Bruce Baillie, Here I Am, 1962, 16mm film, b/w, sound, 10 min.

Bruce Baillie, Quick Billy, 1967-1970, 16mm film, color and b/w, sound, 60 min.

Wednesday, December 22

11:30 am

Cloud Frequencies (guided by voices)

Chick Strand, Loose Ends, 1979, 16mm film, b/w, sound, 24 min.

Nina Fonoroff, The Accursed Mazurka, 1994, 16mm film, color, sound, 40 min.

Interval (10 min.)

Stan Brakhage, The Machine of Eden, 1970, 16mm film, color, silent, 14 min.

Larry Gottheim, Tree Of Knowledge (Elective Affinities IV), 1980, 16mm film, color, sound, 57 min.

2 pm

Familiar in the Distance

Nina Fonoroff, A Knowledge They Cannot Lose, 1989, 16mm film, color, sound, 17 min.

Gunvor Nelson, Red Shift, 1984, 16mm film, b/w, sound, 50 min.

Su Friedrich, Sink or Swim, 1990, 16mm film, b/w, sound, 48 min.

The family as a mirror to recognize one's own continuing features-portraits in eulogy, and of aging tenderness and regret.

4:15 pm

Crisis In Utopia

Robert Breer, Fuji, 1973, 16mm film, color, sound, 8 min.

Bob Fleischner, Max's Shirt, 1975, 16mm film, color, silent, 5 min.

Bob Fleischner, Paradise, 1978, 16mm film, color, silent, 3 min.

Leighton Pierce, Red Shovel, 1992, 16mm film, color, sound, 8 min.

Ken Ross, Black Harmony, Hi-Fi, 1977, 16mm film, color, sound, 5 min.

Chick Strand, Fake Fruit Factory, 1986, 16mm film, color, sound, 22 min.

Chick Strand, Artificial Paradise, 1986, 16mm film, color, sound, 12 min.

Juan Downey, The Laughing Alligator, 1979, videotape, b/w and color, sound, 27 min.

Thursday, December 23

2:30 pm

The King of Spain or A Spaniard in the Works

Jon Moritsugu, Der Elvis, 1987, 16mm film, color, sound, 23 min.

Cecelia Dougherty, Grapefruit, 1989, videotape, color, sound, 39 min.

Robert Attanasio, Counterfeit Music Video #2 Found Photograph, 1997, videotape, b/w, sound, 3 min.

Christopher Munch, The Hours and Times, 1992, 35mm film, b/w, sound, 60 min.

5 pm

Todd Graham, Blue Peanuts, 1987, videotape, color, sound, 5 min.

John Waters, The Diane Linkletter Story, 1970, 16mm film, color, sound, 10 min.

Bruce Conner, Mongoloid, 1978, 16mm film, b/w, sound, 3 min.

Guy Maddin, Odilon Redon, 1995, 16mm film, b/w, sound, 4 min.

Joseph Cornell, Triptych; Carousel, Jack’s Dream, Thimble, 1940s, released 1970s, 16mm film, b/w with color tint, sound, 24 min.

Stephanie Barber, The Flower, The Boy, Librarian, 1999, 16mm film, color, sound, 6 min.

Guy Maddin, Hospital Fragment, 1999, 16mm film, b/w, sound, 4 min.

6 pm

Eraserhead

David Lynch, Eraserhead, 1977, 16mm film, b/w, sound, 90 min.

Friday, December 24

Noon

Our Christmas Special

George Kuchar, Pilgrimage, 1992, videotape, color, sound, 29 min.

Various Artists, Yule Log Variations, 1999, videotape compilation

Sunday, December 26

Noon

Kurt Kren, Asyl, 1975, 16mm film, color, silent, 9 min.

Stan Brakhage, Wold Shadow, 1972, 16mm film, color, silent, 2 min.

Stan Brakhage, The Text of Light, 1974, 16mm film, color, silent, 67 min.

2 pm

Ken Ross, Blessed in Exile, 1979, 16mm film, color, sound, 13 min.

Ernie Gehr, Signal-Germany on the Air, 1982-85, 16mm film, color, sound, 35 min.

Ken Jacobs, Urban Peasants, 1975, 16mm film (16 fps), color and b/w, sound, 59 min.

4 pm

Peter Thompson, Universal Hotel, 1986, 16mm film, color, sound, 28 min.

Leandro Katz, El Día Que Me Quieras (The Day You’ll Love Me), 1997, 16mm film, color, sound, 30 min.

Jeffrey Skoller, The Malady of Death, 1994, 16mm film, color, sound, 43 min.

Tuesday, December 28

Transit

Noon

Yvonne Rainer, Journeys from Berlin/1971, 1980, 16mm film, color, sound, 125 min.

2:30 pm

James Benning, 9/1/75, 1975, 16mm film, color, sound, 22 min.

James Benning, 11x14, 1976, 16mm film, color, sound, 83 min.

4:15 pm

Steve Fagin, The Amazing Adventures of Raymond Roussel and Gustave Flaubert, 1986, videotape, color, sound, 75 min.

Ken Kobland, the Wooster Group and Elizabeth LeCompte, Flaubert Dreams Of Travel But The Illness of His Mother Prevents It, 1986, videotape, color, sound, 20 min.

Wednesday, December 29

Noon

Allen Ross, The Grandfather Trilogy; Part I: Papa, Part II: Thanksgiving, Part III: Burials, 1979-1981, 16mm film, color and b/w, sound, 60 min.

1:30 pm

Henry Hills, Goa Lowah, 1992, 16mm film, color, sound, 4 min.

Robert Gardner, Forest of Bliss, 1986, 16mm film, color, sound, 90 min.

3:30 pm

Peter Hutton, New York Portrait: Chapter Two, 1980-81, 16mm film, b/w, silent, 16 min.

Ernie Gehr, This Side of Paradise, 1991, 16mm film, color, sound, 14 min.

Peter Hutton, Lódz Symphony, 1992-93, 16mm film, b/w, silent, 20 min.

Abraham Ravett, The Balcony, 1987, 16mm film, b/w, silent, 48 min.

Ernie Gehr, Untitled: Part One, 1981, 1981, 16mm film, color, silent, 29 min.

Thursday, December 30

1:15 pm

Vincent Grenier, Miracle Grow, 1998, 16mm film, color, sound, 12 min.

Marjorie Keller, Lyrics, 1983, Super-8mm film, color, sound, 5 min.

Marjorie Keller, Misconception, 1977, 16mm film, color, sound, 43 min.

Barbara Hammer, Optic Nerve, 1985, 16mm film, color and b/w, sound, 16 min.

Dominic Angerame, Line Of Fire, 1997, 16mm film, b/w, sound, 9 min.

Howard Guttenplan, New York Diary, 1974, 8mm film, color, silent, 16 min.

Willie Varela, In the Flesh, 1982, 16mm film, b/w and color, sound, 10 min.

3 pm

Tarnished Pages - Late Edition

Charles Wright, Sorted Details, 1980, 16mm film, color, sound, 13 min.

Warren Sonbert, Noblesse Oblige, 1981, 16mm film, color, silent, 25 min.

Alan Berliner, City Edition, 1980, 16mm film, b/w, sound, 9 min.

Chick Strand, Elasticity, 1976, 16mm film, color, sound, 25 min.

Will Hindle, Pasteur³, 1973, 16mm film, color, sound, 22 min.

4:45 pm

Vincent Grenier, Interieur Interiors (to A.K.), 1978, 16mm film, b/w, silent 14 min.

Larry Gottheim, Four Shadows (Elective Affinities III), 1978, 16mm film, color, sound, 65 min.

6:15 pm

Under the Sign of the Hourglass

Robert Breer, Time Flies, 1997, 16mm film, color, sound, 8 min.

George Kuchar, The Creeping Crimson, 1987, videotape, color, sound, 15 min.

Larry Gottheim, The Red Thread, 1987, 16mm film, color, sound, 17 min.

Vincent Grenier, You, 1990, 16mm film, color, sound, 16 min.

Robert Frank, The Present, 1996, 16mm film, color, sound, 22 min.

Friday, December 31

Demolition of a Wall

Noon

Max and Dave Fleischer, Koko’s Earth Control, 1928, 16mm film, b/w, sound, 7 min.

Christopher Maclaine, The End, 1953, 16mm film, color, sound, 35 min.

Craig Baldwin, Tribulations 99: Alien Anomalies Under America, 1990, 16mm film, color, sound 48 min.

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