From: Chrissie Iles (email suppressed)
Date: Thu Oct 09 2008 - 09:18:53 PDT
BETWEEN THE STILL AND MOVING IMAGE, October 1 - November 2
Photography is part of the DNA of cinema. This exhibition and film
series examines the relationship between the still and moving image by
artists and filmmakers whose works use stillness, slowness, light,
cinematographic composition, and movement to construct different
perceptions of time and place.
'VARIETIES OF SLOW' Andrew Lampert
Weekly, October 8-10, 15-19, 22-24 and October 29 - November 2
'Varieties of Slow', a three screen 16mm film installation by Andrew
Lampert, occupies the Film and Video Gallery for four weeks,
constructing a framework of time that operates in direct opposition to
conventional gallery or cinema time.
Each projector projects the film at a different speed - 16, 18 and 24
frames per second. At certain moments during the day, the projectionist
makes interventions that further alter our perception of the way in
which we read the installation - changing the lenses, covering them with
colored gels, and moving the screens' positions within the space. Andrew
Lampert performs his interventions onto the piece live, on November 1
SATURDAY OCTOBER 11 and SUNDAY OCTOBER 26
TIME AND LIGHT
These films slow down the relentless forward movement that characterizes
conventional film. Objects take on an almost photographic quality,
through a focus on stillness, colour, light and form.
11.30 - 12.30pm
Sandra Gibson, 'NYC Flower Film', 2003, 5 min. Super-8 film.
Ernie Gehr, 'Untitled', 1977, 5 min.
Larry Gottheim, 'Blues', 1970, 8 1 /2 min.
Ernie Gehr, Table' (1977), 14 min.
Power Boothe, 'Match', 1974, 4 min.
Babette Mangolte, '(Now) or Maintenant Entre Parentheses', 1976, 10 1/4
Ernie Gehr, 'Wait', 1968, 7 min.
Hollis Frampton, 'Lemon (for Robert Huot)', 1969, 7 min.
1.30pm - 3pm
Time and Light
Peter Gidal, '4th Wall', 1978, 38 1/4 min.
Larry Gottheim, 'Barn Rushes', 1971, 34 min.
Larry Gottheim, 'Fog Line', 1970, 11 min.
3.30 - 4.30pm
Time and Place
The camera explores the city - Times Square, the meatpacking district
and Mulberry Street in the Lower East Side; in one film, the cracks in
the sidewalk become the primary subject. A fixed camera records a silent
street in Lodz in Poland; a flea market in East Berlin is captured just
after the fall of the Berlin Wall.
Rudy Buckhardt, What Mozart Saw on Mulberry Street', 1956, 6 min.
Rudy Buckhardt, 'Square Times', 1967, 6 1/2 min.
Marie Menken, 'Sidewalks', 1966, 6 1/2 min.
Christine Noll Brinckman, The West Village Meat Market, 1979, 11 1/2
Peter Hutton, 'Lodz Symphony', 1991-93, 20 min.
Ernie Gehr, 'This Side of Paradise', 1991, 14 min.
"Gidal poses the problem of the dialectic of representation, through
Peter Gidal, 'Room Film', 1973, 54 min.
Sunday October 12 and Saturday October 25
THE PHOTOGRAPH; THE CAMERA; THE FRAME; THE FILM STRIP
In this group of films, the photograph becomes the subject; the frame is
revealed as a central element in defining the boundary between stillness
and movement. And the composition of the film strip, a series of still
images printed onto celluloid, is made explicit through re-photography.
SUNDAY OCTOBER 12 and SATURDAY OCTOBER 25
Michael Snow, 'Slides Seat Painting Slides Sound Film' (1970), 20 min.
Morgan Fisher, 'Production Stills', 1970, 11 min.
Michael Snow, 'One Second in Montreal' (1969) 26 min.
Babette Mangolte, 'Le Camera: Je', 1977, 88 min.
2pm - 3.30pm
Peter Gidal, 'Heads', 1969, 34 min.
Hollis Frampton, 'Nostalgia', 36 min.
Nancy Graves, Isy Boukir, 1971, 16 min.
4pm - 5pm
Barry Gerson, 'Inversion' (1973), 16 min.
Bill Brand, 'Moment', 1972, 23 1/2 min.
Paul Sharits, 'Brancusi's Sculpture Ensemble at Tirgu Jiu' (1977-84), 21
The Film Strip
Bill Brand, 'Rate of Change: Acts of Light Part 1', 1972-74, 17 min.
Paul Sharits, 'Episodic Generation' (1977-78), 30 min.
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.