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New York

envoy enterprises

Exhibition Detail
What Is Life Without The Living?
Curated by: Bradford Nordeen
131 Chrystie Street
New York, NY 10002


October 21st, 2010 8:00 PM - 10:00 PM
Opening: 
October 1st, 2010 6:00 PM - 8:00 PM
 
A,Luther PriceLuther Price, A, 1995, Film
© The Artist
> QUICK FACTS
EVENT TYPE:  
Screening
WEBSITE:  
http://www.envoyenterprises.com
NEIGHBORHOOD:  
east village/lower east side
EMAIL:  
office@envoyenterprises.com
PHONE:  
212-226-4552
OPEN HOURS:  
Wednesday-Sunday, 12-6pm, and by appointment
TAGS:  
experimental film pop, avant-garde video-art, avant-garde, diva, drag, queer
> DESCRIPTION

Program:

David Scheid, Margot Kidder 2005, 13 min, video
Luther Price, A 1995, 60 min, B&W and Color Super8mm (screened on DVD)

Two experimental queer works address queer narrativity in the popular realm of the dream-machine. The program title misremembers the opening lyric of the theme to Imitation of Life. The tune hauntingly floods Luther Price’s A. Alongside David Scheid’s video, Margot Kidder, these works use drag performativity and collage tactics to reconstruct Hollywood from a space of queer fantasy, creating private narratives from popular fiction. The event is curated by moving-image scholar Bradford Nordeen and with a special introductory message by author and critic Kevin Killian.

Named one of the top-20 living avant-garde filmmakers in Film Comment’s recent poling, Boston-based super-8 filmmaker Luther Price has been frequently likened to Jack Smith, Karen Finley and Matthew Barney for his raw, visceral cinema. In A Price concocted the most narrative tale of his 25-year career: a cyclical feature in which a faded starlet (Edie) courts suitor after suitor and fades into an alcoholic Lassie-laden haze. Price portrays the heroine as she spirals deeper into destructive delusions, turning on her lovers like an amped-up Jeanne Dielman. Edie is also a ghostly, childhood memory, based on Price’s mother and her obsessive viewing of woman’s pictures.

David Scheid is a video artist whose work addresses pathology and obsessive compulsive disorder. Margot Kidder meticulously reconstructs 3 films from the actress’ golden period to illuminate Kidder’s peculiar personal narrative. Scheid infers that Kidder’s infamous downfall was present all along in these fragile performances. Margot Kidder throws these clues into plain view, presenting a dismaying decoding of these otherwise commercial films. Like Price’s work, the film also serves as an intimate portrait of a male fan’s obsession with a female star. The 13-minute found-footage film is an alarming depiction of the filmmaker’s arousal, disdain, compassion and compulsion towards the eponymous subject.

This event will be accompanied by a free publication of images, illustrations, an essay, and artist writings designed by Deric Carner.


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