ArtSlant - Recently added en-us 40 Bradford Kessler - ASHES/ASHES - September 19th - October 30th <p>ASHES/ASHES is pleased to announce Bradford Kessler&rsquo;s debut Los Angeles solo exhibition <em>ANXIETY SOCIAL CLUB</em>. The exhibition will also feature works by Dylan Abel, Michael Assiff, Korakrit Arunanondchai, Jeff Baij, Ivana Basic, Tony Hope, Ajay Kurian, Maggie Lee, Kristin Smallwood and Yasmeen Sudairy.&nbsp;</p> <p>The exhibition will be on view September 19&ndash;October 30, 2015 with an opening reception on Saturday, September 19, from 7&ndash;9pm.</p> <p>&nbsp;</p> <p>"<em>The ruling ideology today is basically something like a vague hedonism with a Buddhist touch</em>" &ndash; Slavoj Žižek</p> <p><em>ANXIETY SOCIAL CLUB</em> follows up Kessler&rsquo;s exhibitions <em>Land Lords</em> at MonCH&Eacute;RI, Brussels (2015), and <em>Finally Every Dimension of the Soil</em> at American Medium, New York (2015). Abstract, anti-romantic notions of revolution and chaos in both society and nature pulsate across the exhibition&rsquo;s dark ecological synapses. Through a toxic yet innocent transformation of the gallery space, Kessler aims to enable the viewers to apprehend an inner child at the core of the entropic world he depicts. At the center of the space stands <em>David</em> (2015), a young boy protected only by a child-sized, bullet-proof vest and an arm-strapped blade gazing into the mouth of a giant beast. A billboard advertises a <em>Lord of the Flies</em> like vacation with a dirt road leading to a land of suspicious imaginary friends and gerontophilic Googling babies. <em>In the Belly of the Gar</em> (2015), a minimalist chamber modeled after deep-sea exploration equipment holds the decapitated head of a possessed Chucky doll resting on a tall African drum overlooked by two kneeling angels on bongos. A catastrophic symphony of shifting childhood imagination and political ideology are submerged together in a watery grave of art production and entertainment industry processes. Kessler&rsquo;s genre of Žižekian horror explores, if not celebrates, the violent beauty of man&rsquo;s natural descent into savagery and the psychoticism lurking beneath individuality and group thought.</p> <p>Bradford Kessler (b. High Plains, Kansas) received his MFA from the School of Visual Arts, New York, and his BFA from University of Kansas, Lawrence. His work has been shown nationally and internationally including MonCheri, Brussels, Interstate Projects, Brooklyn; American Medium, Brooklyn; 63rd-77th Steps, Bari; Rowing, London; and Witte de With, Rotterdam. Recent solo exhibitions include <em>Pile of Mist</em> at 247365, New York (2014), <em>Stink by Instinct</em> at Welcome Screen, London (2014). He currently lives and works in New York.</p> Sat, 03 Oct 2015 06:52:45 +0000 Jay Kvapil - Couturier Gallery - November 7th - December 23rd <p><strong><span style="text-decoration: underline;">FOR IMMEDIATE RELEASE</span></strong></p> <p>&nbsp;</p> <p><strong>EXHIBITION:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong><strong>JAY KVAPIL: </strong>&nbsp;<strong>Chaos and Control</strong></p> <p>&nbsp;</p> <p><strong>DATES:</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <strong>November 7 &ndash; December 23, 2015</strong></p> <p><strong>OPENING:&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong>Artist&rsquo;s Reception - SaturdayNovember 7,&nbsp; 6-8pm</p> <p><strong>GALLERY HOURS:</strong>&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Tuesday - Saturday, 11am - 5pm</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Couturier Gallery is pleased to present &ldquo;<strong>JAY KVAPIL: <em>Chaos and Control,</em></strong>&rdquo;an exhibition of ceramic vessel forms of intentional intensity and drama.&nbsp; The large-scale thrown vessels in the form of bowls, vases and bottles, clothed with Kvapil&rsquo;s invented vibrant and subtle glazes, strike remarkable balances between two strong opponents, control and chaos.&nbsp; It is the careful marriage of form with surface texture and color created by the ceramist&rsquo;s steady hand and the fire of the kiln.&nbsp; The public is invited to the Artist&rsquo;s Reception on Saturday, November 7<sup>th</sup> , 6-8pm.&nbsp; The exhibition will continue through December 23, 2015.</p> <p>&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The glazing and firing stages of Kvapil&rsquo;s process give birth to the active surface textures which command ones attention.&nbsp; The painterly and fluid glazes set the scene for his interpretations of portraiture and landscape, with crater surfaces or molten lava drips, creating works of great life, character and movement.&nbsp; Kvapil is constantly experimenting in his studio with clay, glaze and kiln to produce new effects, new colors, new textures. Not all of his pieces make it thru the process, many are lost, but those survivors find the balance between chaos and control giving birth to vehicles that express life and death.&nbsp;</p> <p>&nbsp;</p> <p>&ldquo;With these new pieces I have intentionally increased the intensity and drama of each piece. Risk taking in forming, glazing, and firing has increased as well, meaning many pieces were lost in the process of producing these. I do not see these pieces as bowls or bottles, but as paintings, landscapes, and portraits.&rdquo; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&ndash;Jay Kvapil&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jay Kvapil&rsquo;s work has been exhibited in numerous exhibitions including <em>American Porcelain, New Dimensions in an Ancient Art</em>, Smithsonian Institution, Renwick Gallery, Washington, D.C., 1980; Taipei Fine Arts Museum, Taiwan, 1985;&nbsp; <em>On and Off the Wall: Shaped and Colored</em>, Oakland Museum, CA, 1983 to 1985;&nbsp; <em>Satellite Exhibition</em>, Downey Museum of Art, Downey, CA, 1990.&nbsp; Additionally, his work may be found in the public collections of the Long Beach Museum of Art, Long Beach, CA and the San Jose Museum of Art, San Jose, CA.</p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>For further information and/or press photographs please contact the gallery: <a href="" rel="nofollow"></a> .</strong></p> Fri, 02 Oct 2015 20:07:10 +0000 William Pope.L - Susanne Vielmetter Los Angeles Projects - October 23rd - December 5th <p style="text-align: justify;">Susanne Vielmetter Los Angeles Projects is pleased to announce, &ldquo;Forest,&rdquo; our first solo exhibition with William Pope.L opening on October 23, 2015. This exhibition will feature paintings and sculptures in an architectural installation surveying the artist&rsquo;s object-based practice from the mid-1990&rsquo;s through the present. A simultaneous solo exhibition, &ldquo;Desert,&rdquo; at Steve Turner Contemporary will present a new film, &ldquo;Obi Sunt,&rdquo; about the ghost of Joe Gans, the first African American World Boxing Champion, and the mythology that surrounds the resurrection of a past through biography. The exhibitions will be accompanied by a GPS tour of the space in between the &ldquo;forest&rdquo; and the &ldquo;desert,&rdquo; Susanne Vielmetter Los Angeles Projects and Steve Turner Gallery. An artist-led walking tour exploring these themes will leave from each gallery on November 7, 2015. Please contact Ariel Pittman ( for more information about the walking tour leaving from Susanne Vielmetter Los Angeles Projects and how to RSVP.<br /> <br /> William Pope.L is a visual and performance-theater artist and educator who makes culture out of contraries. He has been making multidisciplinary works since the 1970&rsquo;s, and has exhibited internationally including New York, London, Los Angeles, Vienna, Montreal, Berlin, Zurich, and Tokyo. He is a featured artist in the book &ldquo;Intersections&rdquo; edited by Marci Nelligan and Nicole Mauro, and Darby English&rsquo;s &ldquo;How to See a Work of Art in Total Darkness.&rdquo; He participated in the New Museum&rsquo;s 2010 &ndash; 2011 exhibition &ldquo;The Last Newspaper&rdquo; with a reenactment of his infamous &ldquo;Eating the Wall Street Journal&rdquo; performance. In 2011, the Museum of Modern Art in New York invited Pope.L to participate in their &ldquo;FluxKit&rdquo; project. He is the recipient of the 2012 Joyce Foundation Award to create &ldquo;Pull!&rdquo; a large-scale public project presented through Spaces Gallery, Cleveland, OH. In 2013 he created the performance / film project &ldquo;A Long White Cloud&rdquo; at Te Tuhi, Auckland, New Zealand, and presented the solo exhibitions &ldquo;Colored Waiting Room&rdquo; at Mitchell-Innes &amp; Nash, NYC; and &ldquo;Forlesen&rdquo; at The Renaissance Society, Chicago, IL, which also published the accompanying 2014 monograph &ldquo;Pope.L: Showing Up to Withhold.&rdquo; His work was presented as part of the 2014 exhibitions &ldquo;Ruffneck Constructivists&rdquo; at the University of Pennsylvania&rsquo;s Institute of Contemporary Art and &ldquo;Radical Presence: Black Performance in Contemporary Art&rdquo; at Walker Art Center, Minneapolis, MN; and in the solo exhibitions &ldquo;Claim&rdquo; at Littman Gallery, Portland, OR, and &ldquo;Gold People Shit in their Valet,&rdquo; at Galerie Catherine Bastide, Brussels, Belgium. The Geffen Contemporary at MOCA, Los Angeles, CA, presented his 2015 solo exhibition &ldquo;William Pope.L: Trinket.&rdquo;</p> Fri, 02 Oct 2015 17:59:37 +0000 Eric Mack - OHWOW Los Angeles - October 17th - November 10th Fri, 02 Oct 2015 17:55:08 +0000 Tracy Molis - Night Gallery - October 24th - November 21st Fri, 02 Oct 2015 17:51:43 +0000 Sean Townley - Night Gallery - October 24th - November 21st Fri, 02 Oct 2015 17:51:42 +0000 Tomory Dodge - ACME - October 17th - November 14th Fri, 02 Oct 2015 17:50:14 +0000 Pepe Cruz, Ana Santos, Irving Herrera, Photographic Collective of Oaxaca, and more - Social and Public Art Resource Center (SPARC) - October 24th 5:00 PM - 7:00 PM <p>The Dur&oacute;n Gallery at SPARC will present our closing event with a discussion for &nbsp;&ldquo;New Codex Oaxaca: Immigration and Cultural Memory.&rdquo; A touring exhibit curated by Marietta Bernstorff, that looks into the lives and narratives of Oaxacan people, who following the &ldquo;Sue&ntilde;o Americano&rdquo; immigrated and settled in the Westside of Los Angeles. The exhibition offers an intimate view into the struggles faced in the dangerous journey, the memories and desolate families left behind, and the unjust immigration policies met with upon arrival. The exhibition depicts a human story that allows us to understand why someone would venture into the unknown journey across borders.</p> <p><strong>The Sparking Dialogue Series: Conversations on Art, History and Culture in Los Angeles</strong><br />This discussion consists of a conversation with scholars, activists and artists on the struggles of immigration and keeping a culture alive through language, art and historical memory.</p> <p><strong><em>Invited panelist:</em></strong><br />Ruben Martinez (writer, performer and teacher)<br /> Dr. Gaspar Rivera Salgado (Project Director at UCLA Center for Labor Research and Education)<br /> Yolozee Odilia Romero Xhogosh&nbsp; (Vice General Coordinator Frente Ind&iacute;gena de Organizaciones Binacionales FIOB)<br /> Dr. Xochiltl M. Flores-Marcial (Latin American History)</p> Fri, 02 Oct 2015 23:00:41 +0000 UCLA’s César E. Chávez Chicana/o Studies Department students - Social and Public Art Resource Center (SPARC) - November 1st 5:30 PM - 8:30 PM <p>SPARC-UCLA presents their annual <strong>&ldquo;D&iacute;a de los Muertos / Day of the Dead&rdquo; </strong>ceremony to honor the dearly departed with the annual ritual of <em>The Calling of the Spirits. </em>The traditional ceremony will start at 6:00P.M., guided by UCLA instructor and SPARC&rsquo;s Artist in Residence, Martha Ramirez-Oropeza, and her UCLA&rsquo;s C&eacute;sar E. Ch&aacute;vez Chicana/o Studies Department students. As in previous years, the ritual and altar setting invites community participation. Please bring a photo of a loved-one, and his or her personal memento to place on the altar.</p> <p>An evening of altars, music, and food!</p> Fri, 02 Oct 2015 17:06:44 +0000 Group Show - UCI Art Gallery - October 3rd - December 12th <p id="yui_3_16_0_1_1443723336549_3858" style="text-align: justify;"><em id="yui_3_16_0_1_1443723336549_3887">Libindinal Economies: Art in the Age of Bull Markets&nbsp;</em>takes as its economic mise-en-sc&egrave;ne the bull run market of 1982 (that crashed in 1987), tracing its origins in monetary policies of the 1970&rsquo;s, and mapping its echoes in the recent redux of this bull run from 2009 to the present. The New York Stock Exchange (where the selling and buying of securities, currency and commodities takes place)and the art world (where the critique ofWall Street culture is derived and scripted) presumably constitute two distinct psychic and fiscal economieslocated in two different physical locations. The former is supposed to be rational, mathematical and regulated, the latter libidinal, creative and subversive. However, that isn&rsquo;t true. The art world, in fact, has proven to be the bohemian substrate of the real deal, the bottom line, of the financial market. The gallery system, in the 80s and even more so recently, is the physical location &ndash; the center of mass &ndash; where these two celestial bodies effortlessly orbit each other with near mathematical precision. In this way, the economic and aesthetic spheres share a gravitational pull because they are &ndash; libidinally and economically &ndash; inextricably connected. Given so,&nbsp;<em>Libidinal Economies</em>&nbsp;showcases film works &ndash;experimental, narrative, and documentary &ndash; that are provoked by this cultural condition. As such, we are to consider these films as demonstrating various critical positions of resistance to the art market. But in so doing, this critique is made, naturally, from the inside, as there no longer is any way out of this closed system.</p> <p id="yui_3_16_0_1_1443723336549_3886" style="text-align: justify;">Artists: Yael Bartana, Maura Brewer, Hollis Frampton, Constanze Ruhm, Mike Kelley and Paul McCarthy, Axel Stockburger and Christoph Meier, Michael Snow, Benjamin Van Bebber and Bastian Zimmermann</p> <p id="yui_3_16_0_1_1443723336549_3879" style="text-align: justify;"><strong id="yui_3_16_0_1_1443723336549_3885">Film Series:&nbsp;<em id="yui_3_16_0_1_1443723336549_3884">Towards a Libidinal Aesthetics&nbsp;</em></strong></p> <p id="yui_3_16_0_1_1443723336549_3859" style="text-align: justify;">A weekly film-series,&nbsp;<em id="yui_3_16_0_1_1443723336549_3878">Towards a Libidinal Aesthetics</em>, will accompany the exhibition following late gallery hours on Thursday evenings.&nbsp; The series will showcase long-form, mainstream and alternative cinema, and will include original 16mm prints of Michael Snow&rsquo;s&nbsp;<em>Wavelength&nbsp;</em>(1967) as well as Hollis Frampton&rsquo;s&nbsp;<em id="yui_3_16_0_1_1443723336549_3883">(nostalgia)&nbsp;</em>(1973).</p> <p id="yui_3_16_0_1_1443723336549_3864" style="text-align: justify;">Click&nbsp;<a href="" rel="nofollow" target="_blank">here</a>&nbsp;to see the schedule.</p> Thu, 01 Oct 2015 18:55:42 +0000 - UCI Art Gallery - October 3rd - December 12th <p style="text-align: justify;">The rise of audiocassettes peaked in the 1980s, yet the relevance of mix tapes is still recognized today as a way of compiling songs, ideas and thoughts around a particular theme. Alternatively, the influence of pop culture and cassette tapes were popularized during the 1979 Iranian Revolution in which cassettes were used to spread sermons by Khomeini to a public, some of whom were illiterate. In this context, the cassette became a catalyst for social change &ndash; a mobilizing device for subversive speech. The role of songs and sermons were strongly affected by a nationalism that spread like wildfire in resistance to Westernization. This religious revolt led directly into the Iran-Iraq war (1980-1988), a war with no material gain. Shagha Ariannia&rsquo;s three-part installation is both a recollection and transposition of this moment.</p> <p style="text-align: justify;">The exhibition itself includes an audiocassette, <em>Our Future Is The Approaching Past</em>, 2012, which features recordings from 1978 to 1993 of Iranian revolutionary songs dubbed over the voice of the artist and her brother as children learning English with their mother. A video projection presents a montage of original and found footage including scenes from the popular Iranian children&rsquo;s film <em>City of Mice</em> (1985), a story of mice that must immigrate due to the invasion of a cat who wishes to consume them. Within the appropriated imagery Ariannia inserts footage of a typical Los Angeles landscape, swimming pools and palm trees, disrupted by fists beating against the water creating bomb-like silhouettes.&nbsp; Audio taken from documentary footage of the Iran-Iraq war is then overlaid within the video. The third part of the installation includes a mono print diptych depicting two historical sites &ndash; the first image being Los Angeles in the early 1930s during the first planting of palm trees after the Olympic Coliseum. This transplanting created the iconic Southern California landscape we recognize today: the illusion of a tropical paradise or Mediterranean oasis. The second image depicts the decimated date palms in Southern Iran, the most affected area by the war, which as a result are inherently associated with the wartime landscape. The palm trees&rsquo; symbolic resonance is thus always contradictory, representing loss and victory, luxury and waste. The planting of palm trees also represents a fantasy of home away from home for those who have emigrated from the Middle East to Southern California. Taken together, the exhibition&rsquo;s three parts form a screen memory, which simultaneously points towards the past whilst reconstructing the present. In this way, <strong><em>MIXTAPE: Goodbye street, Goodbye home </em></strong>is a symbolic representation for trauma, identity and the site of home.</p> Thu, 01 Oct 2015 18:53:30 +0000 Group Show - Los Angeles Contemporary Exhibitions (LACE) - October 15th 7:30 PM - 10:00 PM <p><strong>Thursday October 15, 2015, 7:30 pm&nbsp;</strong></p> <p><strong>Los Angeles Filmforum presents</strong><strong><br /> </strong><strong>Abstract Video: The Moving Image in Contemporary Art</strong><strong><br /> </strong><strong>At LACE, 6522 Hollywood Blvd., Los Angeles CA 90028</strong><strong><br /> <br /> </strong><strong>Gabrielle Jennings in person!</strong><br /> <strong><br /> </strong>Filmforum is pleased to present a program of works highlighting artists featured in the recent publication, <em>Abstract Video: The Moving Image in Contemporary Art,</em> edited by Gabrielle Jennings and published by the University of California Press. This groundbreaking volume includes a diverse set of essays centered on the question of abstraction in the moving image arts.</p> <p>Like the book, this program is a diverse consideration of how the abstract is manifested in the moving image arts. The program covers a broad mix of contemporary and historical works drawing on the essays featured in the book, and representing the breadth, depth and variety the volume has to offer. Works screened will include pure filmic abstractions, handmade and computer generated animation, eccentric digital image manipulation, and submerged narratives from artists that include: Pierre Huyghe, Lynn Marie Kirby, Lutz Becker, Stan Brakhage, Robert Breer, Ariel Jackson, Jennifer West, John Whitney, Jud Yalkut and Nam June Paik, among others. Program co-curated by Gabrielle Jennings and Mark Toscano.</p> <p><strong>About the Book - <em>Abstract Video: The Moving Image in Contemporary Art</em></strong><br /> Offering historical and theoretical positions from a variety of art historians, artists, curators, and writers, this groundbreaking collection is the first substantive sourcebook on abstraction in moving-image media. With a particular focus on art since 2000, Abstract Video addresses a longer history of experimentation in video, net art, installation, new media, expanded cinema, visual music, and experimental film. Editor Gabrielle Jennings&mdash;a video artist herself&mdash;reveals as never before how works of abstract video are not merely, as the renowned curator Kirk Varnedoe once put it, &ldquo;pictures of nothing,&rdquo; but rather amorphous, ungovernable spaces that encourage contemplation and innovation. In explorations of the work of celebrated artists such as Jeremy Blake, Mona Hatoum, Pierre Huyghe, Ryoji Ikeda, Takeshi Murata, Diana Thater, and Jennifer West, alongside emerging artists, this volume presents fresh and vigorous perspectives on a burgeoning and ever-changing arena of contemporary art.<a href="" rel="nofollow"></a></p> <p><strong>Gabrielle Jennings</strong> is a multi-media artist and Associate Professor teaching in the Graduate Art program at the ArtCenter College of Design in Pasadena. Most recently, Jennings has edited a collection of essays for University of California Press <em>Abstract Video: The Moving Image in Contemporary Art</em>. This groundbreaking volume includes a diverse set of essays centered around the question of abstraction in the moving image arts. <a href="" rel="nofollow"></a><br /> <br /> For more event information:&nbsp;<a href="" rel="nofollow"></a>, or&nbsp;323-377-7238&nbsp;&nbsp; &nbsp;<br /> <br /> Tickets: $10 general, $6 students/seniors/LACE members; free for Filmforum members.&nbsp; Available by credit card in advance from Brown Paper Tickets at&nbsp;<a href="" rel="nofollow"></a> or at the door.</p> <p><span style="text-decoration: underline;">Screening:</span></p> <p><strong>Rhythmus 21 (Hans Richter, ca.1921, 3.5m)</strong> <br /> "The simple square of the movie screen could easily be divided and 'orchestrated&rsquo;&hellip; These divisions or parts could then be orchestrated in time by accepting the rectangle of the 'movie canvas' as the form element. In other words, I did again with the screen what I had done years before with the canvas. In doing so I found a new sensation:&nbsp;<em>rhythm</em>&mdash;which is, I still think, the chief sensation of any expression of movement." &ndash; Hans Richter, 1952</p> <p><strong>Jacaranda Tree Chalon Road Exposure: Brazilian Export (Lynn Marie Kirby, 2004, digital, color, silent, 4.5m)&nbsp; </strong></p> <p>"In her new series of 'Latent Image Excavations,' [Kirby] investigates the American landscape by exposing 16mm film stock at different sites, without a camera, absorbing the light of carefully chosen locations. The developed film is then manipulated through a film-to-digital transfer machine. She literally performs the material as it is being transferred, using the machine in a unique way that retains both unpredictable film artifacts&mdash;splices, sprocket holes, scratches, leader lettering&mdash;and digital ones: icons embedded in the machine, geometric color bars and fields, as well as the indications of fast forwarding and technical overload, all elements that are usually unwanted and unseen." (Kathy Geritz, Berkeley Art Museum/Pacific Film Archive)</p> <p><strong>Beatles Electroniques (Jud Yalkut &amp; Nam June Paik, 1966-69, 16mm, color, sound, 3m) </strong></p> <p>"BEATLES ELECTRONIQUES was shot in black-and-white from live broadcasts of the Beatles while Paik electromagnetically improvised distortions on the receiver, and also from videotaped material produced during a series of experiments with filming off the monitor of a Sony videotape recorder. The film is three minutes long and is accompanied by an electronic soundtrack by composer Ken Werner, called 'Four Loops,' derived from four electronically altered loops of Beatles sound material. The result is an eerie portrait of the Beatles not as pop stars but rather as entities that exist solely in the world of electronic media." - Gene Youngblood, <span style="text-decoration: underline;">Expanded Cinema</span></p> <p><strong>Lavender Mist Film/Pollock Film 1 (Jennifer West, 2009, digital, 46 seconds) </strong></p> <p>70mm film leader rubbed with Jimson Weed Trumpet flowers, spraypainted, dipped and splattered with nail polish, sprayed with lavender mist air freshener. &ndash; Jennifer West</p> <p><strong>Salt Crystals Spiral Jetty Dead Sea Five Year Film (Jennifer West, 2013, digital, 54 seconds) </strong></p> <p>70mm film negative floated in the Dead Sea and given a healing clay bath in extreme heat in 2008 - stuffed in a suitcase, placed in studio buckets, covered in clay and salt for five years - dragged along the salt encrusted rocks of the Spiral Jetty and thrown in the pink waters in 2013 in below 10 degree weather - Dead Sea floating and mud baths by Mark Titchner, Karen Russo and Jwest - Spiral Jetty dragging and rolling by Aaron Moulton, Ignacio Uriarte and Jwest - DIY telecine frame by frame of salt covered film by Chris Hanke. &ndash; Jennifer West&nbsp;</p> <p><strong>Mothlight (Stan Brakhage, 1963, 16mm, color, silent 24fps, 3.5m) </strong></p> <p>"Essence of lepidoptera re-created between two strips of clear mylar tape: an anima animation. What a moth might see from birth to death if black were white and white were black." - Stan Brakhage</p> <p><strong>69 (Robert Breer, 1968, 16mm, color, sound, 4.5m) </strong></p> <p>"69 undoes itself. It starts out like a system, then the system breaks down and goes to hell. During the editing I came up with the idea that it should break down, so I shuffled the cards. I thought it served me right to undo my own pretence at formal purity." - Robert Breer</p> <p><strong>Horizon (Lutz Becker, 1966, digital (orig 16mm), color, sound, 5m)</strong></p> <p>"Lutz Becker made this film while working experimentally with BBC electronics engineer Ben Palmer. Becker hoped &lsquo;we might find some kind of equivalent to electronic music. We explored ways in which visual effects could be created through utilizing a feedback circle between .. TV cameras and monitors&rsquo;. Made in the age of black and white TV, the film had colour added later in an optical film printer. It was transmitted by the BBC in 1969." - Tate Britain</p> <p><strong>Blanche-Neige Lucie (Snow White Lucie) (Pierre Huyghe, 1997, video, color, sound, 3.5m) </strong></p> <p>Huyghe&rsquo;s film <em>Blanche Neige Lucie</em> focuses on Lucie Dol&egrave;ne, the woman who provided the voice for Disney&rsquo;s French version of <em>Snow White and the Seven Dwarfs</em> (1937)... &lsquo;When I gave my voice to that character,&rsquo; she says, &lsquo;that beautiful little princess, graceful and innocent, I was Snow White ... Yes, absolutely ... Today when I watch the film I have a strange feeling, it&rsquo;s my voice and yet it doesn&rsquo;t seem to belong to me anymore, it belongs to the character and to the story.&rsquo; Perhaps, but in Blanche Neige Lucie she challenges Snow White with Snow White&rsquo;s voice, reinhabits her own creation, haunts herself." - Tom Morton, <span style="text-decoration: underline;">Frieze</span>, April 2003. Special thanks to Marian Goodman Gallery.</p> <p><strong>Here&rsquo;s Hoping (AKA The Blues) (Ariel Jackson, 2013, 7.5m)</strong></p> <p>"'How can we protect our colors so we don't have to give them to somebody else?'</p> <p>Confuserella dislocates herself in order to answer this question after experiencing a natural disaster." - Ariel Jackson</p> <p><strong>The Promise of Light (Rico Gatson, 2013, digital video, color, sound, 8m)</strong></p> <p>"<em>The Promise of Light</em> combines footage of atmospheric light and sound layered upon graphic historic imagery. The light in the video is transitional, alluding to journey, transformation, and the passage of time." -Ronald Feldman Fine Arts. Special thanks to Ronald Feldman Fine Arts.</p> <p><strong>Permutations (John Whitney, 1968, 16mm, color, sound, 7m) </strong></p> <p>"An utterly formative computer animation classic, <em>Permutations</em> is an early apotheosis of John Whitney&rsquo;s deep- and far-reaching ideas about image, motion, and the complementarity of music and visual art." - Mark Toscano<br /> ---------------
<br /> This program is supported by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; the Department of Cultural Affairs, City of Los Angeles; Bloomberg Philanthropies; and the Mike Kelley Foundation for the Arts. We also depend on our members, ticket buyers, and individual donors.<br /> <br /> Los Angeles Filmforum is the city's longest-running organization screening experimental and avant-garde film and video art, documentaries, and experimental animation.&nbsp; <br /> <br /> Coming Soon to Los Angeles Filmforum:<br /> Oct 18&nbsp;- Experimental Landscapes I: Landscape and the Body at Work and Play<br /> Oct 25&nbsp;- Roberta Friedman &amp; Grahame Weinbren<br /> <br /> Memberships available, $70 single, $115 dual, or $50 single student<br /> Contact us at&nbsp;<a href="" rel="nofollow"></a>.<br /> Find us online at&nbsp;<a href="" rel="nofollow"></a>.<br /> Become a fan on Facebook and follow us on Twitter @LosAngFilmforum!</p> <p>&nbsp;</p> <p>&nbsp;</p> Thu, 01 Oct 2015 05:23:48 +0000 Roberta Friedman, Grahame Weinbren - Spielberg Theatre at the Egyptian - October 25th 7:30 PM - 10:00 PM <p><strong>Sunday October 25, 2015, 7:30 pm </strong></p> <p><strong>Los Angeles Filmforum presents</strong></p> <p><strong>Roberta Friedman &amp; Grahame Weinbren: String Theory</strong></p> <p><strong>At the Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd., Los Angeles CA 90028</strong></p> <p>&nbsp;</p> <p><strong>Roberta Friedman &amp; Grahame Weinbren</strong> <strong>in person!</strong></p> <p>String theory fulfills a long sought after goal of theoretical physics: to describe a single basis for the whole of material reality, a 'theory of everything.' If this desire isn't poetic enough by itself, the notion that the elementary components of the universe are tiny vibrating strings is an inspiration. String Theory and Superstring Theory are, so they say, "good mathematical models for Nature at the smallest distance scales." And <em>smallest</em> is indeed the word for it: the average size of a string is theorized to be about a millionth of a billionth of a billionth of a billionth of a centimeter.</p> <p>For Roberta Friedman and Grahame Weinbren, the image of strings and vibration as the basis of everything is a good model for their collaborative work over the years. They are interested in vibrations and resonances, the music of human behavior and social relations, and the way these notes and chords form themselves into larger structures, sometimes stories, other times symphonies, sonatas, or 12 bar blues.</p> <p>For more event information: <a href="" rel="nofollow"></a>, or 323-377-7238&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p>Street parking is discouraged on Thursday nights due to towing in the area. Paid parking is available behind LACE in the lot off Wilcox.</p> <p>Tickets: $10 general, $6 students/seniors; free for Filmforum members.&nbsp; Available by credit card in advance from Brown Paper Tickets at <a href="" rel="nofollow"></a> or at the door.</p> <p>Friedman and Weinbren will be presenting additional, different screenings at <a href="" rel="nofollow">REDCAT on Monday October 26</a> and at the <a href="" rel="nofollow">Echo Park Film Center on Saturday October 31</a>.</p> <p><span style="text-decoration: underline;">Screening:</span></p> <p><strong>Post Future Past Perfect&nbsp; </strong></p> <p><strong>(1978/2004, hybrid 16mm / digital media, 11 min.) </strong></p> <p><strong>Los Angeles Premiere</strong></p> <p>Filmed in our studio New York in 1978, with ink marks hand drawn&nbsp; on the 16mm print according to algorithms, painted on the walls, then discovered by the camera, then re-marked with 'virtual' tools on digital media almost 30 years later.</p> <p><strong>&ldquo;Father Don&rsquo;t You See?&rdquo;&nbsp;&nbsp; </strong></p> <p><strong>(1983-85 / 2003, DVD / SD video, 5 min.) </strong></p> <p><strong>Los Angeles Premiere</strong></p> <p><em>(Extracted from </em>The Erl King<em> interactive cinema work and reworked for DVD in 2003). </em>This short piece exposes a parallel between the &ldquo;Burning Child Dream&rdquo; described by Freud and the Goethe &ldquo;Erlkoenig&rdquo; narrative poem, set to music by a very young Schubert.</p> <p><strong>Terms of Analysis </strong></p> <p><strong>(1982, 16mm, 15 min.)</strong></p> <p><strong><em>with composer / trombonist James Fulkerson</em></strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p>Made in collaboration with composer/trombonist James Fulkerson, who appears throughout the film. Though we didn't know it at the time, this was our last 16mm film. Looking askance at some of the terms used in film and media analysis of the time (many of them still alive in academic jargon), is set against personal, life-transforming events and documentation of change &mdash; of seasons, of living and working spaces, and of two cities.</p> <p><strong>The Lions of Peter Paul Rubens </strong></p> <p><strong>(2008, HD media, 10 min.)</strong></p> <p><strong>Los Angeles premiere!</strong></p> <p><em>Investigating the painting</em> <strong>Daniel in the Lions Den</strong><em> by Peter Paul Rubens. </em>Commissioned by National Gallery of Art, Washington DC</p> <p>Like Rubens, we had only one male lion to work with (Felix), who was cajoled into adopting the poses of every lion in the Rubens painting. Unlike Rubens' models, there were two lionesses at Hollywood Animals, and they are both in the film.&nbsp; Among other things, this film highlights the lions' eye-lines as well as the always fascinating relationship of representation to reality.</p> <p><strong>Straight from Bertha</strong>&nbsp;</p> <p><strong>(2015, Hybrid: 16mm, video, HD video, 42 min. total)</strong></p> <p><strong>Los Angeles Premiere!</strong></p> <p>&nbsp;I&nbsp; &ndash;&nbsp; Bertha&rsquo;s Children (1976, 7 min.)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p>II&nbsp; -&nbsp; Bertha&rsquo;s Grandchildren (2009, 9.5 min.)</p> <p>III &ndash; Bertha&rsquo;s Great Grandchildren (2015, 26 min.)</p> <p>Straight from Bertha is a non-linear intimate portrait of an extended American family. The film's 'subjects' are descendants of Bertha Gorman, filmmaker Roberta Friedman's great aunt, with acerbic commentary by Norma Passy, Bertha's 85 year old niece. We meet Bertha's adult children in 1976 in a Soho loft, Bertha's adult grandchildren in 2005 on a New York rooftop, and Bertha's adult great-grandchildren in 2012 in the Millennium Film Workshop, under demolition and about to close its doors forever.</p> <p>Acknowledgements:</p> <p>Z&rsquo;ev, the graffiti writer in the<em> Erl King</em> photographs</p> <p>Anthony Forma, who shot most of our films</p> <p>Sheldon Friedman, who is indispensible on many of our productions</p> <p>Black Maria Inc., our fiscal sponsor</p> <p>Jon Gibson, who graciously loaned his loft to shoot <em>Bertha's Children</em></p> <p><strong>Roberta Friedman</strong> is a filmmaker and producer with work that spans a large assortment of film and video productions shown widely in the United States and Europe. Projects have ranged from artistic, experimental works to narrative features, television documentaries and series. &nbsp;&nbsp;She is a founding board member of the iota fund that supports abstract animation, and most recently has been producing a series of video installations called <em>Cosmopolis: 49 Waltzes for the World</em> about the disappearing sounds in cities on the cusp of change including New York, Beijing, Cairo, and Detroit. &nbsp;&nbsp;</p> <p>She began her media career in radio and had a long running show on KPFK in Los Angeles.<br /> Friedman has an MFA in Film from California Institute of the Arts, and is currently an associate professor and coordinator of the Film Program in the School of Communication &amp; Media at Montclair State University in New Jersey.<br /> <br /> <strong>Grahame Weinbren</strong> is a filmmaker, writer and editor. His art practice includes interactive installations, artists' cinema, and experimental documentaries. His writings about cinema, media art, and philosophical issues generated by emerging technologies are widely published. He is the senior editor of the <em>Millennium Film Journal</em> and a member of the graduate faculty of the School of Visual Arts in New York City. He studied Philosophy at University College London and SUNY Buffalo.</p> <p>Working together at CalArts in the 1970s, Friedman and Weinbren explored mathematical structures, film as music, movie syntax and avant-garde narratives with a singular wit in their early films before turning to multimedia and interactive video installation, of which <em>The Erl King </em>(1983&ndash;86, Whitney Biennial 1987) was a groundbreaking example. They have continued to collaborate while also working individually.</p> <p>---------------<br /> This program is supported by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; the Department of Cultural Affairs, City of Los Angeles; Bloomberg Philanthropies; and the Mike Kelley Foundation for the Arts. Additional support generously provided by American Cinematheque. We also depend on our members, ticket buyers, and individual donors.</p> <p>Los Angeles Filmforum is the city's longest-running organization screening experimental and avant-garde film and video art, documentaries, and experimental animation.&nbsp; 2015 is our 40<sup>th</sup> year.</p> <p>Memberships available, $70 single, $115 dual, or $50 single student</p> <p>Contact us at</p> <p>Find us online at</p> <p>Become a fan on Facebook and follow us on Twitter @LosAngFilmforum!</p> Thu, 01 Oct 2015 05:16:15 +0000