From: redmond entwistle (email suppressed)
Date: Sun Mar 02 2008 - 13:34:53 PST
congratulations, this looks like a really good program!
Do you think I could get a copy of Ian's article pre-publication?
On Fri, 29 Feb 2008 22:21:25 -0500, "Thomas Beard"
<email suppressed> said:
> Light Industry
> Contact Thomas Beard for further information ::
> email suppressed (646) 420-0359
> FOR IMMEDIATE RELEASE
> "The Blazing World," a screening to be held on March 25, marks the
> of Light Industry, a new venue for film and electronic art in Brooklyn,
> York. Developed and overseen by Thomas Beard and Ed Halter, the project
> begin as a series of weekly events this spring and summer, each organized
> a different artist, critic, or curator, including Peggy Ahwesh, Cory
> Arcangel, Rebecca Cleman, Ben Coonley and Michael Smith, Bradley Eros and
> Brian Frye, eteam, Kendra Gaeta and Laris Kreslins, David Gatten, Lia
> Gangitano, Sandra Gibson and Luis Recoder, Sabrina Gschwandtner, Nick
> Hallett, William E. Jones, Andrew Lampert, Dennis Lim, Mark McElhatten,
> MTAA, Marisa Olson, Jacob Perlin, Seth Price, Jennifer Reeves, Eddo
> and Dan Streible, among others.
> Conceptually, Light Industry draws equal inspiration from the long
> of alternative art spaces in New York as well its storied tradition of
> cinematheques and other intrepid film exhibitors. Through a regular
> of screenings, performances, and lectures, its goal is to explore new
> for the presentation of time-based media. Bringing together the worlds of
> contemporary art, experimental cinema, new media, documentary film, and
> academy, to name only a few, Light Industry looks to foster a complex
> dialogue amongst a wide range of artists and audiences within the city.
> For its opening seasons, all events will take a place on Tuesdays at 8PM
> Industry City, an industrial complex in Sunset Park, Brooklyn that's home
> a cross-section of manufacturing, warehousing and light industry. As part
> a regeneration program intended to diversify the use of its 6 million
> feet of space to better reflect 21st century production, Industry City
> includes workspace for artists. In addition to offering studios at
> competitive rates, Industry City also provides a limited number of
> rent-stabilized studios for artists in need of low-cost rental space.
> program was conceived in response to the lack of affordable workspace for
> artists in New York City and aims to establish a new paradigm for
> redevelopment--one that does not displace artists, workers, local
> or industry but instead builds a sustainable community in a context that
> integrates cultural and industrial production.
> More information, including program schedules, location, and directions
> be found at http://www.lightindustry.org
> The Blazing World
> Curated by Thomas Beard and Ed Halter
> March 25, 2008 at 8pm
> 55 33rd Street, 3rd Floor
> Brooklyn, NY
> Ticket Price - $6
> "A map of the world that does not include utopia is not worth even
> at, for it leaves out the one country at which humanity is always
> - Oscar Wilde
> 30/73: Coop Cinema Amsterdam, Kurt Kren, 16mm, 1973, 3 mins
> Swamp, Nancy Holt and Robert Smithson, 16mm, 1971, 6 mins
> Victory Over the Sun, Michael Robinson, 16mm, 2007, 12 mins
> Possible Models, Jenny Perlin, 16mm, 2004, 11 mins
> Wildwood Flower, Keewatin Dewdney, 16mm, 1971, 4 mins
> Berenice, Michael Gitlin, 16mm, 1996, 51 mins
> Light Industry's inaugural event brings together a group of films that
> ponder the vicissitudes of utopian scheming and the search for new
> Juxtaposing the heady, exploratory optimism of the Aquarian age with the
> more sobering observations of contemporary artists, The Blazing World
> attempts to embrace the complexities inherent in what Light Industry sets
> forth to support: the ongoing social experiment in community that
> moving-image art-making.
> Beginning on a reflexive note, Kurt Kren's rarity Coop Cinema Amsterdam
> documents three weeks in the life of the legendary Dutch venue The
> Cinema, condensed into a frantic hallucination through single-frame
> shooting. In Swamp, artist Nancy Holt attempts to navigate her way
> through a
> grassy, muddy stretch of New Jersey wetlands, guided only by the sights
> her Bolex and Robert Smithson's verbal cues. Michael Robinson's Victory
> the Sun revisits the abandoned sites of World's Fairs in the service of
> subtle, sci-fi psychedelia, while Jenny Perlin's hand-drawn film Possible
> Models compares the communitarian dreams of Victor Gruen, architect of
> first shopping mall, with his hypercapitalist spawn: the Mall of America,
> Dubailand, and the "Freedom Ship," a proposed libertarian
> tax-shelter-of-the-seas. Back on dry land, Keewatin Dewdney's Wildwood
> Flower offers up a folk-crafted vision of bucolic innocence that could
> have emerged from 1971.
> Anchoring the lineup, Michael Gitlin's Berenice provides a richly
> psychological costumer set during the decay of an upstate New York
> community in the 1830s. Partially adapted from the Edgar Allen Poe tale
> the same name, blended with texts on phalansterist socialism by Charles
> Fourier and letters from the Transcendentalist commune Brook Farm,
> wends a tale of an old, weird America in search of new social harmonies
> through visionary ideals.
> About Thomas Beard
> Thomas Beard is a curator based in New York. From 2005-2006 he was
> Director of Ocularis, a series for artists' film and video in Brooklyn.
> also served as a programmer at Cinematexas as well as a programming
> consultant for the Internationale Kurzfilmtage Oberhausen, and has
> screenings and exhibitions at Art in General, Aurora Picture Show, the
> York Underground Film Festival, Mass Art Film Society, the Museum of
> Art, and Pacific Film Archive. Most recently he is the editor of Live
> Cinema: A Contemporary Reader, which will be published by San Francisco
> Cinematheque later this year.
> About Ed Halter
> Ed Halter is a critic and curator living in New York City. His writing
> appeared in Arthur, The Believer, Cinema Scope, Kunstforum, Millennium
> Journal, Rhizome, the Village Voice and elsewhere. From 1995 to 2005, he
> programmed and oversaw the New York Underground Film Festival, and has
> organized screenings and exhibitions for the Brooklyn Academy of Music,
> Cinematexas, Eyebeam, the Flaherty Film Seminar, the Museum of Modern
> and San Francisco Cinematheque. He currently teaches in the Film and
> Electronic Arts department at Bard College, and has lectured at Harvard,
> NYU, Yale, and other schools as well as at Art in General, Aurora Picture
> Show, the Foundation for Art and Creative Technology, the Images
> the Impakt Festival, and Pacific Film Archive. His book From Sun Tzu to
> Xbox: War and Video Games was published by Thunder's Mouth Press in 2006.
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.