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June 15 – A Tribute to the the Creative Film Society, featuring selections from the CFS collection and more

Sunday, June 15, 2008, 7:00pm

At the Egyptian Theater in Hollywood

LA Filmforum presents
A Tribute to the the Creative Film Society, featuring selections from the CFS collection and more
Former CFS Director Angie Pike in person

The Creative Film Society (CFS) was founded in 1957 by Robert Pike, with the intention of “consolidating the efforts of the individual West Coast film artists in terms of aiding closer communication of ideas, films and equipment, as well as distributing the finished works of the members.” The CFS was one of the key distribution organizations of the Los Angeles avant-garde film movement in its time. According to historian David James, CFS played “a major role in publicizing experimental film and in bringing the Los Angeles avant-garde film communities together,” and helped lay the groundwork for later organizations like the Los Angeles Independent Film Oasis and, of course, Los Angeles Filmforum.

The films screening tonight, selected by Angie Pike and Mark Toscano, include films associated with the Creative Film Society. Most are part of the CFS Collection. Although the CFS collection, now partially housed at the iotaCenter, once boasted the work of many representative West Coast filmmakers such as Curtis Harrington, Hy Hirsh, and the Whitney brothers, tonight’s screening will also feature some of the lesser-known works in the collection and beyond. Several of these were recently restored at the Academy Film Archive.

Tonight’s films include:

Logos (1957, 16mm, 2 min) and Odds and Ends (1958, 16mm, 5 min) by Jane Conger Belson Shimané

Things to Come (1953, 16mm, 3 min) and Obmaru (1953, 16mm, 4 mins) by Patricia Marx

Wu Ming (1977, 16mm, 17 min) by James Whitney

S.W.L.A. (1971, 16mm) by Rob Thompson.

108 Movements by Peggy Wolff

Death of the Gorilla (1965-66, 16mm, 16 min) by Peter Mays

Furies (1982, 16mm, 3 min) by Sara Petty

Mirror People
(1974, 16mm, 6m) by Kathy Rose

Plus several more to be announced!


June 8 – Tearoom, a document presented by William E. Jones

Sunday June 8, 2008, 7:00 pm

At the Egyptian Theater in Hollywood

Los Angeles Filmforum presents
Tearoom, a document presented by William E. Jones
Followed by a discussion with Jones and Bruce Hainley

TearoomTearoom (1962/2007, 16mm film transferred to video, color, silent, 56 minutes)

Tearoom consists of footage shot by the police in the course of a crackdown on public sex in the American Midwest. In the summer of 1962, the Mansfield, Ohio Police Department photographed men in a restroom under the main square of the city. The cameramen hid in a closet and watched the clandestine activities through a two-way mirror. The film they shot was used in court as evidence against the defendants, all of whom were found guilty of sodomy, which at that time carried a mandatory minimum sentence of one year in the state penitentiary. The original surveillance footage shot by the police came into the possession of director William E. Jones while he was researching this case for a documentary project. The unedited scenes of ordinary men of various races and classes meeting to have sex were so powerful that the director decided to present the footage with a minimum of intervention. Tearoom is a radical example of film presented “as found” for the purpose of circulating historical images that have otherwise been suppressed.

More on the film can be found here.

The book Tearoom, available now from 2nd Cannons Publications, contains many historical texts relating to the Mansfield cases, as well as over 100 frame enlargements from the video.

Screenings of Tearoom: 2008 Biennial Exhibition, Whitney Museum of American Art, New York; Festival Internacional de Cine Independiente de Buenos Aires, Argentina; InDPanda International Short Film Festival, Hong Kong; Yerba Buena Center for the Arts, San Francisco; The Andy Warhol Museum, Pittsburgh; Eyedrum, Atlanta

William E. Jones grew up in Ohio and now lives and works in Los Angeles. He has made two feature length experimental films, Massillon and Finished, several short videos, and the feature length documentary Is It Really So Strange?. His work has been shown at the Sundance Film Festival, International Film Festival Rotterdam, Oberhausen Short Film Festival, Pacific Film Archive, and the Museum of Modern Art, New York. His films and videos were also the subject of a retrospective at Tate Modern, London, in 2005. He was included in Biennial Exhibitions at the Whitney Museum of American Art in 1993 and 2008. He has published two books, Is It Really So Strange? (2006) and Tearoom (2008). He teaches film history at Art Center College of Design. More can be found on Jones on his website.

Bruce Hainley is a contributing editor at Artforum and teaches in the MFA program at Art Center College of Design. His has written for Frieze, Bidoun, Parkett, The Nation, and The New York Times. His recent books include Foul Mouth, published by 2nd Cannons, and, with John Waters, Art – A Sex Book, published by Thames & Hudson. He is at work on a book to be called Sturtevant’s Eclipse, which will be the first monographic examination of the American artist, Sturtevant.


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June 1 – Southern California Video Part III, An Evening with Jordan Biren

Sunday June 1, 2008, 7:00pm

At the Egyptian Theater in Hollywood

Los Angeles Filmforum presents
Southern California Video: An Evening with Jordan Biren

In our Southern California Video series, Filmforum highlights the work of four artists whose work cries out for more exhibition – significant pieces by fine artists of their media. In our final evening, we feature Jordan Biren.

Jordan Biren is an artist for whom video is the poetic rehearsal of his artistic endeavor.

His work has long pondered meaning as a migration behind the illusory promise of narrative utterance. His is work of a melancholic tension built around narrative dissolutions in the chasms of granular image, text, and sound. Narrative, rather, has inhered in his video as a vaporous impossibility against which the work is directed.He seeks in this the more enigmatic holes of unexplained human experience—those breaches covered over, as if unsightly, by the image, sound, and textual impulses of an arbitrary existence. Of late, his work has approached an equivalence of film aesthetic against which notions of video define a new, hybrid form of narrative province.

“Rather than focus exclusively on mid to latter works with their emphasis on the filmic, this program will include three early works which clearly establish the trajectory of “video” in terms of my fascination with the medium. A very representative collection presenting the full measure of my labors in video.” – Jordan Biren

“The way up was through tangled thickets…”

The Ochre Valley, 1998

“…it is language, the naming of things, that separates us from original places, from origins. So the unity that once existed between landscape and habitation is severed, perhaps irreparably. Ironically, the way back to that unified sensorium is through language. A passage back through words, through utterances, to call forth the elemental simplicity of first places.

“Jordan Biren does not want to return to that elemental simplicity. But through the deliberate rehearsal of his videoworks, he seeks a unity where language, the things referred to, and the indescribable emotion between work in consort, evoking a sense of being-in-this-place. Biren’s is no nostalgic retreat into an original Edenic unity, but a developmental project, an evolving try out, for a return to the efficacy of utterance. Make no mistake about it: images matter, desperately—images in a medium that favors the eye over the ear and certainly over enunciation.

“But what of Biren’s videoworks? Strongly crafted, composed in startling stasis, infested by text spoken or otherwise. And each work an incremental advance from the last, evolving in slow retort from one to the next, moving closer toward the dimensions of his being. “ –Steve Seid, Carefully Worded: The Videoworks of Jordan Biren

MEANING (1991, 22:00 min.)

In Meaning, the electronic edit subsumes performance aspects of earlier video works. But intuitive timings render the edits more abruptions than splices in a contiguous narrative. As such, flatly stated images of ocean, motel room, generic houses, mall, and lamps find themselves inexplicably placed in proximity to abject texts of unspeakable violence. MeaningThe hard, unexpected edits conjoin image and text but keep them isolated, unable to explain each other’s presence. A performance of shifting references resists the assignation of meaning. It was this that I set out in Meaning to consider, the murderous circumstances of meaning itself.

TEXT (1992, 6:20 min.)

In Text, the hyper-idealized landscape and confrontational text are placed at each other’s doorstep. While a furiously scrawled missive notates an urgently repeated injunction, saturated landscapes languorously dissolve in and out of the hostile monotony. Loosed from one another, text moves through image, and image through text, while neither bear points of arrival.

MY MOTHER’S FAMILY (1993, 13:40 min.)

In My Mother’s Family, disembodied stills of quotidian scenes indicate family without it ever being sufficiently described. Pages of text that follow detail in sundered time the hallucination of my mother’s habituated life. Both image and text imply narrativewhiledisjointed from one another impede its progression. Instead, My Mother’s Family becomes the residue of an aftermath to the events that have never quite happened.

THE OCHRE VALLEY (1998, 22:30 min.)

Beneath a disembodied voice of narration, hyperbolic landscapes quietly unfold before their abrupt collapse into dimly lit interiors. Unnamed people move through a darkness bereft of any context for their gathering. As the voice resumes, the silent figures suddenly become constituents of an audience. Only in the end does The Ochre Valley reveal the image of a reader who has been reading throughout. With the text dislodged from visual description, it collapses into itself and attempts a return to from where it began—The Ochre Valleythat shimmers immutable in dry grasses.

MY MOTHER’S HOUSE (2006, 23:00 min)

I went into my mother’s unoccupied house after her passing in late 2004 intent on capturing the strange residue of her life in the stasis of after-death. In the resulting work, memories stutter back through a faltered reading recalling holidays past. Objects of my mother’s personal history sit frozen in a disquieting search through her uninhabited home. And, her voice crackles back through telephone lines to an impossible present. More displacement than loss, My Mother’s House describes a disembodied space onto which her personal narrative has been projected—that empty space rendered invisible behind the cinematic projections of her arbitrary existence.


The image is intimate. For it makes of our intimacy an exterior power which we suffer passively. Outside of us, in the ebb of the world which it causes, there trails, like glistening debris, the utmost depth of our passions. –Maurice Blanchot

It Was Dark As Night In Shadows takes its title from the journals of Joseph Cornell, and from his film, Rose Hobart, its inspiration. I imagined in this work a larger narrative from which are cut fugitive images to emerge from impeccable darkness. While the larger narrative exists, it does so only in its absence. What remains, in the ebb of the world these images cause, is but the lure of melodrama trailing like debris in the shadows of glistening cinematic moments.

May 18 – Noisy People!

Sunday May 18, 2008, 7:00 pm

At the Silent Movie Theatre
611 N. Fairfax Ave. just south of Melrose
Park across the street (free) at Fairfax High School

Los Angeles Filmforum, NewTown and CineFamily present
Noisy People — Films plus a live performance!
Funded in part through Meet The Composer’s MetLife Creative Connections program.

$15 general/$12 members (Cinefamily and Filmforum)
For advance tickets, visit CineFamily’s ticketing website.

Noisy People (2006, 76 minutes, video) Feel like blowing into the wrong end of a horn or slapping a drum with a head of lettuce? These folks do it, and make beautiful music. Skronking saxes, manipulated violins, superb synthesizers – freely improvised or thoroughly composed … Noisy People is a feature-length video documentary following the tightly-knit group of unusual sound artists and musicians from the San Francisco improvisational music community.

But even better, after the screening will be a LIVE PERFORMANCE by a quartet of the subjects of the film — Tom Dill (trumpet), Gino Robair (percussion/electronics), Phillip Greenlief (sax) — and the filmmaker Tim Perkis (electronics). A Q&A session with the performers will follow the screening. More on the film can be found here.

Filmmaker Tim Perkis, himself a well-respected player in the Bay Area experimental music scene, followed his subjects for a year, filming them in their homes and studios, rehearsals and performances. What emerges is a set of funny and lively portraits of some very creative and quirky people — and a portrait of a way of life outside the commercial musical mainstream of America.

They’re not making a living at it — but these artists have pursued their work passionately and in the process have created a world-wide following and a supportive community at home. These are people, who, as composer John Shiurba put it, “aren’t going somewhere, but who ARE somewhere.”

The film features George Cremaschi, Tom Djll, Greg Goodman, Phillip Greenlief, Cheryl Leonard, Dan Plonsey, Gino Robair, Damon Smith. Also appearing are dozens of other creative musicians, including Anthony Braxton, Fred Frith and Jack Wright.

Bios of the filmmaker & performers (click on Keep Reading for more):
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May 4: Southern California Video Part II: Bruce and Norman Yonemoto

Sunday May 4, 2008, 7:00 pm

At the Egyptian Theater in Hollywood

Los Angeles Filmforum presents
Southern California Video: Bruce and Norman Yonemoto

Filmforum highlights the work of four artists whose work cries out for more exhibition – significant pieces by fine artists of their media. In the second evening of four, we host Bruce and Norman Yonemoto, the Yonemotos will present several works, old and new.

California-based artists Bruce and Norman Yonemoto deconstruct and rewrite the hyperbolic vernacular with which the mass media constructs cultural mythologies. Ironically employing the image-language and narrative syntax of popular forms, such as soap opera, Hollywood melodrama and TV advertising, they work from “the inside out” to expose the media’s pervasive manipulation of reality and fantasy.
For more on the Yonemotos, click here or here.

\Vault (1984, 11:45 min, color, sound) Directed and edited by Norman Yonemoto. In this tour-de-force of stylized deconstruction, the Yonemotos rewrite a traditional narrative of desire — boy meets girl, boy loses girl. Employing the hyperbolic, melodramatic syntax of Hollywood movies and commercial TV, they decode the Freudian symbology and manipulative tactics that underlie media representations of romantic love, and expose the power of this media “reality” to construct personal fictions. Using the psychoanalytic language of advertising, cinematic and television texts to tell the love story of a pole vaulter/concert cellist and a cowboy/Abstract Expressionist painter, they rupture the narrative with psychosexual metaphors and references to pop media and art. Self-conscious strategies such as overtly Freudian symbols, flashback reconstructions of childhood traumas, Wagnerian orchestration and loaded cliches are wielded with deft irony. Vault, which has been termed a “deadpan homage to Bunuel’s amour fou melodramas,” critiques and celebrates the artifice of mass media mythologies.

BlinkyBlinky (1988, 15:30 min, color, sound) by Bruce and Norman Yonemoto and Jeffrey Vallance. Writes Bruce Yonemoto, “In the novella Blinky The Friendly Hen (1978), artist Jeffrey Vallance documented the supermarket purchase of a frozen chicken and its burial in the Los Angeles S.P.C.A. Pet Memorial Park. Naming the fryer Blinky, Vallance transformed poultry into pet, paying tribute to the billions of hens sacrificed each year for our consumption. Ten years later questions of the true cause of Blinky’s death continue to swirl. Blinky, the videotape, documents the search for this cause. Alas, like the shroud of Turin, Blinky’s death cannot be completely resolved. Blinky’s ten-year story ends where it began, in our culture’s glistening, dreamlike symbol of heavenly closure, the supermarket.”

Kappa (1986, 26 min, color, sound) By Bruce and Norman Yonemoto in collaboration with Mike Kelley. KappaKappa is a boldly provocative and original work. Deconstructing the myth of Oedipus within the framework of an ancient Japanese folk story, the Yonemotos craft a highly charged discourse of loss and desire. Quoting from Bunuel, Freud, pop media and art, they place the symbology of Western psychosexual analytical theory into a cross-cultural context, juxtaposing the Oedipal and Kappa myths in a delirious collusion of form and content. The Kappa, a malevolent Japanese water imp, is played with eerie intensity by artist Mike Kelley; actress Mary Woronov plays Jocasta as a vamp from a Hollywood exploitation film. Steeped in perversions and violent longings, both the Kappa and Oedipus legends are presented in highly stylized, purposefully “degraded” forms, reflecting their media-exploitative cultural contexts. In this ironic yet oddly poignant essay of psychosexual compulsion and catharsis, the Yonemotos demonstrate that even in debased forms, cultural archetypes hold the power to move and manipulate.

Sounds Like the Sound of MusicSounds Like the Sound of Music (2005, 3.30 min, video) by Bruce Yonemoto. Sounds Like The Sound of Music (2005) draws from two distinct and seemingly unrelated Hollywood film classics, George Lucas’ Star Wars trilogy (specifically, the Reagan-era Return of the Jedi) and Robert Wise’s 1965 musical, The Sound of Music. Both films express Hollywood’s associations to political narratives of their times: The Sound of Music dramatized Post-War nostalgia for European ideals at the dawn of the Nazi regime; and Star Wars’ depiction of the “good vs. evil” ethos surrounding the final years of the Cold-War era. These relationships to war and cultural imperialism are of great interest to Yonemoto, especially when filtered through the Hollywood entertainment machine.

Filmed in Cuzco, Peru, Yonemoto’s video recreates the opening sequence from The Sound of Music, replacing the Austrian Alps with the Peruvian Andes, the village of Salzberg with Incan ruins and Julie Andrews with a young Andean boy. Sweeping aerial views and a solitary figure accompany the soundtrack, sung by the Andean boy. His song is a translated version of Rodgers and Hammerstein’s infective melody into the indigenous Incan language of Quechua, spoken by 13 million people throughout the Andes and South America. Yet the language is probably best known through its place in popular culture; George Lucas’ villain Jabba the Hut (an icon of “Orientalized” evil; a late-Twentieth-Century Godzilla), spoke this disappearing language.
Yonemoto’s work further complicates binary approaches to expressing post-Colonialism by incorporating many ingredients: escapist Hollywood cinema and aspirational Broadway musicals; youth culture and optimism; landscape and cultural artifact; indigenous voices and melodic universality; Europe, Asia, and the Americas; Pre-War, Post-War and Cold War. The resulting mixture is equally complex: beauty and romance, memento and memorial, personal and political.

Papa by Bruce YonemotoPapa (the original potato eaters) (2006, 11:14 min, video) by Bruce Yonemoto. Papa (the original potato eaters) is a new media installation by Bruce Yonemoto. Potatoes, indigenous to the farmlands of Andean Peru serve as the principle metaphor in this revisionist documentary. Papa replicates Vincent Van Gogh’s original composition, The Potato Eaters. The “uncivilized, unpeeled dusty faces” of the original Dutch peasants are portrayed by an indigenous Andean Quechua gamily who continue to this day “to earn their meals honestly.”
The Potato Eaters by Vincent Van Gogh has been called his first masterpiece. Painted in 1885, Van Gogh, like the French master Jean-François Millet, wanted to be a true “peasant painter.” This meant Van Gogh tried to paint his subjects with deep feeling, but without sentimentality. He spoke of them leading “a way of life completely different from ours, from that of civilized people.” He strove to paint the faces, “the color of a good, dusty potato, unpeeled naturally,” and to convey the idea that these people had “used the same hands with which they now take food from the plate to dig the earth […] and had thus earned their meal honestly.” (excerpted from the Van Gogh Museum catalogue)

Frederic Jameson in his writing The Deconstruction of Expression wrote that “in Van Gogh [the painting], that content, those initial raw materials, are, I will suggest, to be grasped simply as the whole object world of agricultural misery, of stark rural poverty, and the whole rudimentary human world of backbreaking peasant toil, a world reduced to its most brutal and menace, primitive and marginalized state.”

Following, the model of Luis Bunuel’s landmark 1932 surrealist documentary, Land Without Bread (Las Hurdes), Papa (the original potato eaters) attempts to parody the discourse typically adopted by the ‘voice of god’ documentary form, simply by bringing the underlying elitism of such formalism to the foreground – the distance that is inherent to ‘objectivity’ is revealed merely as cynicism.

Yonemoto has written, “For the great Irish potato famine to Van Gogh’s dark painting, the potato has represented misery. Why should a life of living from the land be one of misery? The prevalent documentary content of ‘marginalized peasant misery’ will be the central image under scrutiny. Does a documentary made in the West always have to portray people of the third world as being unhappy? Papa (the original potato eaters) presents a contemporary Peruvian family whose modest lives contrast with Van Gogh’s representation of stark rural poverty and Jamesons’ whole object world of agricultural misery.”

Video teaser can be viewed here.

A Norman Yonemoto Clip Joint
(2007, 20 minute clip of a 45 minute video), by Norman Yonemoto. Clip Joint is a video assemblage of clips and short sequences from motion pictures mostly produced before 1964. Yonemoto isolates these clips from their predominantly Hollywood movie context and creates a new narrative with its own unique logic and meaning.

A Norman Yonemoto Clip JointThe polished surface of Hollywood classic movies creates a hyperbolic dream state of surprising complexity no matter how shallow the movies’ content may be. Perfected by an army of artists and technicians of the early Hollywood studio system from 1915 to 1929, these powerful images manipulate the movie-goers’ emotions as well as suspending their disbelief. Yonemoto blends these compelling images into a potent brew of self-reflection and deconstruction.

April 20 – An Evening with Carolee Schneemann

Sunday April 20, 2008, 7:00 pm

At the Egyptian Theater in Hollywood

Los Angeles Filmforum presents
An Evening with Carolee Schneeman

The first of three rare Los Angeles screenings of the work of Carolee Schneemann, with the filmmaker in person.

Carolee Schneemann has never ceased to cross mediums and boundaries to make work that resonates with raw poetic power. From her collaged war or diary films and provocative performances to her photos, paintings and installations, Schneemann’s varied creations deconstruct our ingrained preconceptions and everyday assumptions. In words, images and actions, her art is deeply personal, sharply critical, intensely expressive, and always innovative. Tonight at Filmforum we’ll present part III of Schneemann’s “Autobiographical Trilogy”, Kitch’s Last Meal, a rarely screened dual projection work, along with work to be announced

“Prior to Schneemann, the female body in art was mute and functioned almost exclusively as a mirror of masculine desire.” — Jan Avgikos, Artforum

“The magnitude of Schneemann’s influence is undeniable… When she describes her body as a pleasurable weapon, a missile she sends into our repressive culture to blow it apart, Madonna’s in-your-face eroticism immediately comes to mind.” – Jane Harris, Plexus

(notes by Berenice Reynaud)

This program is part of a series of screenings of the work of Carolee Schneemann that takes place in Los Angeles April 20-25, 2008 at the following venues: Los Angeles Filmforum (April 20), REDCAT (April 21) and UCLA Film & Television Archive (April 25)

Kitch’s Last Meal (1973-78, 54 mins, Super 8mm screening as 16mm, color, dual projection, separate sound)
New restoration of original film reels/separate sound – May 2007
Part III of “Autobiographical Trilogy”.

Schneemann’s cat, Kitch, which was featured in works such as Fuses, was a major figure in Schneemann’s work for almost twenty years. The moving conclusion to the autobiographical trilogy was originally shot on Super-8. The film documents the routines of daily life whilst time passes, a relationship winds down and death closes in: filming and recording stopped when the elderly cat died.

The soundtrack mixes personal reminiscences with ambient sounds of the household, and includes the original text used for Schneemann’s 1975 performance Interior Scroll.

The preservation of Kitch’s Last Meal was supported by the Andy Warhol Foundation for the Visual Arts and realized by the Anthology Film Archives.

Plus additional works to be announced.

Special Thanks to Steve Anker for arrangements for this evening’s program.

The history of Carolee Schneemann’s work is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos, the body of the artist in dynamic relationship with the social body. Her work questions the exclusivity of traditional western categories by creating a space of complementarity, mutuality, and integration and she has transformed the very definition of art, especially with regard to discourses concerning the body, sexuality, and technology.

Born in Fox Chase, Pennsylvania, she received a B.A. from Bard College and an M.F.A. from the University of Illinois. She began her art career as a painter in the late 1950s. Her painting work began to adopt some of the characteristics of Neo-Dada art, as she used box structures coupled with expressionist brushwork. In 1962, Schneemann and her then-husband composer James Tenney moved to New York, where they became involved in the art and music scene and met Claes Oldenberg, Merce Cunningham, John Cage, Robert Rauschenberg, George Brecht, Malcolm Goldstein, Philip Glass, Terry Riley and Steve Reich. Schneemann started working with the artists of the Judson Church, and participated in works such as Oldenberg’s Store Days (1962) and Robert Morris’s Site (1964) where she played a living version of Edward Manet’s Olympia. She began to use her nude body in works, feeling that it needed to be seized back from the status of a cultural possession.

Production on her work Eye Body began in 1962. Schneemann created a “loft environment” filled with broken mirrors, motorized umbrellas, and rhythmic color units. To become a piece of the art herself, she covered herself in various materials including grease, chalk, and plastic. In 1964, the reworking of original film footage of three 1964 performances of Meat Joy in Paris, London and New York City ushered Schneemann into film and video-making.

The New Museum of Contemporary Art, NYC, featured a retrospective of Schneemann’s works entitled “Up To And Including Her Limits” in 1998 In 2007, a dual exhibit at CEPA Gallery, Buffalo NY & MOCCA Toronto featured recent video installations. Electronic Arts Intermix NYC and Anthology Film Archives NYC collaborated on presentations of newly restored and current film & videos November 2007. Her work has also been shown at such renowned institutions as the Los Angeles Museum of Contemporary Art (MOCA), the New York Museum of Modern Art (MoMA), Centre Georges Pompidou, Paris, the Museum of Contemporary Art, Chicago and the London National Film Theatre.

She has been the recipient of Media Grants from the Rockefeller Foundation, a Pollock-Krasner Fellowship, as well as grants from the Gottlieb Foundation, the Guggenheim Foundation, the Andrea Frank Foundation and the National Endowment for the Arts.
Schneemann has taught at several universities, including the California Institute of the Arts, the School of the Art Institute of Chicago, Hunter College and Rutgers University, where she was the first female art professor hired.

MIT Press has just published Imaging Her Erotics – Essays, Interviews, Projects. Editions of Schneemann’s previous writing includes; More Than Meat Joy: Complete Performance Works and Selected Writings (1979, 1997); Video Burn (1992); Early and Recent Work (1983); ABC – We Print Anything – In The Cards (1977); Cezanne, She Was A Great Painter (1976); and Parts of a Body House Book (1972). Correspondence Course, a selection of her letters edited by Kristine Stiles is forthcoming from Duke University Press.

Partial Film/Videography (works directed by Schneemann)

1965 Viet-Flakes
1966 Red News
1964-67 Fuses
1971 Plumb Line
1973-78 Kitch’s Last Meal
1992 Vesper’s Stampede To My Holy Mouth
1993-95 Interior Scroll – The Cave
1996 Known/Unknown – Plague Column.
1999 Vespers Pool.
2000 More Wrong Things
2003-04 Devour
2007 Carl Ruggles’ Christmas Breakfast
2007 Mop-Mop–Improvisation for Job at New York University
2008 Duo

For more on Carolee Schneemann, please visit her website.


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April 6-13: Heinz Emigholz: Photography and Beyond

April 6 and April 13, 2008, 7:00 pm

At the Egyptian Theater in Hollywood

Los Angeles Filmforum presents
Heinz Emigholz: Photography and Beyond

Filmforum is hosting the Opening Night and Closing Night screenings of a Week-Long City-Wide Screening Series with Emigholz in Person

For the past 15 years, the idiosyncratic Berlin filmmaker Heinz Emigholz has created a series of films documenting the work of certain 20th-century architects for whom he feels a special affinity. For the first time, five different venues in Los Angeles are joining together to present a week of events centered around this remarkable filmmaker and his Photography and Beyond series. Over the week, nine films from Photography and Beyond will be screened with Emigholz in attendance at Los Angeles Filmforum at the Egyptian Theatre, REDCAT, the Los Angeles County Museum of Art, and the UCLA Film & Television Archive. Emigholz will also be featured in conversation with filmmaker and teacher Thom Andersen and architect, author and Schindler expert Judith Sheine at the MAK Center for Art and Architecture. Tonight we’ll be screening three earlier films from the series: Basis of Make-Up II, Miscellanea I, and Miscellanea II.

Since 1984, Emigholz has been working on the acclaimed series, Photography and Beyond, which consists of formally rigorous, revelatory films that examine artistic creativity – in particular the work of architects. It is a series of twenty-five films about art and design – “projections” that become visible as writings, drawings, photography, architecture and sculpture. In these films, Emigholz states, he “look[s] at architectural spaces that I believe have been sorely neglected by ‘architectural history’.” What attracts him particularly is the complex organization of interior spaces and the spatial relations between a building and its immediate surroundings.

The films presented in the Los Angeles film series trace a history of direct influences: Rudolph M. Schindler (1887–1953) studied with Adolf Loos, who was influenced by Louis H. Sullivan. Emigholz’s cinematic “archives” of these architects’ existing buildings, with minimal commentary, provide a rare opportunity for careful contemplation and study of the space, light, and materials of architecture. “I believe that everyone perceives space differently and that art and structure arise out of the perception of these nuances,” Emigholz says. “The world reveals itself to us, and we show each other the world—not just different facets, but our different views. During peacetime, this is an endless process that deserves to be loved.” Roth House by Schindler, Studio City CA

[Notes expanded from a text by Kathy Geritz, Pacific Film Archive].

Coordinated by Adam Hyman, Executive Director, Los Angeles Filmforum, the Heinz Emigholz screening series takes place in Los Angeles April 6-13, 2008, at the following venues: Los Angeles Filmforum (April 6 & April 13), REDCAT (April 7) LACMA (April 10), MAK Center (April 11) and UCLA Film & Television Archive (April 12). This series represents an unprecedented cooperation among leading alternative venues in this dispersed city, allowing filmgoers to attend events wherever it is convenient.

Program made possible with the support of the Austrian Consulate General Los Angeles: Austrian Consulate logo

Born in 1948 near Bremen, Heinz Emigholz studied drawing in Hamburg. Since 1973, he has worked as a freelance filmmaker, artist, cameraman, actor, author, publisher and producer in Germany and the United States. He has published a number of books, given lectures and has had many exhibitions and retrospectives. In 1974 he started working on the encyclopedic drawing series The Basis of Make-up. In 1978, he founded his own production company, Pym Films. Since 1993, he has been teaching experimental film directing at the Berlin College of Arts. His most recent film, Loos Ornamental, premiered at the Berlinale in February 2008. A major exhibition of his series The Basis of Make-Up recently appeared at the Hamburger Bahnhof, Museum für Gegenwart, Berlin, Germany, from December 2007 to February 2008. Complete details on his art and films can be found here.

April 6 show at Filmforum (full details)

April 13 show at Filmforum (full details)

Information on non-Filmforum shows in this series: REDCAT, LACMA, MAK CENTER, and UCLA FILM AND TELEVISION ARCHIVE.


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