STREET now open! Chicago | Los Angeles | Miami | New York | San Francisco | Santa Fe
Amsterdam | Berlin | Brussels | London | Paris | São Paulo | Toronto | China | India | Worldwide
 
San Francisco

Berkeley Art Museum and Pacific Film Archive

Exhibition Detail
Alternative Visions/Radical Light: Abstraction in Film
2625 Durant Avenue
#2250
Berkeley, CA 94720-2250


February 16th, 2011 7:30 PM - 9:00 PM
 
,
> QUICK FACTS
EVENT TYPE:  
Screening
WEBSITE:  
http://www.bampfa.berkeley.edu
NEIGHBORHOOD:  
East Bay
EMAIL:  
bampfa@berkeley.edu
PHONE:  
510.642.0808
OPEN HOURS:  
Wed - Sun 11am-5pm
SCHOOL ASSOCIATION:  
UC Berkeley (University of California Berkeley)
TAGS:  
video-art, abstract
COST:  
$5.50-$9.50
> DESCRIPTION

Alternative Visions/ Radical Light: Alternative Film and Video in the San Francisco Bay Area
Abstraction in Film

Elise Hurwitz and Nathaniel Dorsky in Person

Film is often associated with its ability to represent the world, but there is also a rich history of films that attempt to see the world differently by using non-objective forms, painting directly on film, or fragmenting, distorting, and otherwise transforming reality. Tonight’s program, featuring Bay Area films that use abstraction, ranges from the 1950s to the 1990s and includes films that are minimal, psychedelic, and composed solely of unexposed film stock. Obmaru is animated from Patricia Marx’s paintings, while Dion Vigné’s Stroboscopic Images consists of pulsating abstract, geometric shapes. Jordan Belson describes his mesmerizing Allures as “a combination of molecular structures and astronomical events mixed with subconscious and subjective phenomena.” In the dream-like XFilm, by John Schofill, abstraction is found in the everyday. Barry Spinello’s elemental Soundtrack was made without a camera and without recording sound, instead painting directly on film. Vincent Grenier’s Light Shaft reveals his “obsessive attachment to cultivating visual ambiguities.” In Metal Cravings, Elise Hurwitz focuses on film’s emulsion, as does Nathaniel Dorksy in his Pneuma; both beautifully reveal the deterioration of film itself. —Kathy Geritz

Obmaru (Patricia Marx, 1953, 4 mins, Color, From Academy Film Archives, permission Angeline Pike). Allures (Jordan Belson, 9 mins, B&W, 1961, PFA Collection). Stroboscopic Images (Dion Vigné, 1964, 6 mins, PFA Collection). XFilm (John Schofill, 1968, 14 mins, Color, From Canyon Cinema). Soundtrack (Barry Spinello, 1969, 10 mins, B&W/Color, From Canyon Cinema). Light Shaft (Vincent Grenier, 1975, 8 mins, Silent, B&W, From Canyon Cinema). Metal Cravings (Elise Hurwitz, 1990–1997, 5 mins, Silent, B&W, From the artist). Pneuma (Nathaniel Dorsky, 1983, 29 mins @ 18fps, Silent, Color/B&W, From Canyon Cinema).

• (Total running time: 85 mins, 16mm)

This program coincides with the opening of the gallery exhibition Abstract Now and Then, which features highlights from BAM/PFA’s extensive collection of abstract work from the 1940s to the present.


Copyright © 2006-2013 by ArtSlant, Inc. All images and content remain the © of their rightful owners.