{"id":1814,"date":"1999-09-26T12:00:40","date_gmt":"1999-09-26T11:00:40","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=1814"},"modified":"2018-01-25T15:02:11","modified_gmt":"2018-01-25T15:02:11","slug":"american-century","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/1999\/09\/26\/american-century\/","title":{"rendered":"The American Century Film Programme"},"content":{"rendered":"

ngg_shortcode_0_placeholder<\/p>\n

THE AMERICAN CENTURY: ART & CULTURE 1900-2000<\/strong>
\nThe Cool World: Film & Video in America 1950-2000
\n<\/strong>October \u2013 December 1999<\/strong>
\nNew York Whitney Museum of American Art<\/strong><\/p>\n

The Cool World<\/em> surveys the development of avant-garde film and video in America, from the Beats of the 1950s to the recent innovations of the 1990s. The exhibition includes experiments in abstraction and the emergence of a new, \u201cpersonal\u201d cinema in the 1950s, the explosion of underground film and multimedia experiments in the 1960s, the rigorous Structural films of the early 1970s, and the new approaches to filmmaking in the 1980s and 1990s. The program also traces the emergence of video as a new art form in the 1960s, its use as a conceptual and performance tool during the 1970s, and its exploration of landscape, spirituality, and language during the 1980s. The Cool World<\/em> concludes in the 1990s, with experiments by artists in projection, digital technology, and new media.<\/p>\n

Curated by Chrissie Iles, curator of film and video, Whitney Museum of American Art. Film Program for the 1950s, 1960s, and early 1970s co-curated with Mark Webber; 1970s, 1980s and 1990s programs co-curated with Mark McElhatten, Brian Frye, and Bradley Eros.<\/p>\n

The series is divided into two parts. Part I (26 September \u2013 5 December 1999) presents work from the 1950s and 1960s. Part II (7 December 1999 \u2013 13 February 2000) surveys the 1970s, 1980s, and 1990s. Each month is devoted to a specific decade.<\/p>\n

All films are 16mm. Those marked (v) are shown on videotape. Asterisked films are shown in both the repeating weekly programs and the Thursday\/weekend themed programs.<\/p>\n

The film and video program is screened in the Kaufman Astoria Film and Video Gallery on the 2nd floor. Screenings are free with museum admission ticket. All day film ticket: $6 (admits to Film and Video program only).<\/em><\/p>\n

 <\/p>\n

THE COOL WORLD: 1950s
\n<\/strong>26 September \u2013 24 October 1999<\/p>\n

Avant-garde film in America had begun in the 1930s, blossomed in the 1940s, and continued to flourish in the 1950s. Many of the new experimental films were premiered at Cinema 16, which formed the focal point for avant-garde film presentation and distribution in New York throughout the 1950s. On the West Coast, abstract, Surrealist, and expressionist filmmaking continued to develop, showcased by the Art in Cinema Society in San Francisco, and, from the mid-1950s, the rebellious films of the Beats emerged. Together, this diverse body of films created a new film language that radically transformed cinematic space, structure, and subject matter.<\/p>\n

Themed programs of 1950s films are screened on Thursday evenings and on weekends. Two general programs of 1950s classics are repeated on alternate days, Tuesday through Friday.<\/em><\/p>\n

 <\/p>\n

1950s THEMED PROGRAMS<\/u><\/strong><\/p>\n

Sunday 26 September 1999<\/strong><\/p>\n

IMPENDING DOOM
\n<\/strong>During the 1950s, America experienced a period of uncertainty brought about by the aftermath of World War II and the perceived threat of Communism. Avant-garde filmmakers, many expressing a Beat sensibility, satirized the Cold War, rejected the political establishment, and addressed the unsettled, existential mood created by the fear of nuclear weapons and an anxiety about the future.<\/p>\n

12 pm
\nDoomed<\/strong>
\nChristopher Maclaine, The End<\/em>, 1953, b\/w & color, sound, 35 min *
\nStan Brakhage, Reflections on Black<\/em>, 1955, b\/w, sound, 12 min *
\nRobert Breer, Jamestown Baloos<\/em>, 1957, color, sound, 6 min
\nStan Brakhage, The Dead<\/em>, 1960, color, silent, 11 min<\/p>\n

1:00 pm
\n Cold War Dreams<\/strong>
\nBruce Conner, A Movie<\/em>, 1958, b\/w, sound, 12 min *
\nStan Vanderbeek, Science Friction<\/em>, 1959, color, sound, 10 min *
\nGregory Corso & Jay Socin, Happy Death<\/em>, c.1960, b\/w, sound, 33 min
\nStan Vanderbeek, Snapshots of the City<\/em>, 1961, b\/w, sound, 5 min
\nRay Wisniewski, Doomshow<\/em>, c.1965, b\/w, sound, 10 min
\nEdward English, The Family Fallout Shelter<\/em>, 1962, b\/w, sound, 14 min<\/p>\n

3:15 pm
\n Star Spangled To Death<\/strong>
\nA film performance presented by Ken Jacobs.<\/p>\n

\u201cBestrewn with found film cadavers, the film proceeds as if on holiday, in manic fits and starts….Studied composition vies with hand-held rambunctiousness, an Action Filming akin to Action Painting….Its proto-Beat sensibility…is at odds with the lemming drift of the 1950s, when chauvinist anti-Communism threatened us all with the final star-spangling to death.\u201d (Ken Jacobs)<\/p>\n

Ken Jacobs, Star Spangled To Death<\/em>, 1958-60, b\/w & color, sound & silent, c.180 min<\/p>\n


\nThursday 30 September 1999<\/strong><\/p>\n

6pm
\nEarly Independents: 1
\n<\/strong>The crossover between Beat and black bohemianism in the 1950s produced a number of important films, including Shirley Clarke\u2019s raw portrayal of life in the Harlem ghetto, represented by a black teenager\u2019s descent into crime.<\/p>\n

Shirley Clarke, The Cool World<\/em>, 1963, b\/w, sound, 125 min<\/p>\n


\nSaturday 2 October 1999<\/strong><\/p>\n

THE BEATS: 1<\/strong>
\nThe essence of Beat lay in the literary radicalism of its writers and poets, including Jack Kerouac, William Burroughs, and Allen Ginsberg. Their existentialism, cultural displacement, and rebellious rejection of conventional values were affirmed in cinematic terms by filmmakers on both coasts. This weekend program presents a concise survey of Beat cinema, including film collaborations by Anthony Balch and William Burroughs, and rare films by Larry Jordan, Piero Heliczer, and Dion Vigne.<\/p>\n

12 pm
\nStan Brakhage, Desistfilm<\/em>, 1954, b\/w, sound, 7 min
\nLarry Jordan, Trumpit<\/em>, 1955-56, b\/w, sound, 7 min
\nLarry Jordan, The One Romantic Venture of Edward<\/em>, 1956, b\/w & color, 8 min
\nLarry Jordan, Triptych in Four Parts<\/em>, 1958, color, sound, 12 min
\nPiero Heliczer, The Autumn Feast<\/em>, 1960, color, sound on tape, 14 min
\nKen Jacobs & Bob Fleischner, Blonde Cobra<\/em>, 1959-63, b\/w & color, sound, 30 min *
\nKen Jacobs, Little Stabs at Happiness<\/em>, 1959-63, color, sound, 15 min<\/p>\n

2 pm
\nWallace Berman, Aleph<\/em>, 1956-66, color, silent, 7 min
\nRobert Pike, The Tragi-Comedy of Marriage<\/em>, 1957, b\/w, sound, 8 min
\nFrank Paine, Motion Picture<\/em>, 1956, color, sound, 4 min
\nAlfred Leslie, The Last Clean Shirt<\/em>, 1964, b\/w, sound, 39 min
\nDion Vigne, North Beach<\/em>, 1958, color, sound, 10 min
\nDion Vigne, Miscellaneous Fragments: North Beach<\/em>, c.1955, b\/w, silent, 10 min<\/p>\n

4 pm
\nRobert Frank and Alfred Leslie, Pull My Daisy<\/em>, 1959, b\/w, sound, 28 min *
\nAnthony Balch, Towers Open Fire<\/em>, 1963, b\/w, sound, 10 min (v) *
\nAnthony Balch, William Buys a Parrot<\/em>, c.1963, color, silent, 2 min (v)
\nAnthony Balch, The Cut-Ups<\/em>, 1961-67, b\/w, sound, 22 min (v)
\nruth weiss, The Brink<\/em>, 1961, b\/w, sound, 40 min (v) *<\/p>\n


\nSunday 3 October 1999<\/strong><\/p>\n

THE BEATS: 2<\/strong><\/p>\n

12 pm
\nThe Connection<\/strong>
\nA tough exploration of the drug world in the 1950s, seen through the eyes of a group of junkies waiting for their fix. A film of The Living Theater\u2019s adaptation of Jack Gelber\u2019s revolutionary Off-Broadway play.<\/p>\n

Shirley Clarke, The Connection<\/em>, 1961, b\/w, sound, 103 min *<\/p>\n

2 pm
\nThe Films of Christopher Maclaine<\/strong>
\nThe complete works of this neglected Beat filmmaker and poet, whose existentialist films used radical in-camera montage techniques to alter perception. In The End<\/em>, gaps in dialogue and imagery become metaphors for the world annihilation that Maclaine felt was imminent.<\/p>\n

Christopher Maclaine, The End<\/em>, 1953, b\/w & color, sound, 35 min *
\nChristopher Maclaine, The Man Who Invented Gold<\/em>, 1957, b\/w & color, sound, 14 min
\nChristopher Maclaine, Beat<\/em>, 1958, color, sound, 6 min
\nChristopher Maclaine, Scotch Hop<\/em>, 1959, color, sound, 6 min<\/p>\n

3:30 pm
\nThe Irrepressible Taylor Mead
\n<\/strong>Introduced by Taylor Mead<\/p>\n

Taylor Mead, the first \u201cstar\u201d of the underground, will appear in person to present two of his earliest and most celebrated performances, which showcase his comic style.<\/p>\n

Vernon Zimmerman, Lemon Hearts<\/em>, 1960, b\/w, sound, 26 min
\nRon Rice, The Flower Thief<\/em>, 1960, b\/w, sound, 75 min<\/p>\n


\nThursday 7 October 1999<\/strong><\/p>\n

6 pm
\nEarly Independents: 2
\n<\/strong>Peter Emanuel Goldman\u2019s haunting film shows the aimless wandering of three young people in Greenwich Village. Their search for meaning is hindered by the oppression of the city.<\/p>\n

Peter Emanuel Goldman, Echoes of Silence<\/em>, 1965, b\/w, sound, 75 min<\/p>\n


\nSaturday 9 October 1999<\/strong><\/p>\n

ABSTRACTION AND THE LYRICAL FILM<\/strong>
\nAbstract cinema formed a central strand of early American avant-garde filmmaking during the 1940s and 1950s, particularly on the West Coast. Its non-objective colors, surfaces, and shapes create complex compositions of light in motion that often echo the structure of music. In the work of Jordan Belson and James Whitney, cosmic principles found expression through the delicate vibrancy of light and abstract forms.<\/p>\n

12 pm
\nAbstractions<\/strong>
\nMary Ellen Bute, Mood Contrasts<\/em>, 1953, color, sound, 7 min *
\nMary Ellen Bute, <\/em>Abstronics, 1952, color, sound, 7 min
\n<\/em>Stan Vanderbeek, Mankinda<\/em>, 1957, b\/w, sound, 10 min
\nJordan Belson, Mandala<\/em>, 1953, color, sound, 3 min
\nHarry Smith, No. 7 (Color Study),<\/em> 1952, color, sound, 6 min *
\nLen Lye, Color Cry<\/em>, 1952, color, sound, 3 min *
\nLen Lye, Free Radicals<\/em>, 1957, b\/w, sound, 5 min
\nJim Davis, Becoming<\/em>, 1955, color, silent, 9 min
\nJane Conger, Odds and Ends<\/em>, 1959, color, sound, 5 min
\nJames Whitney, Yantra<\/em>, 1950-55, color, sound, 7 min *<\/p>\n

1:30 pm
\nHy Hirsh<\/strong>
\nA rare screening of the abstract montage films of San Francisco filmmaker Hy Hirsh, who mostly worked in isolation in Europe during the 1950s. Hirsh mastered the techniques of optical printing, solarizing, multiple exposure, and split screens, and he was also one of the first filmmakers to incorporate electronic imagery into film.<\/p>\n

Hy Hirsh, Eneri<\/em>, 1953, color, sound, 6 min
\nHy Hirsh, Gyromorphosis<\/em>, 1955, color, sound, 7 min
\nHy Hirsh, Autumn Spectrum<\/em>, 1957, color, sound, 7 min
\nHy Hirsh, Scratch Pad<\/em>, 1960, color, sound, 8 min
\nHy Hirsh, Come Closer<\/em>, 1953, color, sound, 5 min
\nHy Hirsh, La Couleur de la Forme<\/em>, 1960, color, sound, 5 min *<\/p>\n

3 pm
\nGraphic Cinema and the Lyrical Film
\n<\/strong>A survey of the poetic use of light in Kenneth Anger\u2019s Eaux d\u2019Artifice<\/em>, Robert Breer\u2019s explorations of kinaesthetic space, Peter Kubelka\u2019s experiments with the still frame, and the dancing light of Marie Menken\u2019s Notebook<\/em>. Also included is Ian Hugo\u2019s Jazz of Lights<\/em>, without which, as Stan Brakhage remarked, \u201cthere would have been no Anticipation of the Night<\/em>\u201d.<\/p>\n

Kenneth Anger, Eaux d\u2019Artifice<\/em>, 1953, color, sound, 13 min
\nMarie Menken, Notebook<\/em>, 1962-63, b\/w & color, silent, 10 min
\nMarie Menken, Hurry! Hurry!<\/em>, 1957, color, sound, 3 min *
\nPeter Kubelka, Adebar<\/em>, 1956-57, b\/w, sound, 2 x 2 min
\nPeter Kubelka, Schwechater<\/em>, 1957-58, color, sound, 2 x 1 min
\nPeter Kubelka, Arnulf Rainer<\/em>, 1958-60, b\/w, sound, 6 min
\nRobert Breer, Recreation<\/em>, 1956, color, sound, 2 min *
\nRobert Breer, A Man and His Dog Out for Air<\/em>, 1957, b\/w, sound, 2 min
\nRobert Breer, Inner and Outer Space<\/em>, 1960, color, sound, 4 min
\nIan Hugo, Bells of Atlantis<\/em>, 1952, color, sound, 9 min *
\nIan Hugo, Jazz of Lights<\/em>, 1954, color, sound, 16 min<\/p>\n

4:45 pm
\nStan Brakhage
\n<\/strong>Introduced by Stan Brakhage<\/p>\n

During the 1950s, Stan Brakhage emerged as a major figure in American avant-garde cinema, creating a new, highly personal form of filmmaking. His fragmented images, delicate light, and transformation of film space into multilayered perspectives all coalesce in his key film from this period, Anticipation of the Night<\/em>. Mothlight<\/em> is the first of many films in which Brakhage collages, paints, and scratches directly onto the film strip, creating sequences of planes in motion that he terms \u201cvisual music\u201d. His films are almost all silent, asserting the primacy of the image and the process of looking.<\/p>\n

Stan Brakhage, Sirius Remembered<\/em>, 1959, color, silent, 12 min
\nStan Brakhage, Anticipation of the Night<\/em>, 1958, color, silent, 40 min
\nStan Brakhage, Mothlight<\/em>, 1963, color, silent, 4 min *<\/p>\n


\nSunday 10 October 1999<\/strong><\/p>\n

THE BEATS: 1<\/strong>
\nSee Saturday 2 October 1999<\/p>\n

Thursday 14 October 1999<\/strong><\/p>\n

6pm
\nEarly Independents: 3
\n<\/strong>Introduced by Robert Drew<\/p>\n

This documentary about the 1960 primary elections and the functioning of the American political system received Film Culture<\/em>\u2019s Independent Film Award in 1961. The inclusion of a political documentary within the context of the New American Cinema demonstrated the increasing number of crossovers among different artistic practices.<\/p>\n

Robert Drew, Richard Leacock, Al Maysles & D.A. Pennebaker, Primary<\/em>, 1960, b\/w, sound, 60 min<\/p>\n


\nSaturday 16 October 1999<\/strong><\/p>\n

12 pm
\nDancing and the Streets
\n<\/strong>The rhythmic movement of dance made it a natural subject for experimental film. Fusing music, light, and the fluid choreography of the body, the films in this program form poetic compositions which, in Maya Deren\u2019s In the Very Eye of Night<\/em>, become a metaphor for the unconscious mind and the universe, through which the dancers move \u201clike celestial satellites\u201d.<\/p>\n

James Broughton, Four in the Afternoon<\/em>, 1951, b\/w, sound, 15 min
\nShirley Clarke, Dance in the Sun, <\/em>1953, color, sound, 6 min
\n<\/em>Shirley Clarke, A Moment in Love<\/em>, 1957, color, sound, 8 min
\nEd Emshwiller, Dance Chromatic<\/em>, 1959, color, sound, 7 min
\nMaya Deren, In the Very Eye of Night<\/em>, 1959, b\/w, sound, 15 min *<\/p>\n

2 pm
\nIn the Cities<\/strong>
\nThe architecture of New York, transformed through the filmmaker\u2019s lens. This program includes rare screenings of Sidney Peterson\u2019s Architectural Millinery<\/em> and Shirley Clarke\u2019s Skyscraper<\/em>, which documents the construction of 666 Fifth Avenue.<\/p>\n

Francis Thompson, NY, NY<\/em>, 1957, color, sound, 15 min
\n<\/strong>Sidney Peterson, Architectural Millinery<\/em>, 1954, b\/w, sound, 7 min
\nFrank Stauffacher, Notes on the Port of St. Francis<\/em>, 1951, b\/w, sound, 20 min
\nShirley Clarke, Bridges Go Round<\/em>, 1958, color, sound, 7 min *
\nShirley Clarke & Willard Van Dyke, Skyscraper<\/em>, 1959, b\/w & color, sound, 20 min<\/p>\n

4 pm
\nIn the Streets
\n<\/strong>Since the beginning of the century, artists and filmmakers have depicted the streets of New York, creating portraits of urban life from the city\u2019s visual cacophony. The films in this program present poetic studies of New York locations, including the Brooklyn Bridge, Mulberry Street, Little Italy, and the elevated subway.<\/strong><\/p>\n

Helen Levitt, Janice Loeb, and James Agee, In the Street<\/em>, 1943-52, b\/w, sound on tape, 16 min *
\n<\/strong>Rudy Burckhardt, Under Brooklyn Bridge<\/em>, 1953, b\/w, sound, 15 min
\nKen Jacobs, Orchard Street<\/em>, 1956, color, silent, 15 min
\nJoseph Cornell & Rudy Burckhardt, Aviary<\/em>, 1955, b\/w, silent, 5 min
\nJoseph Cornell & Rudy Burckhardt, A Fable for Fountains<\/em>, c.1954-57, b\/w, sound, 6 min
\nJoseph Cornell & Rudy Burckhardt, Nymphlight<\/em>, 1957, color, silent, 8 min
\nJoseph Cornell & Rudy Burckhardt, What Mozart Saw on Mulberry Street<\/em>, 1956, b\/w, silent, 6 min *
\nLarry Jordan, Visions of a City<\/em>, 1957 (edited 1978), b\/w, sound, 6 min *
\nD.A. Pennebaker, Daybreak Express<\/em>, 1953, color, sound, 5 min<\/p>\n


\n<\/u>Sunday 17 October 1999<\/strong><\/p>\n

ABSTRACTION AND THE LYRICAL FILM<\/strong>
\nSee Saturday 9 October 1999<\/p>\n


\nThursday 21 October 1999<\/strong><\/p>\n

6 pm
\nEarly Independents: 4
\n<\/strong>As the Beat movement reached its height, Robert Frank and Alfred Leslie\u2019s Pull My Daisy<\/em> and John Cassavetes\u2019 Shadows<\/em> became the touchstones of the era, capturing the mood of an alienated generation poised to explode in the wide-reaching revolution of the sixties.<\/p>\n

Robert Frank and Alfred Leslie, Pull My Daisy<\/em>, 1959, b\/w, sound, 28 min *
\nJohn Cassavetes, Shadows<\/em>, 1957-59, b\/w, sound, 87 min<\/p>\n


\nSaturday 23 October 1999<\/strong><\/p>\n

THE BEATS: 2<\/strong>
\nSee Sunday, 23 October 1999<\/p>\n


\nSunday 24 October 1999<\/strong><\/p>\n

CINEMA 16
\n<\/strong>Introduced by Amos Vogel, director of Cinema 16<\/p>\n

A special event honoring the pivotal role of Cinema 16 – to this day the largest film society in the country – in the early days of avant-garde film in America. Founded in 1947 by Amos Vogel, with Marcia Vogel and, later, assisted by Jack Goelman, Cinema 16 drew the largest audiences for noncommercial and experimental cinema in American film history. Its programs had a profound impact on a new generation of young American filmmakers. Together with special courses and lectures given at the New School and New York University and its joint sponsorship, with Maya Deren, of the annual creative Film Awards, Cinema 16 laid the foundation for the flourishing of avant-garde cinema in America. Amos Vogel\u2019s programming brought together disparate films from different genres in an attempt to provoke and educate audiences. This presentation includes many highlights from Cinema 16\u2019s historic series, including several classic avant-garde films that premiered at Cinema 16, especially chosen by Vogel and assembled with Scott MacDonald.<\/p>\n

12 pm
\nMaya Deren and Alexander Hammid, Meshes of the Afternoon<\/em>, 1943, b\/w, sound, 14 min
\nFrank Stauffacher, Sausalito<\/em>, 1948, b\/w. sound, 10 min
\nWillard Maas, Geography of the Body<\/em>, 1943, b\/w, sound, 7 min
\nCarmen D\u2019Avino, The Big O<\/em>, 1958, b\/w, sound, 3 min
\nCarmen D\u2019Avino, A Finnish Fable<\/em>, 1965, color, sound, 6 min
\nCarmen D\u2019Avino, The Room<\/em>, 1959, colour, sound, 5 min<\/p>\n

1:15 pm
\nLuis Bunuel, Land Without Bread<\/em>, 1933, b\/w, sound, 27 min
\nOskar Fischinger, Motion Painting #1<\/em>, 1947, color, sound, 11 min
\nRoman Polanski, Two Men and a Wardrobe<\/em>, 1957, 15 min<\/p>\n

2:30 pm
\nKenneth Anger, Fireworks<\/em>, 1947, b\/w, sound, 15 min
\nWeegee, Weegee\u2019s New York<\/em>, 1950-54, color, sound, 20 min (v)
\nNorman McLaren, Fiddle-de-Dee<\/em>, 1947, color, sound, 4 min
\nMargaret Mead, Trance and Dance in Bali,<\/em> 1952, b\/w, sound, 22 min (v)
\nRobert Breer, Inner and Outer Space<\/em>, 1960, color, sound, 4 min
\nLindsay Anderson, O Dreamland<\/em>, 1953, b\/w, sound, 12 min
\nStan Vanderbeek, Science Friction<\/em>, 1959, color, sound, 10 min *<\/p>\n

4:30 pm
\nJames Broughton, Mother\u2019s Day<\/em>, 1948, b\/w, sound, 22 min
\nShirley Clarke, In Paris Parks<\/em>, 1954, color, sound, 12 min
\nJames Davis, Light Reflections, <\/em>1948, color, sound, 14 min
\nSidney Peterson, The Lead Shoes<\/em>, 1949, b\/w, sound, 17 min
\nMichelangelo Antonioni, Nettezza Urbana: \u201cN.U.\u201d<\/em>, 1948, b\/w, sound, 9 min
\nDouglas Crockwell, Glen Falls Sequence<\/em>, 1946, color, silent, 8 min<\/p>\n

With special thanks to Amos Vogel, Marcia Vogel, and Scott MacDonald.<\/em><\/p>\n

 <\/p>\n

1950s: WEEKLY PROGRAMS<\/u><\/strong><\/p>\n

26 September \u2013 24 October 1999<\/strong><\/p>\n

Two programs, alternating daily. Asterisked films are also screened in the theme programs on Thursday evenings and on weekends.<\/em><\/p>\n

Tuesdays at 11:30 am, Thursdays at 1:30 pm<\/strong><\/p>\n

Robert Frank & Alfred Leslie, Pull My Daisy<\/em>, 1959, b\/w, sound, 28 min (v) *
\nLen Lye, Color Cry<\/em>, 1952, color, sound, 3 min *
\nStan Brakhage, Reflections on Black<\/em>, 1955, b\/w, sound, 12 min *<\/p>\n

Tuesdays only<\/strong><\/p>\n

1 pm
\nShirley Clarke, The Connection<\/em>, 1961, b\/w, sound, 103 min *<\/p>\n

Tuesdays and Thursdays<\/strong><\/p>\n

3 pm
\nBruce Conner, A Movie<\/em>, 1958, b\/w, sound, 12 min *
\nJames Whitney, Yantra<\/em>, 1950-55, color, sound, 7 min *
\nRoger Tilton, Jazz Dance<\/em>, 1954, b\/w, sound, 20 min
\nShirley Clarke, Bridges Go Round<\/em>, 1958, color, sound, 7 min *
\nIan Hugo, Bells of Atlantis<\/em>, 1952, color, sound, 9 min *
\nAnthony Balch, Towers Open Fire<\/em>, 1963, b\/w, sound, 10 min (v) *
\nMarie Menken, Hurry! Hurry!,<\/em> 1957, color, sound, 3 min *<\/p>\n

4:30 pm
\nHelen Levitt, Janice Loeb & James Agee, In the Street<\/em>, 1943-52, b\/w, sound on tape, 16 min *
\nKen Jacobs & Bob Fleischner, Blonde Cobra<\/em>, 1959-63, b\/w & color, sound, 30 min *
\nMaya Deren, In the Very Eye of Night<\/em>, 1959, b\/w, sound, 15 min *<\/p>\n

Wednesdays and Fridays<\/strong><\/p>\n

11:30 am
\nruth weiss, The Brink<\/em>, 1961, b\/w, sound, 40 min (v) *
\nRobert Breer, Recreation<\/em>, 1956, color, sound, 2 min *
\nJoseph Cornell & Rudy Burckhardt, What Mozart Saw on Mulberry Street<\/em>, 1956, b\/w, silent, 6 min *
\nHy Hirsh, La Couleur de la Forme<\/em>, 1960, color, sound, 5 min *<\/p>\n

1 pm
\nAnthony Balch, Ghosts at No. 9<\/em>, 1963-67 (assembled by Genesis P. Orridge, 1982), color, sound, 45 min (v)
\n<\/em>Mary Ellen Bute, Mood Contrasts<\/em>, 1953, color, sound, 7 min *
\nEdward Bland, The Cry of Jazz<\/em>, 1958, b\/w, sound, 35 min
\nStan Vanderbeek, Science Friction<\/em>, 1959, color, sound, 10 min *<\/p>\n

3 pm
\nChristopher Maclaine, The End<\/em>, 1953, b\/w & color, sound, 35 min *
\nLarry Jordan, Visions of a City<\/em>, 1957 (edited 1978), b\/w, sound, 6 min *
\nHarry Smith, No. 7 (Color Study)<\/em>, 1952, color, sound, 6 min *
\nGeorge Binkey (a.k.a. Adolfas Mekas), Anti-Film #2<\/em>, 1951, b\/w, sound, 18 min<\/p>\n

4:30 pm
\nKenneth Anger, Inauguration of the Pleasure Dome: Sacred Mushroom Edition<\/em>, 1954-66, color, sound, 38 min *
\nPeter Whitehead, Wholly Communion<\/em>, 1966, b\/w, sound, 33 min<\/p>\n

 <\/p>\n

THE COOL WORLD: 1960s
\n<\/strong>29 October 29 \u2013 5 December 1999<\/p>\n

The radical environment of the sixties produced a rich mixture of alternative art practices, including an explosion of American avant-garde and underground film. Unprecedented crossovers among different artistic media led to new forms of art, including performance, Happenings, and new dance. It was during this period that many of the acknowledged classics of underground film were made. Filmmakers and artists also experimented with the newly arrived technology of video. The rebellious counterculture produced a body of films exploring psychedelia as well as radical films that independently documented political activism and protests against the Vietnam War. As in the 1950s, filmmakers allied themselves closely with music as a means of developing self-expression and independence.<\/p>\n

Special programs exploring these different genres are scheduled on Thursday evenings and on weekends. In addition, four daily programs of important 1960s films and videotapes are repeated Tuesdays through Fridays.<\/em><\/p>\n

 <\/p>\n

1960s THEMED PROGRAMS<\/u><\/strong><\/p>\n

Thursday 28 October 1999<\/strong><\/p>\n

4:30 pm
\nExtended Visions: 1
\n<\/strong>Jonas Mekas\u2019 film diary Lost, Lost, Lost<\/em>, spanning 1949 to 1963, records both the evolution of the avant-garde film movement in New York and Mekas\u2019 own adaptation to life as a displaced person from Lithuania. Its melancholic tone is offset by the excitement and energy of a new life, which included cultural figures such as Allen Ginsberg, Robert Frank, and LeRoi Jones, intercut with footage of the Film-Makers\u2019 Cooperative, the Women for Peace protest, and other historic events.<\/p>\n

Jonas Mekas, Lost, Lost, Lost<\/em>, 1949-63 (edited 1976), b\/w & color, sound, 178 min<\/p>\n


\nFriday 29 October 1999<\/strong><\/p>\n

7 pm
\n<\/u>Jonas Mekas and the Avant-Garde Film in New York<\/strong>
\nIntroduced by Jonas Mekas<\/p>\n

An evening honoring Jonas Mekas, co-founder of the New York Film-Makers\u2019 Cooperative, director of Anthology Film Archives, publisher of the influential magazine Film Culture<\/em>, writer of the Village Voice<\/em> \u2018Movie Journal\u2019 columns, and self-appointed \u201cminister of defense and propaganda of the New Cinema.\u201d On the fiftieth anniversary of his arrival in New York on October 29, 1949, Mekas will comment on his role in the development of the American avant-garde film.<\/p>\n

Followed by a screening of Gideon Bachmann, Jonas<\/em>, 1967, b\/w, sound, 30 min (v)<\/p>\n


\nSaturday 30 October 1999<\/strong><\/p>\n

THE PSYCHEDELIC FILM<\/strong>
\nDuring the 1960s, a young generation searching for spiritual and perceptual awakening experimented with mind-altering drugs. Encouraged by visionary guru Timothy Leary and his mantra \u201cTurn on, tune in, drop out,\u201d young people took LSD as a means of expanding consciousness. The visionary quality of film made it an important medium for expressing the psychedelic sensibility. These programs present rarely screened experiments in hallucinogenic cinema.<\/p>\n

12 pm
\nJordan Belson<\/strong>
\nJordan Belson, Caravan<\/em>, 1952, color, sound, 4 min
\nJordan Belson, Mandala<\/em>, 1953, color, sound, 3 min
\nJordan Belson, Allures<\/em>, 1961, color, sound, 9 min *
\nJordan Belson, Re-Entry<\/em>, 1964, color, sound, 6 min
\nJordan Belson, Phenomena<\/em>, 1965, color, sound, 6 min
\nJordan Belson, Samadhi<\/em>, 1967, color, sound, 6 min<\/p>\n

1 pm
\nStrange Trips<\/strong>
\nIntroduced by Jud Yalkut<\/p>\n

Jud Yalkut, Turn Turn Turn<\/em>, 1965-66, color, sound, 10 min *
\nJud Yalkut, US Down by the Riverside<\/em>, 1966, color, sound, 3 min
\nBen Van Meter, S.F. Trips Festival, An Opening<\/em>, 1966, color, sound, 9 min *
\nBen Van Meter, Acid Mantra<\/em>, 1966-68, b\/w & color, sound, 47 min
\nBob Cowan, Rockflow<\/em>, 1968, b\/w & color, sound, 9 min<\/p>\n

2:45 pm
\nExpanding Consciousness<\/strong>
\nJonas Mekas, Report from Millbrook<\/em>, 1966, color, sound, 12 min
\nVictor Grauer, Archangel<\/em>, 1966, color, sound, 10 min
\nVictor Grauer, Certain Stars; Distant Stars; Acid<\/em>, 1966, color, sound, 11 min
\nJames Whitney, Lapis<\/em>, 1963-66, color, sound, 10 min *
\nWill Hindle, Chinese Firedrill<\/em>, 1968, color, sound, 23 min
\nJohn Hawkins, LSD Wall<\/em>, 1964-65, color, sound, 7 min
\nKeewatin Dewdney, The Maltese Cross Movement<\/em>, 1967, color, sound, 7 min
\nScott Bartlett, Offon<\/em>, 1968, color, sound, 9 min
\nEric Siegel, Tomorrow Never Knows<\/em>, 1968, videotape, color, sound, 3 min<\/p>\n

4:30 pm
\nAltered States
\n<\/strong>Introduced by Ira Cohen<\/p>\n

Ben Van Meter, Olds-mo-bile<\/em>, 1965, b\/w, sound, 14 min
\nJohn Gruenberger, Onset: Variation 1<\/em>, 1971, color, sound, 4 min
\nJohn Schofill, Filmpiece for Sunshine<\/em>, 1966-68, color, sound, 24 min
\nIra Cohen, Invasion of Thunderbolt Pagoda<\/em>, 1968, color, sound, 20 min (v)
\nStan Vanderbeek, Film Form No. 1<\/em>, 1970, color, sound, 10 min<\/p>\n

Ken Kesey\u2019s film of the Merry Pranksters\u2019 bus trip across America will premiere on Saturday 27 November 1999, at 4 pm.<\/em><\/p>\n

7pm
\nAndy Warhol and The Exploding Plastic Inevitable<\/strong>
\nIntroduced by Gerard Malanga<\/p>\n

Andy Warhol\u2019s Uptight<\/em> series and The Exploding Plastic Inevitable<\/em> (EPI) events that followed presented an innovative fusion of music and film. This evening of films related to the EPI features Ronald Nameth\u2019s hallucinatory film of the event. Warhol\u2019s recently restored film The Velvet Underground<\/em> was conceived to be projected over the rock group as it played. The program includes other documents of, and by, the disparate factions that congregated around Andy Warhol\u2019s Factory, among them rarely seen films by the poet Piero Heliczer, and Ron Rice\u2019s Chumlum<\/em>, featuring a cembalum solo by the Velvet Underground\u2019s original drummer, Angus MacLise.<\/p>\n

Ronald Nameth, Warhol\u2019s EPI<\/em>, 1966, b\/w & color, sound, 22 min
\nPiero Heliczer, The Soap Opera<\/em>, c.1964, b\/w, silent, 13 min
\nPiero Heliczer, Joan of Arc<\/em>, c.1967, color, sound on tape, 12 min
\nRon Rice, Chumlum<\/em>, 1964, color, sound, 26 min
\nBeverly & Tony Conrad, Straight and Narrow<\/em>, 1970, b\/w, sound, 10 min
\nKeewatin Dewdney, Malanga<\/em>, 1967, b\/w, sound, 3 min
\nWarren Sonbert, Where Did Our Love Go?<\/em>, 1966, color, sound on tape, 15 min
\nBarbara Rubin, Christmas on Earth<\/em>, 1963, b\/w, sound on tape, 29 min (dual screen)
\nAndy Warhol, The Velvet Underground<\/em>, 1966, b\/w, sound, 35 min (dual screen)<\/p>\n


\nSunday 31 October 1999<\/strong><\/p>\n

SOUND AND VISION: MUSIC AND FILM<\/strong>
\nMusic was an important element of sixties avant-garde cinema and many filmmakers collaborated directly with composers or conceived works around particular soundtracks.
\nThe musicians represented in these films are cited in parentheses in the listings.<\/p>\n

11:30 am
\nPop Culture<\/strong>
\nThe close relationship between experimental filmmakers and popular music led to several dynamic works, including Mick Jagger\u2019s Moog score for Invocation of My Demon Brother<\/em>. Jagger appears in Peter Ungerleider\u2019s film of the Rolling Stones\u2019 1969 Hyde Park concert. Gunvor Nelson\u2019s kaleidoscopic portrait of her daughter, Oona, contains a mesmerizing tape composition by Steve Reich.<\/p>\n

John Rubin, The Who<\/em>, 1967-69, color, sound, 3 min (The Who)
\nPeter Ungerleider, Under My Thumb<\/em>, 1969, color, sound, 30 min (The Rolling Stones)
\nKenneth Anger, Invocation of My Demon Brother<\/em>, 1969, color, sound, 11 min (Mick Jagger)
\nAnthony Stern, San Francisco<\/em>, 1968, color, sound, 15 min (The Pink Floyd)
\n<\/strong>Gunvor Nelson, My Name is Oona<\/em>, 1969, b\/w, sound, 10 min (Steve Reich)
\nRobert Shaye, Image<\/em>, 1964, color, sound, 10 1\/2 min (Walter Carlos)
\nBruce Conner, Permian Strata<\/em>, 1969, b\/w, sound, 4 min (Bob Dylan)<\/p>\n

1:30 pm
\nJazz in Silhouette<\/strong>
\nFour impressionistic films with jazz scores. Harry Smith\u2019s Number 11 (Mirror Animations<\/em>) is precisely constructed to mirror Thelonious Monk\u2019s composition Mysterioso<\/em>. The Forbidden Playground<\/em> and Magic Sun<\/em> were both inspired by the space music of Sun Ra and were projected during the Arkestra\u2019s legendary appearances at Carnegie Hall in 1968.<\/p>\n

Harry Smith, Number 11 (Mirror Animations)<\/em>, 1956-62 (revised 1976), color, sound, 11 min (Thelonious Monk) *
\nPhill Niblock, Magic Sun<\/em>, 1966, b\/w, sound, 17 min (Sun Ra)
\nMaxine Haleff, The Forbidden Playground<\/em>, c.1966, b\/w, sound, 11 min (Sun Ra)
\nBruce Baillie, All My Life<\/em>, 1966, color, sound, 3 min (Ella Fitzgerald) *<\/p>\n

2:30 pm
\n<\/u>ESP-disk Films<\/strong>
\nIntroduced by Jud Yalkut<\/p>\n

ESP-disk was a pioneering record label that issued avant-garde rock and jazz records. Assembled here for the first time are the three films ESP-disk commissioned to promote its artists, together with Michael Snow\u2019s film New York Eye and Ear Control (A Walking Woman Work),<\/em> featuring a soundtrack by Albert Ayler that became the first ESP jazz release.<\/p>\n

Edward English, The Fugs<\/em>, 1963, color, sound, 12 1\/2 min (The Fugs)
\nJud Yalkut, The Godz<\/em>, 1966, color, sound, 12 min (The Godz)
\nEdward English, Spaceways<\/em>, 1968, color, sound, 18 min (Sun Ra)
\nMichael Snow, New York Eye and Ear Control (A Walking Woman Work),<\/em> 1964, b\/w, sound, 34 min (Albert Ayler)<\/p>\n

4 pm
\nThe Music of Terry Riley<\/strong>
\nThe hypnotic and transcendental organ music of Terry Riley was chosen by several filmmakers as a soundtrack. Riley collaborated with sculptor Arlo Acton to make Music with Balls<\/em>, a mantric early videotape mixed by John Coney.<\/p>\n

Terry Riley & Arlo Acton, Music with Balls<\/em>, 1968, videotape, color, sound, 24 min
\nDavid McLaughlin, Getting Together<\/em>, 1968, b\/w, sound, 8 min
\nStandish Lawder, Corridor<\/em>, 1968-70, b\/w, sound, 22 min
\nJohn Whitney, Matrix III<\/em>, 1972, color, sound, 11min
\nBruce Conner, Crossroads<\/em>, 1976, b\/w, sound, 36 min<\/p>\n


\nThursday 4 November 1999<\/strong><\/p>\n

3 pm
\nExtended Visions: 2
\n<\/strong>The Art of Vision <\/em>is an expanded version of Stan Brakhage\u2019s mythopoeic epic Dog Star Man<\/em>, which expresses the cycle of the seasons and humanity\u2019s struggle with nature. It contains the complete earlier film and is an analytical study of the footage within it.<\/p>\n

Stan Brakhage, The Art of Vision<\/em>, 1961-65, color, silent, 270 min<\/p>\n


\nSaturday 6 November 1999<\/strong><\/p>\n

FILMMAKERS OF THE WEST COAST: 1<\/strong><\/p>\n

12 pm
\n<\/u>Bruce Baillie<\/strong>
\nA key figure in the West Coast film community, Bruce Baillie created complex, multilayered films that construct a poetic social commentary influenced by Eastern philosophy. His first major statement, To Parsifal<\/em>, a film poem to the summer, is structured around the German legend. In Quixote<\/em>, filmed on a cross-country trip in 1963-64, the filmmaker critically observes the social environment of America, from its Native American communities to Wall Street and Vietnam.<\/p>\n

Bruce Baillie, Show Leader<\/em>, 1966, b\/w, sound, 1 min
\nBruce Baillie, Mr. Hayashi<\/em>, 1961, b\/w, sound, 3 min
\nBruce Baillie, A Hurrah for Soldiers<\/em>, 1962-63, color, sound, 4 min
\nBruce Baillie, To Parsifal<\/em>, 1963, b\/w, sound, 16 min
\nBruce Baillie, Quixote<\/em>, 1964-65, b\/w & color, sound, 45 min
\nBruce Baillie, Tung<\/em>, 1966, b\/w & color, silent, 5 min
\nBruce Baillie, Castro Street<\/em>, 1966, b\/w & color, sound, 10 min<\/p>\n

2 pm
\nGeorge Kuchar
\n<\/strong>Introduced by George Kuchar<\/p>\n

George Kuchar, a celebrated figure of underground cinema, will make a return to New York to present his lesser-known films of the 1960s. Kuchar\u2019s distinct, personal view of life through technicolor spectacles continues to entertain audiences after four decades of prolific production. After making early 8mm epics with his brother Mike, Kuchar burst onto the scene with Hold Me While I\u2019m Naked<\/em>, a parody of the frustration and loneliness which characterized his particular style of steamy, homespun melodrama. This selection features films made in New York before Kuchar\u2019s relocation to California in 1971.<\/p>\n

George Kuchar, Leisure<\/em>, 1966, b\/w, sound, 9 min
\nGeorge Kuchar, Mosholu Holiday<\/em>, 1966, b\/w, sound, 9 min
\nGeorge Kuchar, Color Me Shameless<\/em>, 1967, b\/w, sound, 30 min
\nGeorge Kuchar, The Lady from Sands Point<\/em>, 1967, b\/w, sound, 9 min
\nGeorge Kuchar, The Mammal Palace<\/em>, 1969, b\/w, sound, 31 min<\/p>\n

4 pm
\nOwen Land (formerly known as George Landow)<\/strong><\/p>\n

The earliest films of Owen Land (formerly known as George Landow) foreshadowed the Structural movement which was to dominate the cinematic avant-garde in the 1970s. Film in Which There Appear Sprocket<\/em> Holes, Edge Lettering, Dirt Particles, Etc.<\/em>is a film in which the print\u2019s natural degradation, through collected dirt and scratches, becomes part of the work itself. Institutional Quality<\/em> of 1969 (subsequently withdrawn and revised in 1976) marked a new phase of Land\u2019s filmmaking, characterized by a dry sense of humor and a continual undermining of conventional cinematic perception.<\/p>\n

Owen Land, Fleming Faloon<\/em>, 1963-64, color, sound & silent, 7 min
\nOwen Land, Film in Which There Appear Sprocket Holes, Edge Lettering, Dirt Particles, Etc.<\/em>, 1965-66, color, silent, 4 min *
\nOwen Land, Diploteratology<\/em>, 1967, color, silent, 7 min
\nOwen Land, The Film That Rises to the Surface of Clarified Butter<\/em>, 1968, b\/w, sound, 9 min
\nOwen Land, Remedial Reading Comprehension<\/em>, 1970, color, sound, 5 min
\nOwen Land, What\u2019s Wrong with This Picture?, <\/em>1972, b\/w & color, sound, 12 min
\nOwen Land, Wide Angle Saxon<\/em>, 1975, color, sound, 22 min
\nOwen Land, \u201cNo Sir, Orison\u201d<\/em>, 1975, color, sound, 3 min
\nOwen Land, New Improved Institutional Quality: In The Environment Of Liquids And Nasals A Parasitic Vowel Sometimes Develops<\/em>, 1976, color, sound, 17.5 min<\/p>\n

7 pm
\nFriday, Apple Blossoms: An Intermedia Evening for Dick Higgins<\/strong><\/p>\n

Performances, readings, and music by Dick Higgins, performed by Larry Miller, Alison Knowles, Geoff Hendricks, Eric Andersen, Jessie Higgins, and others. Dedicated to Dick Higgins, a founding member of Fluxus, who died in December 1998.<\/p>\n

See also Fluxday, Thursday 11 November 1999, a day of Fluxus films and documents which includes a program of Dick Higgins\u2019 films.<\/em><\/p>\n


\nSunday 7 November 1999<\/strong><\/p>\n

FILMMAKERS OF THE WEST COAST: 2<\/strong><\/p>\n

12 pm
\nSpring Equinox 1966: The Magick Lantern Cycle of Kenneth Anger<\/strong><\/p>\n

Kenneth Anger is a highly influential figure in American avant-garde cinema, and Scorpio Rising<\/em> has become one of underground film\u2019s best-known classics. This program presents five of Anger\u2019s key films from 1947 to the end of the 1960s that were shown together as Spring Equinox 1966: The Magick Lantern Cycle<\/em>. The Cycle, which originally began with a slide sequence, fuses mysticism, alchemy, and desire with ritual, Hollywood imagery, light, and \u201cmagick.\u201d<\/p>\n

Kenneth Anger, Kustom Kar Kommandos<\/em>, 1965, color, sound, 3 min
\nKenneth Anger, Fireworks<\/em>, 1947, b\/w, sound, 15 min
\nKenneth Anger, Eaux d\u2019Artifice<\/em>, 1953, color, sound, 13 min
\nKenneth Anger, Scorpio Rising<\/em>, 1963, color, sound, 29 min *
\nKenneth Anger, Inauguration of the Pleasure Dome: Sacred Mushroom Edition<\/em>, 1954-66, color, sound, 38 min *<\/p>\n

2 pm
\nBruce Conner<\/strong>
\nBruce Conner\u2019s career as a leading West Coast assemblage artist deeply influenced his filmmaking. A Movie<\/em> constructs an improbable continuity through an ironic juxtaposition of newsreel footage, scrap film leader, and commercial and military films. The frenzied editing of images in Cosmic Ray<\/em> influenced the development of fast cutting in commercial television. This program brings together most of Conner\u2019s extant films of the 1950s and 1960s, including his moving document about the removal of Jay DeFeo\u2019s sculpture\/painting The White Rose<\/em> from her studio.<\/p>\n

Bruce Conner, A Movie<\/em>, 1958, b\/w, sound, 12 min *
\nBruce Conner, Cosmic Ray<\/em>, 1961, b\/w, sound, 4 min *
\nBruce Conner, Looking for Mushrooms<\/em>, 1961-67 (revised 1995), color, sound, 14 min
\nBruce Conner, Report<\/em>, 1963-67, b\/w, sound, 13 min
\nBruce Conner, Breakaway<\/em>, 1966, b\/w, sound, 5 min
\nBruce Conner, Vivian<\/em>, 1964, b\/w, sound, 3 min
\nBruce Conner, The White Rose<\/em>, 1967, b\/w, sound, 7 min
\nBruce Conner, Marilyn Times Five<\/em>, 1968-73, b\/w, sound, 13 min
\nBruce Conner, Permian Strata<\/em>, 1969, b\/w, sound, 4 min<\/p>\n

4 pm
\nRobert Nelson
\n<\/strong>Robert Nelson\u2019s collection of his rarely seen works from the 1960s. Nelson\u2019s films are underpinned by a deeply felt sense of humor and the absurd. After becoming immersed in the Beat culture of San Francisco, he produced a series of anarchic comedies, including the underground classic Oh Dem Watermelons<\/em> in 1965. The program will include the only existing prints of such works as Oiley Peloso<\/em>, as well as films made in cooperation with Steve Reich, the San Francisco Mime Troupe, and the Grateful Dead. These reels were assembled in 1999, at which time many of the films were re-edited.<\/p>\n

Robert Nelson, Plastic Haircut<\/em>, 1963 (revised 1999), b\/w, sound, 10 min
\nRobert Nelson, Oh Dem Watermelons<\/em>, 1965, color, sound, 10 min *
\nRobert Nelson, T.P. I,<\/em> 1965 (revised 1999), b\/w, sound, 4 min
\nRobert Nelson, Oiley Peloso<\/em>, 1965 (revised 1999), b\/w, sound, 2 min
\nRobert Nelson, 60 Lazy Dogs<\/em>, 1967, b\/w, sound, 2 min
\nRobert Nelson, T.P. II,<\/em> 1965 (revised 1999), b\/w, sound, 5 min
\nRobert Nelson, 1\/2 Bright, 1\/2 Open, 1\/2 Withered, 1\/2 Lumpy<\/em>, 1967 (revised 1999), color, sound, 3 min
\nRobert Nelson, Hot Leatherette<\/em>, 1967, b\/w, sound, 5 min
\nRobert Nelson, The Awful Backlash<\/em>, 1967 (revised 1999), b\/w, sound on tape, 14 min
\nRobert Nelson, Gourley in 67<\/em>, 1967, color, sound, 3 min
\nRobert Nelson, Soup or Spread<\/em>, 1967 (revised 1999), color, sound, 5 min
\nRobert Nelson, The Off-Handed Jape<\/em>, 1967, color, sound, 8 min
\nRobert Nelson, Grateful Dead<\/em>, 1967, color, sound, 8 min<\/p>\n


\nThursday 11 November 1999<\/strong><\/p>\n

FLUXDAY<\/strong>
\nFluxus grew out of the breakdown between artistic disciplines that began during the early 1960s. Rejecting conventional definitions of high art, Fluxus created an irreverent, intermedia practice incorporating performance, music, scores, objects, and films. Centered around the forceful personality of its founder, George Maciunas, Fluxus activity was intimate, ephemeral, democratic, and poetic.This program features some of the key Fluxus films and documents, including an interview with George Maciunas.<\/p>\n

1:15 pm
\nFluxdocuments<\/strong>
\nPeter Moore, Stockhausen\u2019s Originale<\/em>, 1964-94, b\/w, sound, 33 min
\nShigeko Kubota, George Maciunas with Two Eyes, 1972, George Maciunas with One Eye, 1976<\/em>, 1994, videotape, b\/w, sound, 7 min
\nLarry Miller, Flux Wedding<\/em>, 1978, videotape, b\/w, silent, 8 min (excerpt from Some Fluxus<\/em>, 1999)
\nLarry Miller, Interview with George Maciunas<\/em>, 1978, videotape, b\/w, sound, 18 min (excerpt from Some Fluxus<\/em>, 1999)
\nJonas Mekas, Zefiro Torna or Scenes from the Life of George Maciunas<\/em>, 1952-78 (edited 1992), color, sound, 34 min<\/p>\n

3:15 pm
\nDick Higgins<\/strong>
\nDick Higgins was a founding member and major force of Fluxus. He studied composition with John Cage, participated in many early Happenings, and is credited with developing the concept of \u201cintermedia\u201d in 1965.<\/p>\n

Dick Higgins, The End<\/em>, 1962, b\/w, sound, 12 min
\nDick Higgins, Mysteries<\/em>, 1969, b\/w, sound, 8 min
\nDick Higgins, Hank and Mary without Apologies<\/em>, 1962-70, color, sound, 18 min<\/p>\n

4 pm
\nYoko Ono<\/strong>
\nYoko Ono\u2019s films, scores, objects, and performances of the 1960s were an important contribution to early Fluxus. Her notorious film No. 4<\/em> (also known as Bottoms<\/em>) is definitively Fluxus in its deadpan, irreverent structure.<\/p>\n

Yoko Ono, No. 4 (Bottoms)<\/em>, 1966, b\/w, sound, 80 min<\/p>\n

5:30 pm
\nFluxfilms
\n<\/strong>A collection of over thirty Fluxus films, ranging in length from 10 seconds to 10 minutes, edited by George Maciunas.<\/p>\n

Fluxus, Fluxfilm Anthology<\/em>, 1966-70, b\/w & color, sound & silent, 120 min<\/p>\n

#1 Nam June Paik, Zen For Film<\/em>; #2 Dick Higgins, Invocation For Canyons And Boulders (For Stan Brakhage)<\/em>; #3 George Maciunas, End After 9<\/em>; #4 Chieko Shomi, Disappearing Music For Face<\/em>; #5 John Cavanaugh, Blink<\/em>; #6 James Riddle, 9 Minutes<\/em>; #7 George Maciunas, 10 Feet<\/em>; #8 George Maciunas, 1000 Frames<\/em>; #9 Yoko Ono, Eye Blink<\/em>; #10 George Brecht, Entrance To Exit<\/em>; #11 Robert Watts, Trace No.22<\/em>; #12 Robert Watts, Trace No.23<\/em>; #13 Robert Watts, Trace No.24<\/em>; #14 Yoko Ono, One<\/em>; #15 Yoko Ono, Eye Blink<\/em>; #16 Yoko Ono, No.4<\/em>; #17 Pieter Vanderbeck, Five O\u2019Clock In The Morning<\/em>; #18 Joe Jones, Smoking<\/em>; #19 Erik Andersen, Opus 74, Version 2<\/em>; #20 George Maciunas, Artype<\/em>, #22 Jeff Perkins, Shout<\/em>; #23 Wolf Vostell, Sun In Your Head (Television Decollage)<\/em>; #24 Albert Fine, Readymade<\/em>; #25 George Landow, The Evil Faerie<\/em>; #26 Paul Sharits, Sears Catalog 1-3<\/em>; #27 Paul Sharits, Dots 1 & 2<\/em>; #28 Paul Sharits, Wrist Trick<\/em>; (unnumbered) Paul Sharits, Unrolling Event<\/em>; #29 Paul Sharits, Word Movie<\/em>; #30 Albert Fine, Dance<\/em>; #31 John Cale, Police Car<\/em>; #36 Peter Kennedy, Flux Film #36<\/em>; #37 Peter Kennedy & Mike Parr, Flux Film #37<\/em>; #38 Ben, Je Ne Vois Rien, Je N\u2019Entends Rien, Je Ne Dis Rien;<\/em> #39 Ben, La Travers\u00e9 Du Port De Nice \u00c0 La Nage<\/em>; #40 Ben, Faire Un<\/em> Effort<\/em>; #41 Ben, Regardez-Moi, Cela Suffit<\/em><\/p>\n

 <\/p>\n

Saturday 13 November 1999<\/strong><\/p>\n

12 pm
\nThe Dilexi Series
\n<\/strong>In 1969, The Dilexi Foundation commissioned artists to create a pioneering group of videotapes. The videotapes were made specifically to be broadcast on television by KQED, San Francisco. This selection of four of the twelve tapes demonstrates the creative potential of the unique collaboration that developed in the late sixties between artists and network television.<\/p>\n

Julian Beck and The Living Theater, Rite of Guerrilla Theater<\/em>, 1969, videotape, b\/w, sound, 25 min
\nPhilip Makanna, The Empire of Things<\/em>, 1969, videotape, b\/w & color, sound, 21 min
\nAnna Halprin, Right On<\/em>, 1969, videotape, b\/w, sound, 30 min
\nTerry Riley & Arlo Acton, Music with Balls<\/em>, 1968, videotape, color, sound, 24 min<\/p>\n

See also The Medium Is the Medium, 1969, which combines the works of six artists commissioned by television station WGBH Boston, screened on Sunday 28 November 1999, and Wednesdays, at 5:30 pm.<\/em><\/p>\n

2 pm
\nRobert Nelson<\/strong>
\nSee Sunday 7 November 1999<\/p>\n

4 pm
\nGregory Markopoulos
\n<\/strong>The films of Gregory Markopoulos are some of the most revered works in the avant-garde film canon, although they rarely have been seen since being withdrawn from exhibition in the late 1960s. The Illiac Passion<\/em>, based on Aeschylus\u2019 Prometheus Bound<\/em>, took three years to complete, and is an acknowledged masterpiece. Ming Green<\/em>, one of Markopoulos\u2019 \u201cfilms of place\u201d, was shot in a single day and edited entirely in camera.<\/p>\n

Gregory Markopoulos, Ming Green<\/em>, 1966, color, sound, 7 min
\nGregory Markopoulos, The Illiac Passion<\/em>, 1967, color, sound, 92 min<\/p>\n


\nSunday 14 November 199<\/strong><\/p>\n

12 pm
\nGregory Markopoulos<\/strong>
\nSee Saturday 13 November 1999<\/p>\n

2 pm
\nRare Films by Jack Smith
\n<\/strong>Introduced by Jerry Tartaglia, filmmaker and restorer of Jack Smith\u2019s work for the Plaster Foundation.<\/p>\n

Jack Smith was a prolific actor, writer, filmmaker, photographer, and a legendary figure of the New York underground. To complement his best-known film Flaming Creatures<\/em>, screened in the weekly cycles, this program presents a group of rarely seen works. Many of these films were never assembled into definitive versions, and were constantly re-edited for individual screenings or used in Smith\u2019s theater presentations of the 1970s and 1980s. No President<\/em>, a bewildering construction starring Irving Rosenthal, is arguably one of Smith\u2019s greatest achievements.<\/p>\n

Jack Smith, Scotch Tape<\/em>, 1959-62, color, sound, 2 min
\nJack Smith, Overstimulated<\/em>, 1959-60, b\/w, silent, 6 min
\nJack Smith, Reefers of Technicolor Island<\/em>, 1967, color, sound on tape, 15 min
\nJack Smith, No President<\/em>, 1967-70, b\/w, sound on tape, 50 min
\nJack Smith, Song for Rent<\/em>, 1968-69, color, sound on tape, 5 min<\/p>\n

4 pm
\n<\/u>Spring Equinox 1966: The Magick Lantern Cycle of Kenneth Anger<\/strong>
\nSee Sunday 7 November 1999<\/p>\n


\nThursday 18 November 1999<\/strong><\/p>\n

5:30 pm
\nExtended Visions: 3
\n<\/strong>Richard Myers\u2019 first feature-length film overpowers the viewer with its technical virtuosity. Using an abundance of visual techniques, Akran<\/em> constructs a rich mosaic that presents a subversive view of America in the late 1960s.<\/p>\n

Richard Myers, Akran<\/em>, 1969, b\/w, sound, 118 min<\/p>\n


\nSaturday 20 November 1999<\/strong><\/p>\n

12 pm
\nSeeing Double: The Dual Screen Film<\/strong>
\nThe practice of projecting two 16mm film reels side by side was used extensively by Andy Warhol in the mid-1960s. Several of his films were presented in either single or dual screen. The films of Storm de Hirsch and Paul Sharits use the double screen to magnify their visual abstractions and to bombard the viewer with color and sound.<\/p>\n

Andy Warhol, Lupe<\/em>, 1965, color, sound, 36 min (dual screen)
\n<\/strong>Storm de Hirsch, Third Eye Butterfly<\/em>, 1968, color, sound, 10 min (dual screen)
\nIra J. Newman, French Lick<\/em>, 1968-69, b\/w & color, sound, 6 min (dual screen)
\nPaul Sharits, Razor Blades<\/em>, 1965-68, b\/w & color, sound, 25 min (dual screen)<\/p>\n

2 pm
\nAndy Warhol\u2019s The Chelsea Girls
\n<\/strong>Introduced by Callie Angell, adjunct curator, Andy Warhol Film Project, Whitney Museum of American Art, and Ronald Tavel, screenplay author and co-founder of the Theater of The Ridiculous.<\/p>\n

The Chelsea Girls<\/em> is a collection of scenes presented as events occurring simultaneously in different rooms of the Chelsea Hotel, New York. Individual sections feature Warhol superstars Gerard Malanga, Mary Woronov, and Nico, and original music by the Velvet Underground. Following its initial screenings in New York, The Chelsea Girls<\/em> went on to become the most commercially successful underground film of all time.<\/p>\n

Andy Warhol, The Chelsea Girls<\/em>, 1966, b\/w & color, sound, 210 min (dual screen)<\/p>\n

6:30 pm
\nAndy Warhol\u2019s The Chelsea Girls
\n<\/strong>Repeat screening<\/p>\n


\nSunday 21 November 1999<\/strong><\/p>\n

PERFORMANCE AND HAPPENINGS
\n<\/strong>Introduced by Chrissie Iles, curator, film and video, Whitney Museum of American Art<\/p>\n

Performance events and Happenings proliferated in the 1960s, as artists explored a process-based form of art-making which challenged the autonomy of the art object and traditional theatrical forms. These programs present rare films of Happenings and performances that took place in and around New York in the early 1960s, extending the boundaries of art to include danger, risk, duration, process, and a liberation of the body.<\/p>\n

11.30 am
\nWhat\u2019s Happening<\/strong>
\nRaymond Saroff, Storedays: I & II,<\/em> Ray Gun Theater<\/em>, 1962, b\/w, silent, 15 min (documenting Happenings by Claes Oldenburg)
\nBud Wirtschafer, What\u2019s Happening<\/em>, 1963, color, sound, 14 min
\nAllan Kaprow, Household<\/em>, 1964, b\/w, silent, 22 min
\nRobert Whitman, American Moon<\/em>, 1961 (edited by Sue Wrbican, 1999), color, sound, 12 min<\/p>\n

1 pm
\nExperiments in Art and Technology, 9 Evenings: Theater & Engineering<\/strong>
\nIntroduced by Barbro Schultz Lundestam<\/p>\n

The world premiere of two recently restored and edited archival films documenting the historic performances that took place on nine evenings in 1966 at the 69th Regiment Armory, New York, by Robert Whitman, David Tudor, John Cage, \u00d6yvind Fahlstr\u00f6m, Robert Rauschenberg, Yvonne Rainer, Alex Hay, Steve Paxton, Robert Morris, and Deborah Hay. Organized by Experiments in Art and Technology.<\/p>\n

Barbro Schultz Lundestam, Robert Rauschenberg: Open Score<\/em>, 1996, b\/w & color, sound, 34 min (v)
\nBarbro Schultz Lundestam, \u00d6yvind Fahlstr\u00f6m: Kisses Sweeter Than Wine<\/em>, 1996, b\/w & color, sound, 71 min (v)<\/p>\n

3 pm
\nCarolee Schneemann<\/strong>
\nIntroduced by Carolee Schneeman<\/p>\n

Filmmakers\u2019 documents of Carolee Schneemann\u2019s groundbreaking 1960s performances.<\/p>\n

Elaine Summers, Water Light\/Water Needle<\/em>, 1966, b\/w, silent, 15 min
\nAlphons Schilling, Snows<\/em>, 1966, b\/w, silent, 24 min
\nGideon Bachmann, Body Collage<\/em>, 1967, b\/w, silent, 6 min<\/p>\n

4 pm
\nDance into Performance<\/strong>
\nThe 1960s saw an unprecedented crossover among disciplines, in particular those of art and \u201cnew dance\u201d. From the late 1950s through the 1960s, the Judson Dance Theater in New York became a center for experimental art and dance, showing work by Yvonne Rainer, Steve Paxton, Trisha Brown, Simone Forti, Carolee Schneemann, and Robert Morris. Aside from the performers at Judson, other artists incorporated dance movements into their work. Bruce Nauman\u2019s early performances were influenced by the work of Anna Halprin, while some of Joan Jonas\u2019 early performances involved groups of people performing everyday movements in the open air within a choreographed structure.<\/p>\n

Yvonne Rainer, Trio A<\/em>, 1978, b\/w, sound, 10 min
\nBruce Nauman, Dance or Exercise on the Perimeter of a Square<\/em>, 1967-68, b\/w, sound, 11 min
\nAnna Halprin, Right On<\/em>, 1969, videotape, b\/w, sound, 30 min
\nJoan Jonas, Wind<\/em>, 1968, b\/w, silent, 6 min
\nRobert Morris, Wisconsin<\/em>, 1970, b\/w, silent, 15 min<\/p>\n


\nSaturday 27 November 1999<\/strong><\/p>\n

12 pm
\n<\/u>Rare Films by Jack Smith
\n<\/strong>See Sunday 14 November 1999<\/p>\n

2 pm
\nBruce Baillie<\/strong>
\nSee Saturday 6 November 1999<\/p>\n

4 pm
\nKen Kesey and the Merry Pranksters<\/strong>
\nThe theatrical premiere of Ken Kesey\u2019s film – finally edited after thirty years – of the Merry Pranksters\u2019 legendary bus trips across America in the 1960s, as immortalized in Tom Wolfe\u2019s book The Electric Kool-Aid Acid Test<\/em>. A bridge between the Beats and the hippies, the Pranksters were vanguard figures of the psychedelic movement, whose destination was always \u201cfurthur\u201d.<\/p>\n

Ken Kesey and the Merry Pranksters, Intrepid Traveler and His Merry Band of Pranksters Search for a Cool Place<\/em>, 1964 (edited 1999), color, sound, 60 min (v)
\nKen Kesey and the Merry Pranksters, Acid Test<\/em>, 1964-65 (edited 1990), color, sound, 55 min (v)<\/p>\n


\nSunday 28 November 1999<\/strong><\/p>\n

THE ELECTRONIC FILM AND THE BIRTH OF VIDEO ART<\/strong>
\nVideo art was born out of two strands of sixties American counterculture: the utopian desire for an expanded perception through new technology, and a rebellion against the institutional authority of mainstream television. At the inception of video in the mid-1960s, filmmakers and artists experimented with psychedelically inflected electronic image-processing techniques using audio and video synthesizers. A number of filmmakers incorporated the new electronic imagery of video into their filmmaking, creating \u201celectronic\u201d films.<\/p>\n

11:30 am
\n The Electronic Film: 1<\/strong>
\nJud Yalkut & Nam June Paik, Cinema Metaphysique Nos. 1-4<\/em>, 1966-67 (edited 1972), b\/w, sound, 13 min
\nJud Yalkut & Nam June Paik, Cinema Metaphysique No. 5<\/em>, 1967, color, silent, 2 min
\nJud Yalkut & Nam June Paik, Electronic Fables<\/em>, 1971, color, sound, 9 min
\nPhilip Makanna, The Empire of Things<\/em>, 1969, videotape, b\/w & color, sound, 21 min
\nJohn Whitney, Permutations<\/em>, 1968, color, sound, 8 min
\nDoris Chase, Circles 1 (Subotnik),<\/em> 1971, color, sound, 7 min
\nStandish Lawder, Runaway<\/em>, 1969, b\/w, sound, 5 1\/2 min<\/p>\n

1.00 pm
\n The Electronic Film: 2<\/strong>
\nIntroduced by Stephen Beck<\/p>\n

John Stehura, Cibernetik 5.3<\/em>, 1961-65, color, sound, 8 min
\nScott Bartlett, Serpent<\/em>, 1971, color, sound, 14 min
\nEd Emshwiller, Scape-Mates<\/em>, 1972, color, sound, 28 min
\nStan Vanderbeek, Videospace<\/em>, 1972, color, sound, 7 min
\nTom DeWitt, The Leap<\/em>, 1968, color, sound, 7 min
\nStephen Beck and Jordan Belson, Cycles<\/em>, 1974, color, sound, 10 min<\/p>\n

2:30 pm
\nProcessing the Image<\/strong>
\nJud Yalkut & Nam June Paik, Beatles Electroniques<\/em>, 1966-69, b\/w, sound, 3 min
\nEric Siegel, Einstein<\/em>, 1968, videotape, color, sound, 6 min
\nEric Siegel, Symphony of the Planets<\/em>, 1968, videotape, color, sound, 11 min
\nEric Siegel, Tomorrow Never Knows<\/em>, 1968, videotape, color, sound, 3 min
\nSteina and Woody Vasulka, Calligrams<\/em>, videotape, b\/w, silent, 12 min
\nSteina, Violin Power<\/em>, 1970-78, videotape, b\/w, sound, 10 min *
\nWGBH Boston, The Medium Is the Medium<\/em>, 1969, videotape, color, sound, 28 min *
\nNam June Paik, Global Groove<\/em>, 1973, videotape, color, sound, 29 min<\/p>\n

4:30 pm
\nThe New Radicals
\n<\/strong>In 1969, the Raindance video collective was formed by Frank Gillette, Paul Ryan, Ira Schneider, and Michael Shamberg. Raindance\u2019s \u201cmedia primers\u201d, which include footage of Abbie Hoffman and the Altamont concert, propose an engagement with both counterculture and mainstream television in order to create alternative communication systems. Also in 1969, Ira Schneider made a historic recording of the first exhibition of video art in the United States, at the Howard Wise Gallery, New York.<\/p>\n

Ira Schneider, TV as a Creative Medium<\/em>, 1969 (edited 1984), videotape, b\/w, sound, 12 min *
\nPaul Ryan, Proto Media Primer<\/em>, 1970, videotape, b\/w, sound, 16 min *
\nIra Schneider, Media Primer<\/em>, 1970, videotape, b\/w, sound, 23 min
\nMichael Shamberg, Media Primer<\/em>, 1971, videotape, b\/w, sound, 17 min<\/p>\n


\nThursday 2 December 1999<\/strong><\/p>\n

5:30 pm
\nExtended Visions: 4
\n<\/strong>Ken Jacobs\u2019 seminal film Tom, Tom, The Piper\u2019s Son<\/em> ushered in a new era of filmmaking. Taking found footage of a black-and-white film from 1905, Jacobs dissected it, refilming it backwards and forwards, elevating details, and opening up the structure of the film to an extreme degree, thus rewriting the rules of cinema. The historical precedent for Jacobs\u2019 making of Tom, Tom, The Piper\u2019s Son<\/em> is Rose Hobart,<\/em> a film montage assembled by the artist Joseph Cornell, who re-edited footage from the 1931 Hollywood film East of Borneo<\/em>.<\/p>\n

Joseph Cornell, Rose Hobart<\/em>, c.1936, color, sound on tape, 19 min
\nKen Jacobs, Tom, Tom, The Piper\u2019s Son<\/em>, 1969-71, b\/w & color, silent, 115 min<\/p>\n


\nSaturday 4 December 1999<\/strong><\/p>\n

YOU SAY YOU WANT A REVOLUTION: 1
\n<\/strong>A weekend of programs documenting how the political and social turbulence of the sixties motivated the younger generation to become deeply engaged with civil rights, black power, personal liberation, and political action. Centered around university campuses and large-scale protest marches against the Vietnam War, their radical strategies of protest, resistance, and rebellion were recorded by avant-garde filmmakers. These filmmakers demonstrated a remarkable solidarity with a new, collectivized political filmmaking centered around the New York and San Francisco Newsreels (later known as Third World Newsreel), whose anonymously produced films challenged the hierarchy of television news reportage and \u201cprofessional\u201d documentary filmmaking.<\/p>\n

11:30 am
\nPower to the People<\/strong>
\nThird World Newsreel, America<\/em>, 1969, b\/w, sound, 30 min *
\nLeonard Henny, Peace Pickets Arrested for Disturbing the Peace<\/em>, 1967, color, sound, 7 min
\nRudi Stern & John Riley, The Flag Show: Judson Church<\/em>, 1968, videotape, b\/w, sound, 15 min (excerpt)
\nThird World Newsreel, Up Against the Wall Ms. America<\/em>, 1968, b\/w, sound, 8 min<\/p>\n

1 pm
\n One PM<\/strong>
\nIntroduced by D.A. Pennebaker<\/p>\n

In 1969, D.A. Pennebaker assembled footage from Jean-Luc Godard\u2019s abandoned film One AM<\/em> (or One American Movie<\/em>), which dealt with resistance and revolution in the USA. The resulting film, featuring Jefferson Airplane, LeRoi Jones, Eldridge Cleaver and Rip Torn, together with Pennebaker\u2019s own coverage of Godard at work, depicts the social and political climate of America at the end of the 1960s.<\/p>\n

Jean-Luc Godard & D.A. Pennebaker, One PM<\/em>, 1969, color, sound, 95 min<\/p>\n

3 pm
\nAll You Need Is Love<\/strong>
\nIn the summer of 1967 in San Francisco, the first Be-In<\/em> drew thousands of young people searching for a new way of life. Disillusioned with authority, and building on the earlier underground actions of the Beats, this new generation created a utopian counterculture, using hallucinogenic drugs, meditation, yoga, music, free love, and erotic liberation to open up alternative ways of living and loving.<\/p>\n

Bob Giorgio, Love Happens<\/em>, 1966, color, sound, 12 min
\nBob Giorgio, America\u2019s Wonderful<\/em>, 1967, color, sound, 7 min
\nJerry Abrams, Be-In<\/em>, 1967, color, sound, 7 min
\nLes Blank, God Respects Us When We Work But He Loves Us When We Dance<\/em>, 1968, color, sound, 20 min
\nCarolee Schneemann, Fuses<\/em>, 1964-68, color, silent, 22 min<\/p>\n

4:30 pm
\nWorld Gone Wrong<\/strong>
\nDuring the sixties, the assassinations of President John F. Kennedy, Martin Luther King Jr. and Malcolm X, the violence which increasingly accompanied protest demonstrations, the Manson murders, and the deaths at Altamont undermined the spirit of social, political, and personal transformation and demonstrated the harsh realities behind the Flower Power generation\u2019s attempts to create a new society.<\/p>\n

Bruce Conner, Report<\/em>, 1963-67, b\/w, sound, 13 min
\nKen Jacobs, Perfect Film<\/em>, 1986, b\/w, sound, 23 min
\nWill Hindle, Saint Flournoy Lobos-Logos and the Eastern Europe Fetus Taxing Japan Brides in West Coast Places Sucking Alabama Air<\/em>, 1970, color, sound, 12 min *
\nRichard Myers, Allison<\/em>, 1970, b\/w, sound, 7 min<\/p>\n


\nSunday 5 December 1999<\/strong><\/p>\n

YOU SAY YOU WANT A REVOLUTION: 2<\/strong><\/p>\n

11:30 am
\nVietnam – Against the War
\n<\/strong>Carolee Schneemann, Viet Flakes<\/em>, 1965, b\/w, sound, 11 min
\nPaul Sharits, Piece Mandala\/End War<\/em>, 1966, b\/w & color, silent, 5 min *
\nPeter Gessner, Time of the Locust<\/em>, 1966, b\/w, sound, 12 min
\nAlbert Alotta, Peacemeal<\/em>, 1967, color, sound, 8 min
\nRudi Stern & John Riley, The Flag Show: Judson Church<\/em>, 1968, videotape, b\/w, sound, 12 min (excerpt)
\nStorm de Hirsch, Trap Dance<\/em>, 1968, b\/w, sound, 2 min
\nDavid Ringo, March on the Pentagon<\/em>, 1968, b\/w, sound, 21 min *<\/p>\n

1 pm
\nGet On Up<\/strong>
\nFilm, television, theater, and music played an important role in addressing issues in the black community during the 1960s. Eugene and Carole Marner\u2019s feisty portrait of two teenage black girls living on New York\u2019s Lower East Side predicts the ground-breaking work of Charles Hobson, whose Inside Bedford Stuyvesan<\/em>t series was the first locally produced black television documentary in America. Dutchman<\/em>, adapting LeRoi Jones\u2019 masterpiece representing the 1960s Black Theater Movement, captures the tension that erupts in America when race and class collide.<\/p>\n

Eugene & Carole Marner, Phyllis & Terry<\/em>, 1964-65, b\/w, sound, 36 min *
\nThird World Newsreel, I Have a Dream<\/em>, 1963, b\/w, sound, 15 min
\nAnthony Harvey, Dutchman<\/em>, 1966, b\/w, sound, 55 min
\nCharles Hobson, Inside Bedford Stuyvesant<\/em>, 1968, videotape, b\/w, sound, 56 min<\/p>\n

4 pm
\nBlack Power
\n<\/strong>The revolutionary program of the Black Panthers proposed a militant solution to the social and political problems of the black community. Radical white filmmakers produced work in cooperation with the Black Panthers, as well as other films that independently documented this revolutionary period in black history.<\/p>\n

Third World Newsreel, Black Panther<\/em>, 1968, b\/w, sound, 15 min
\nLeonard Henny, Black Power \u2013 We\u2019re Goin\u2019 Survive America!<\/em>, 1969, color, sound, 15 min *
\nDavid Loeb Weiss, No Vietnamese Ever Called Me Nigger<\/em>, 1968, b\/w, sound, 68 min<\/p>\n


\n1960s WEEKLY PROGRAMS<\/u><\/strong><\/p>\n

26 October \u2013 5 December 1999<\/strong><\/p>\n

Four different daily programs of 1960s films and videotapes will be shown Tuesdays through Fridays. Asterisked films are also screened in the theme programs on Thursday evenings and on weekends.<\/em><\/p>\n

Tuesdays<\/strong><\/p>\n

11:30 am
\nStan Brakhage, Songs 1-7<\/em>, 1964-1980, color, silent, 25 min
\nJoyce Wieland, 1933<\/em>, 1967, color, sound, 4 min
\nMike Kuchar, Tales of the Bronx<\/em>, 1969, b\/w, sound, 16 min
\nPaul Ryan, Proto Media Primer<\/em>, 1970, videotape, b\/w, sound, 16 min *<\/p>\n

1 pm
\nJohn Cage, Aspects of a New Consciousness, Dialogue III,<\/em> 1969, color, sound, 30 min (v)
\nIn this important early television interview, Cage discusses the philosophical principles of his work and his radical musical forms.
\nMerce Cunningham, Variations V<\/em>, 1966, b\/w, sound, 50 min (v)
\nBen Van Meter, S.F. Trips Festival, An Opening<\/em>, 1966, color, sound, 9 min *<\/p>\n

3 pm
\nRobert Nelson, Oh Dem Watermelons<\/em>, 1965, color, sound, 11 min *
\nJack Smith, Flaming Creatures<\/em>, 1963, b\/w, sound, 45 min<\/p>\n

4:30 pm
\nGideon Bachmann, Underground New York<\/em>, 1967, b\/w, sound, 50 min (v)
\nA portrait of the New York underground film scene in the 1960s, with rare footage of Shirley Clarke, George Kuchar, Andy Warhol, Jonas Mekas, and many others.
\nStorm de Hirsch, Peyote Queen<\/em>, 1965, color, sound, 9 min
\nIn this \u201cjourney through the underworld of sensory derangement, of interior vision\u201d, abstractions drawn directly onto the film stock appear at rapid speed to the rhythm of African drumming.
\nAndrew Meyer, Match Girl<\/em>, 1966, color, sound, 26 min<\/p>\n

Wednesdays<\/strong><\/p>\n

11:30 am
\nDavid Ringo, March on the Pentagon<\/em>, 1968, b\/w, sound, 21 min *
\nEd Emshwiller, Thanatopsis<\/em>, 1962, b\/w, sound, 5 min
\nKenneth Anger, Scorpio Rising<\/em>, 1963, color, sound, 29 min
\nErnie Gehr, Morning<\/em>, 1968, color, silent, 4 1\/2 min<\/p>\n

1 pm
\nD.A. Pennebaker, Don\u2019t Look Back<\/em>, 1967, b\/w, sound, 96 min
\nPennebaker\u2019s documentary of Bob Dylan\u2019s first British tour.<\/p>\n

3 pm
\nJames Whitney, Lapis<\/em>, 1963-66, color, sound, 10 min *
\nWarren Sonbert, The Bad and the Beautiful<\/em>, 1967, color, sound, 30 min
\nChick Strand, Waterfall<\/em>, 1967, color, sound, 3 min
\nWill Hindle, Saint Flournoy Lobos-Logos and the Eastern Europe Fetus Taxing Japan Brides in West Coast Places Sucking Alabama Air<\/em>, 1970, color, sound, 12 min *
\nStandish Lawder, Runaway<\/em>, 1969, b\/w, sound, 5 min *<\/p>\n

4:30 pm
\nWGBH Boston, The Medium Is the Medium<\/em>, 1969, videotape, color, sound, 28 min *
\nSix original works created for television, by Allan Kaprow, Otto Piene, Nam June Paik, James Seawright, Thomas Tadlock, and Aldo Tambellini, all of whom explored the new medium of video, incorporating image- processing, dance, performance, and intermedia.
\nGideon Bachmann, Jonas<\/em>, 1967, b\/w, sound, 30 min (v) *
\nBruce Conner, Cosmic Ray<\/em>, 1961, b\/w, sound, 4 min *
\nJordon Belson, Allures<\/em>, 1961, color, sound, 9 min *
\nBruce Baillie, All My Life<\/em>, 1966, color, sound, 3 min *
\nJud Yalkut, Turn Turn Turn<\/em>, 1965-66, color, sound, 10 min *
\n\u201cA torrent of hurtling colors and lights, forms blinking, whirling and surging. Image follows image in rapid-fire succession, distorting awareness of time and space.\u201d<\/p>\n

Thursdays<\/strong> (except 11 November 1999)<\/p>\n

1:30 pm
\nAndy Warhol, My Hustler<\/em>, 1965, b\/w, sound, 67 min
\nAn important film demonstrating the transition from Warhol\u2019s early minimal style to a more traditional narrative form.<\/p>\n

3 pm (October 28, November 18, December 2 only)
\nIra Schneider, TV as a Creative Medium<\/em>, 1969 (edited 1984), videotape, b\/w, sound, 12 min *
\nThird World Newsreel, Black Panther<\/em>, 1968, b\/w, sound, 15 min *
\nHarry Smith, Number 11 (Mirror Animations)<\/em>, 1956-62 (revised 1976), color, sound, 11 min *
\nCharles Henri Ford, Poem Posters<\/em>, 1960s, color, sound, 24 min
\nA documentary poem of the exhibition opening of Charles Henri Ford, with appearances by Edie Sedgwick and many other figures from the sixties scene.
\nPaul Sharits, Piece Mandala\/End War<\/em>, 1966, b\/w & color, silent, 5 min *
\nMichael Snow, Wavelength<\/em>, 1966-67, color, sound, 45 min (not October 28)
\nThis classic early Structural film is composed of a single slow zoom shot of a loft space, whose sparse purity is disrupted by changes in the image color, film stock, and the appearance of people and a radio, creating a new perception of film time.
\nYoko Ono, Freedom<\/em>, 1970, color, sound, 1 min<\/p>\n

Fridays<\/strong><\/p>\n

11:30 am
\nStan Brakhage, Mothlight<\/em>, 1963, color, silent, 4 min *
\nSteina, Violin Power<\/em>, 1970-78, videotape, b\/w, sound, 10 min *
\nThe video camera becomes analogous to a musical instrument and the violin an image-generating tool, as the black-and-white image and a Beatles soundtrack are broken down into abstract visual and aural layers.
\nTony Conrad, The Flicker<\/em>, 1966, b\/w, sound, 30 min
\nIn this radical minimal work, the flicker of alternating black and clear frames creates rhythms of light and darkness that suggest aural patterns, applying the harmonic principles of serial music to film.
\nThird World Newsreel, America<\/em>, 1969, b\/w, sound, 30 min *<\/p>\n

1 pm
\nNorman Mailer, Maidstone<\/em>, 1969, color, sound, 110 min (v)
\nSet in the civil unrest of 1968, this story of the murder of a commercial film director and presidential candidate uses avant-garde techniques to break down the division between fictive artifice and historical reality.<\/p>\n

3 pm
\nTakahiko Iimura, Ai (Love),<\/em> 1962, b\/w, sound, 12 min
\n\u201cA poetic and sensuous exploration of the body.\u201d
\nJerome Hill, Death in the Forenoon or Who\u2019s Afraid of Ernest Hemingway?,<\/em> 1965, color, sound, 2 min
\nKen Jacobs, Window<\/em>, 1964, color, silent, 12 min
\nGeorge Kuchar, Hold Me While I\u2019m Naked<\/em>, 1966, color, sound, 15 min
\nLeonard Henny, Black Power – We\u2019re Goin\u2019 Survive America!,<\/em> 1969, color, sound, 15 min *
\nOwen Land, Film in Which There Appear Sprocket Holes, Edge Lettering, Dirt Particles, Etc.,<\/em> 1965-66, color, silent, 4 min *<\/p>\n

4:30 pm
\nRobert Breer, 69<\/em>, 1968, color, sound, 4 1\/2 min
\nBruce Baillie, Mass (for the Dakota Sioux)<\/em>, 1963-64, b\/w, sound, 20 min
\nTom Chomont, Orphelia\/The Cat Lady<\/em>, 1969, color, silent\/sound, 3 min
\nA film poem which conveys, through intense emotion and a delicate sense of beauty, the fragility of human existence.
\nJerry Abrams, Be-In<\/em>, 1967, color, sound, 7 min *
\nThe first Be-In in San Francisco, with Allen Ginsberg, Timothy Leary, and Buddha. Peace, love, and euphoria.
\nLarry Jordan, Duo Concertantes<\/em>, 1964, b\/w, sound, 9 min
\nEugene & Carole Marner, Phyllis & Terry<\/em>, 1964-65, b\/w, sound, 36 min *<\/p>\n

 <\/p>\n

THE AMERICAN CENTURY: ART & CULTURE 1900-2000<\/strong>
\nThe Cool World: Film & Video in America 1950-2000
\n<\/strong><\/p>\n

Acknowledgments
\n<\/strong>We would like to thank M.M. Serra of the New American Cinema Group \/ Film-Makers\u2019 Cooperative, New York, for her extensive help and support during the research for this program. We are particularly grateful to Jonas Mekas for his help and advice, and to Robert Haller and all at Anthology Film Archives, New York. We would especially like to thank Amos Vogel for his counsel and curatorial expertise, and Scott MacDonald for his curatorial work on the Cinema 16 program. We are grateful to Professor William Moritz and to Larry Cuba of the Iota Center for lending many rare prints. We would also like to thank Gerald O\u2019Grady, David Sherman, Dominic Angerame, Robert Beavers, James Grauerholz of the William S. Burroughs Estate, and Genesis P. Orridge. For the video programs, we would like to thank Barbara Wise and the staff at Electronic Arts Intermix, New York: Lori Zippay, Galen Joseph Hunter, Seth Price, and Kate Travers. Stephen Vitiello\u2019s help and advice has been invaluable throughout. We are also indebted to Jean Ma for her work on the project, and to all the filmmakers and artists who have helped us in our research and have generously agreed to make their films and videotapes available for this series.<\/p>\n

Dream House<\/strong>
\nThroughout the exhibition, the following off-site sound and light environment can also be visited:
\n<\/em>La Monte Young and Marian Zazeela
\nDream House: Seven Years of Sound and Light
\n<\/em>275 Church Street 3rd Floor, New York, 10013
\nOpen Thursdays and Saturdays 2 pm-midnight
\nTel: (212) 925-8270<\/p>\n

Back to top<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[70],"tags":[],"class_list":["post-1814","post","type-post","status-publish","format-standard","hentry","category-american-century"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1814","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=1814"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1814\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1814"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1814"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1814"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}