[Frameworks] An Archive of Intersections this Tuesday, October 22 at Film-Makers' Cooperative

[Filmmakers Cooperative]

Dear Film Friends,

The Film-Makers' Cooperative is pleased to welcome Josh Guilford of Magic
Lantern Cinema to curate a night of films from the collection.

We hope to see you there!

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*An Archive of Intersections*

*Tuesday, October 22nd at 7:30PM*

*Charles S. Cohen Screening Room*

*Film-Makers' Coop*

*475 Park Ave South at 32nd Street*

*Suggested Donation: $10*

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*Facebook event: https://www.facebook.com/events/341564309321068/*
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The Film-Makers’ Cooperative was founded during a period of vertiginous
crossover and exchange within the arts. Its expansive collection speaks to
the lasting influence of this interdisciplinary spirit. A treasury of
artistic collaborations that span individual disciplines, it also serves as
a repository of cinema’s own transactions with various artistic forms since
mid-century – a space where film poems mix with visual symphonies,
adaptations of experimental theater, and forays into the cine-dance.

Approaching the Coop’s collection as an archive of intersections between
seemingly discrete artistic practices and forms, this screening presents a
set of films that respond cinematically to a range of different media, from
architecture to object art, happenings, painting, and sculpture. The works
in this program thus present a remarkably porous conception of cinema,
revealing a filmic medium that is profoundly open to the insights and
impulses of the other arts.

*Curated by Josh Guilford of Magic Lantern Cinema.*

*FEATURING:*
Vernon Zimmerman, “Scarface and Aphrodite,” 1963, 15 min.
An experimental documentation of Claes Oldenburg’s happening Gayety, which
Zimmerman shot in Chicago in February of 1963, just before Oldenburg
relocated to Venice.

Dick Higgins, “Hank and Mary Without Apologies,” 1970, 18 min.
This pulsing examination of form, color, and perception by an early
proponent of intermedia explorations includes a soundtrack recorded during
Ray Gun Specs, a 1960 happening with performances by Higgins, Oldenburg,
Jim Dine, Allan Kaprow, Red Grooms, and others.

Marie Menken, “Watts with Eggs,” 1967, 2 min
A playful animation of Fluxus artist Robert Watts’s chrome-casted Box of
Eggs by a filmmaker who began her artistic career as a painter, and who
“moved adroitly between the media of paint and light, canvas and screen.”
-Melissa Ragona

Ericka Beckman, “Switch Center,” 2002, 10 min.
“Switch Center is a tribute to the futuristic architecture of the Soviet
post war period, and a reaction to seeing it transitioned to shopping malls
or global corporate office structures.” -E.B.

Paul Sharits, “Brancusi’s Sculpture Ensemble at Tirgu Jiu,” 1981, 21 min
“This film is a ‘chronicle’ of a visit I made in 1977 to Romania to
experience three of Brancusi’s most famous sculptures: ‘The Endless
Column’; ‘The Gate of the Kiss’; ‘The Table of Silence’; (and the lesser
known ‘Arcade of Pedestals,’ the modular system of stools which lead from
the ‘Gate’ to the ‘Table’)… Their placement suggests a metaphysical
continuum; they span the boundaries of the town and while aligned in a
(virtual) straight line, all three cannot be seen from any single point of
view, so there is a temporal unfolding as one moves through the town to
experience the relationship.” -P.S.

Storm De Hirsch, “Ives House: Woodstock,” 1965, 11 min.
“Metaphysical sketches of my stay at the Neil Ives house in Woodstock where
the artist lived and painted.” -S.D.H.

Donna Cameron, “Fauve,” 1991, 10 min
A highly textural monochromatic study of light transmission that invokes
the vibrant style of an avant-garde painting group that flourished briefly
in France at the beginning of the twentieth century, the Fauves.

-- 
MM Serra, Director
Corynn Loebs, Assistant to the Director
NACG/The Film-Makers' Cooperative
475 Park Ave South, 6th Floor
New York, NY 10016
www.film-makerscoop.com
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