HI, I’m wondering if I’ve been unsubscribed? I haven’t received a Frameworks Digest since 8/11. Not a problem if you happen to be on vacation or otherwise occupied!
Ruth http://www.randommotion.com www.vimeo/ruthhayes @randomruth_animation sites.evergreen.edu/ruthhayes/ > On Aug 11, 2022, at 9:04 AM, [email protected] wrote: > > Send Frameworks mailing list submissions to > [email protected] > > To subscribe or unsubscribe via the World Wide Web, visit > http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > or, via email, send a message with subject or body 'help' to > [email protected] > > You can reach the person managing the list at > [email protected] > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Frameworks digest..." > Today's Topics: > > 1. Fwd: Barbara Hammer: Women I Love opening Friday, June 24 > (Eric Theise) > 2. Re: Fwd: Barbara Hammer: Women I Love opening Friday, June 24 > (Bruce Cooper) > 3. Re: Fwd: Barbara Hammer: Women I Love opening Friday, June 24 > (Fred Camper) > 4. Re: Barbara Hammer: Women I Love opening Friday, June 24 > (FrameWorks Admin) > 5. Jean-Claude Bustros & Caroline Monnet August 24th 2022 > (lalumi?re collective) > > From: Eric Theise <[email protected]> > Subject: [Frameworks] Fwd: Barbara Hammer: Women I Love opening Friday, June > 24 > Date: August 10, 2022 at 11:10:44 AM PDT > To: Experimental Film Discussion List <[email protected]> > > > I hadn't returned to the Bay Area by the time this Barbara Hammer show – > photographs mostly, but also films projected digitally – opened but I went a > few Saturdays ago and it was a treat. Worth going for the photographs alone > but Ratio 3 did the right thing and erected a wall to make their back gallery > a good bit more light-tight and the three films projected there look great > (the four others are displayed on a pair of wall mounted monitors). One could > easily spend an hour or two taking it all in. > > This coming Saturday the 13th is the last day. The gallery's open every day > until then from 11a-5p. I took a couple of friends along as a surprise so I > RSVPed via Ratio 3's website <https://www.ratio3.org/> and that's probably a > good idea. > > In San Francisco's Mission District, across the street from the 24th & > Mission BART stop. > > & it was news to me that the neighboring gallery, Et Al., has turned one of > their spaces into a mostly art-focused bookstore. > > Eric > > > ---------- Forwarded message --------- > From: Ratio 3 <[email protected] <mailto:[email protected]>> > Date: Tue, Jun 21, 2022 at 2:17 PM > Subject: Barbara Hammer: Women I Love opening Friday, June 24 > To: <[email protected] <mailto:[email protected]>> > > > > <> > On the Road, Big Sur, California, 1975, 2017. Silver gelatin print, 8 x 12 > inches > Barbara Hammer : Women I Love > June 24 – August 13, 2022 > Opening: Friday, June 24, 5 – 8pm > On view: Wednesday – Saturday, 11am – 5pm and by appointment > Schedule a visit <> > Ratio 3 is pleased to present Women I Love, an exhibition of Barbara Hammer’s > early photographs and films. The exhibition, like the film after which it is > titled, offers an immersive introduction to the distinctive combination of > technical experimentation and earnest intimacy that defined Hammer’s singular > vision of lesbian identity and authorship in the 1970s. Featuring artworks > made while Hammer was living in San Francisco, Women I Love comprises the > most extensive presentation of Hammer’s work on the West Coast to date. > > Hammer’s black and white photographs appear throughout the exhibition, > beginning with a selection of vintage silver gelatin prints made by Hammer > herself, and continuing with a suite of recently editioned photographs > printed from Hammer’s archived negatives. From self-portraits to candid shots > of women—alone and in groups—in various states of repose and reverie, each > photograph provides a glimpse into Hammer’s evolving life and work. Whether > unflinchingly erotic or deliberately obscured by lens flares and > double-exposures, Hammer’s photographs are invariably generous. In many > regards, these stylistically varied photographs of the artist and her friends > and lovers mark the beginning of the iconoclastic course Hammer would chart > through subsequent decades. > > While the judicious use of optical effects in her photographs attest to > Hammer’s embrace of technical experimentation, her inventive command of her > media is most apparent in her moving images captured on 16mm film. A monitor > in the second gallery presents two of Hammer’s most iconic short films > Dyketactics and Menses (both 1974), in a continuous alternating loop. > Accompanied by soundtracks of synthesizers and distorted voices, the films > present surreal images of uninhibited women congregating in groups, playfully > satirizing womanhood and femininity into scenes that are equally touching and > absurd. > > Further into the exhibition, another pair of short films, Multiple Orgasm > (1976) and Haircut (1978) demonstrate the breadth and continuous growth of > Hammer’s filmmaking practice. Despite being made only years apart, these two > silent films are strikingly distinct; where one is overtly erotic and > composed of densely overlaid color footage, the other documents a quotidian > scene in black and white. Together, the films demonstrate Hammer’s > consistently inventive approach to experimentation, and the range of visual > styles through which she explored and celebrated the nuances of different > kinds of intimacy—from the autoerotic to the subtler acts of nurture. > > The final gallery features three longer films, screened successively in an > hour-long sequence; Women I Love and Superdyke, two of Hammer’s most > celebrated films, followed by Superdyke Meets Madame X, a collaboration > between Hammer and Max Almy. The films and photographs comprising the > exhibition highlight Hammer’s singular ability to recognize and capture the > nuances of intimacy and sexuality in lesbian relationships and communities. > Hammer’s work of the 1970s was pioneering both in its influence on > contemporary filmmaking and in its representation of lesbian love and life. > > Barbara Hammer was born in 1939 in Hollywood, CA and died in New York, NY in > 2019. Recognized as an influential figure in experimental film, Hammer > exhibited extensively throughout her career. Her work has been the subject of > film retrospectives at major institutions internationally, including the > Museum of Modern Art in New York, the Tate Modern, and the National Gallery > of Art in DC. > > This exhibition is accompanied by a brochure with a commissioned essay by > Sandra S. Phillips, Curator Emerita of Photography at the San Francisco > Museum of Modern Art. Ratio 3 thanks the Estate of Barbara Hammer and > Company, New York, for their contributions and collaboration in presenting > Women I Love. > > For all inquiries, please contact: [email protected] <mailto:[email protected]> > > > > > > From: Bruce Cooper <[email protected]> > Subject: Re: [Frameworks] Fwd: Barbara Hammer: Women I Love opening Friday, > June 24 > Date: August 10, 2022 at 7:23:03 PM PDT > To: Experimental Film Discussion List <[email protected]> > > > What if Brakhage made a film called "Woman I Love" instead of some dead > lesbian. You wouldn't make the same comments Eric. Get a life and get a > girlfriend.. I would like to talk to you sometime. > > > On Wed, Aug 10, 2022 at 2:12 PM Eric Theise <[email protected] > <mailto:[email protected]>> wrote: > I hadn't returned to the Bay Area by the time this Barbara Hammer show – > photographs mostly, but also films projected digitally – opened but I went a > few Saturdays ago and it was a treat. Worth going for the photographs alone > but Ratio 3 did the right thing and erected a wall to make their back gallery > a good bit more light-tight and the three films projected there look great > (the four others are displayed on a pair of wall mounted monitors). One could > easily spend an hour or two taking it all in. > > This coming Saturday the 13th is the last day. The gallery's open every day > until then from 11a-5p. I took a couple of friends along as a surprise so I > RSVPed via Ratio 3's website <https://www.ratio3.org/> and that's probably a > good idea. > > In San Francisco's Mission District, across the street from the 24th & > Mission BART stop. > > & it was news to me that the neighboring gallery, Et Al., has turned one of > their spaces into a mostly art-focused bookstore. > > Eric > > > ---------- Forwarded message --------- > From: Ratio 3 <[email protected] <mailto:[email protected]>> > Date: Tue, Jun 21, 2022 at 2:17 PM > Subject: Barbara Hammer: Women I Love opening Friday, June 24 > To: <[email protected] <mailto:[email protected]>> > > > > <> > On the Road, Big Sur, California, 1975, 2017. Silver gelatin print, 8 x 12 > inches > Barbara Hammer : Women I Love > June 24 – August 13, 2022 > Opening: Friday, June 24, 5 – 8pm > On view: Wednesday – Saturday, 11am – 5pm and by appointment > Schedule a visit <> > Ratio 3 is pleased to present Women I Love, an exhibition of Barbara Hammer’s > early photographs and films. The exhibition, like the film after which it is > titled, offers an immersive introduction to the distinctive combination of > technical experimentation and earnest intimacy that defined Hammer’s singular > vision of lesbian identity and authorship in the 1970s. Featuring artworks > made while Hammer was living in San Francisco, Women I Love comprises the > most extensive presentation of Hammer’s work on the West Coast to date. > > Hammer’s black and white photographs appear throughout the exhibition, > beginning with a selection of vintage silver gelatin prints made by Hammer > herself, and continuing with a suite of recently editioned photographs > printed from Hammer’s archived negatives. From self-portraits to candid shots > of women—alone and in groups—in various states of repose and reverie, each > photograph provides a glimpse into Hammer’s evolving life and work. Whether > unflinchingly erotic or deliberately obscured by lens flares and > double-exposures, Hammer’s photographs are invariably generous. In many > regards, these stylistically varied photographs of the artist and her friends > and lovers mark the beginning of the iconoclastic course Hammer would chart > through subsequent decades. > > While the judicious use of optical effects in her photographs attest to > Hammer’s embrace of technical experimentation, her inventive command of her > media is most apparent in her moving images captured on 16mm film. A monitor > in the second gallery presents two of Hammer’s most iconic short films > Dyketactics and Menses (both 1974), in a continuous alternating loop. > Accompanied by soundtracks of synthesizers and distorted voices, the films > present surreal images of uninhibited women congregating in groups, playfully > satirizing womanhood and femininity into scenes that are equally touching and > absurd. > > Further into the exhibition, another pair of short films, Multiple Orgasm > (1976) and Haircut (1978) demonstrate the breadth and continuous growth of > Hammer’s filmmaking practice. Despite being made only years apart, these two > silent films are strikingly distinct; where one is overtly erotic and > composed of densely overlaid color footage, the other documents a quotidian > scene in black and white. Together, the films demonstrate Hammer’s > consistently inventive approach to experimentation, and the range of visual > styles through which she explored and celebrated the nuances of different > kinds of intimacy—from the autoerotic to the subtler acts of nurture. > > The final gallery features three longer films, screened successively in an > hour-long sequence; Women I Love and Superdyke, two of Hammer’s most > celebrated films, followed by Superdyke Meets Madame X, a collaboration > between Hammer and Max Almy. The films and photographs comprising the > exhibition highlight Hammer’s singular ability to recognize and capture the > nuances of intimacy and sexuality in lesbian relationships and communities. > Hammer’s work of the 1970s was pioneering both in its influence on > contemporary filmmaking and in its representation of lesbian love and life. > > Barbara Hammer was born in 1939 in Hollywood, CA and died in New York, NY in > 2019. Recognized as an influential figure in experimental film, Hammer > exhibited extensively throughout her career. Her work has been the subject of > film retrospectives at major institutions internationally, including the > Museum of Modern Art in New York, the Tate Modern, and the National Gallery > of Art in DC. > > This exhibition is accompanied by a brochure with a commissioned essay by > Sandra S. Phillips, Curator Emerita of Photography at the San Francisco > Museum of Modern Art. Ratio 3 thanks the Estate of Barbara Hammer and > Company, New York, for their contributions and collaboration in presenting > Women I Love. > > For all inquiries, please contact: [email protected] <mailto:[email protected]> > > > > -- > Frameworks mailing list > [email protected] <mailto:[email protected]> > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > <https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org> > > > > From: Fred Camper <[email protected]> > Subject: Re: [Frameworks] Fwd: Barbara Hammer: Women I Love opening Friday, > June 24 > Date: August 10, 2022 at 11:52:50 PM PDT > To: [email protected] > > > I think I am especially well situated to reply to this. I have been subjected > to my very own apparently unmotivated vicious attack from Mr. Cooper on this > list. I also am not a big fan of Hammer's work, and have been a lifelong > advocate for Brakhage's, which might lend a little extra credibility to my > defense of Hammer. > > This kind of unjustified personal attack, with no argument and no evidence, > is all too common on the Internet today, and is sadly typical of Trumpism, > not to say, of course, that Mr. Cooper is a Trumper, but still. What do we > learn from him telling someone to "get a life and get a girlfriend" because > he posts an enthusiastic review of an art exhibit? This is offensive in the > extreme. Not everyone wants a girlfriend -- or a boyfriend -- and what does > this even have to do with anything? The usual meaning of this insult is to > allege that the person being attacked has all kinds of personal problems that > would be solved by, well, a sexual relationship with a woman. What a load of > garbage; what an insult to both women and relationships; what a way to > evaluate our fellow humans. > > To judge by the Hammer images online, they seems to my not very favorably > disposed eyes to be reasonably good work, at least interesting, maybe more. I > haven't seen the actual work, so I really can't judge it. Has Mr. Cooper? > > As for Mr. Cooper referring to Hammer, whose work has garnered much attention > and praise over many years, as "some dead lesbian," that is beyond the pale. > Can we all not agree that no one should ever be referred to in that way? His > larger comment also makes no sense. I don't know any evidence that Eric would > not praise a Brakhage film called "Woman I Love," though that is not a likely > Brakhage title; his are usually more indirect. It is also not Hammer's title; > hers is "Women I Love." Is Cooper's changing of the title a key to what so > bothered him? Personally, I think it's just fine if a woman -- or a man > --wishes to love, with their consent of course, many women. > > Fred Camper > Chicago > > On 8/10/2022 7:23 PM, Bruce Cooper wrote: >> What if Brakhage made a film called "Woman I Love" instead of some dead >> lesbian. You wouldn't make the same comments Eric. Get a life and get a >> girlfriend.. I would like to talk to you sometime. >> >> >> On Wed, Aug 10, 2022 at 2:12 PM Eric Theise <[email protected] >> <mailto:[email protected]>> wrote: >> I hadn't returned to the Bay Area by the time this Barbara Hammer show – >> photographs mostly, but also films projected digitally – opened but I went a >> few Saturdays ago and it was a treat. Worth going for the photographs alone >> but Ratio 3 did the right thing and erected a wall to make their back >> gallery a good bit more light-tight and the three films projected there look >> great (the four others are displayed on a pair of wall mounted monitors). >> One could easily spend an hour or two taking it all in. >> >> This coming Saturday the 13th is the last day. The gallery's open every day >> until then from 11a-5p. I took a couple of friends along as a surprise so I >> RSVPed via Ratio 3's website <https://www.ratio3.org/> and that's probably a >> good idea. >> >> In San Francisco's Mission District, across the street from the 24th & >> Mission BART stop. >> >> & it was news to me that the neighboring gallery, Et Al., has turned one of >> their spaces into a mostly art-focused bookstore. >> >> Eric >> >> >> ---------- Forwarded message --------- >> From: Ratio 3 <[email protected] <mailto:[email protected]>> >> Date: Tue, Jun 21, 2022 at 2:17 PM >> Subject: Barbara Hammer: Women I Love opening Friday, June 24 >> To: <[email protected] <mailto:[email protected]>> >> >> >> >> <> >> On the Road, Big Sur, California, 1975, 2017. Silver gelatin print, 8 x 12 >> inches >> Barbara Hammer : Women I Love >> June 24 – August 13, 2022 >> Opening: Friday, June 24, 5 – 8pm >> On view: Wednesday – Saturday, 11am – 5pm and by appointment >> Schedule a visit <> >> Ratio 3 is pleased to present Women I Love, an exhibition of Barbara >> Hammer’s early photographs and films. The exhibition, like the film after >> which it is titled, offers an immersive introduction to the distinctive >> combination of technical experimentation and earnest intimacy that defined >> Hammer’s singular vision of lesbian identity and authorship in the 1970s. >> Featuring artworks made while Hammer was living in San Francisco, Women I >> Love comprises the most extensive presentation of Hammer’s work on the West >> Coast to date. >> >> Hammer’s black and white photographs appear throughout the exhibition, >> beginning with a selection of vintage silver gelatin prints made by Hammer >> herself, and continuing with a suite of recently editioned photographs >> printed from Hammer’s archived negatives. From self-portraits to candid >> shots of women—alone and in groups—in various states of repose and reverie, >> each photograph provides a glimpse into Hammer’s evolving life and work. >> Whether unflinchingly erotic or deliberately obscured by lens flares and >> double-exposures, Hammer’s photographs are invariably generous. In many >> regards, these stylistically varied photographs of the artist and her >> friends and lovers mark the beginning of the iconoclastic course Hammer >> would chart through subsequent decades. >> >> While the judicious use of optical effects in her photographs attest to >> Hammer’s embrace of technical experimentation, her inventive command of her >> media is most apparent in her moving images captured on 16mm film. A monitor >> in the second gallery presents two of Hammer’s most iconic short films >> Dyketactics and Menses (both 1974), in a continuous alternating loop. >> Accompanied by soundtracks of synthesizers and distorted voices, the films >> present surreal images of uninhibited women congregating in groups, >> playfully satirizing womanhood and femininity into scenes that are equally >> touching and absurd. >> >> Further into the exhibition, another pair of short films, Multiple Orgasm >> (1976) and Haircut (1978) demonstrate the breadth and continuous growth of >> Hammer’s filmmaking practice. Despite being made only years apart, these two >> silent films are strikingly distinct; where one is overtly erotic and >> composed of densely overlaid color footage, the other documents a quotidian >> scene in black and white. Together, the films demonstrate Hammer’s >> consistently inventive approach to experimentation, and the range of visual >> styles through which she explored and celebrated the >> nuances of different kinds of intimacy—from the >> autoerotic to the subtler acts of nurture. >> >> The final gallery features three longer films, screened successively in an >> hour-long sequence; Women I Love and Superdyke, two of Hammer’s most >> celebrated films, followed by Superdyke Meets Madame X, a collaboration >> between Hammer and Max Almy. The films and photographs comprising the >> exhibition highlight Hammer’s singular ability to recognize and capture the >> nuances of intimacy and sexuality in lesbian relationships and communities. >> Hammer’s work of the 1970s was pioneering both in its influence on >> contemporary filmmaking and in its representation of lesbian love and life. >> >> Barbara Hammer was born in 1939 in Hollywood, CA and died in New York, NY in >> 2019. Recognized as an influential figure in experimental film, Hammer >> exhibited extensively throughout her career. Her work has been the subject >> of film retrospectives at major institutions internationally, including the >> Museum of Modern Art in New York, the Tate Modern, and the National Gallery >> of Art in DC. >> >> This exhibition is accompanied by a brochure with a commissioned essay by >> Sandra S. Phillips, Curator Emerita of Photography at the San Francisco >> Museum of Modern Art. Ratio 3 thanks the Estate of Barbara Hammer and >> Company, New York, for their contributions and collaboration in presenting >> Women I Love. >> >> For all inquiries, please contact: [email protected] <mailto:[email protected]> >> >> >> >> >> -- >> Frameworks mailing list >> [email protected] <mailto:[email protected]> >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> <https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org> >> > > > > > I have placed your subscription in moderated mode so I can screen your = > comments. > You may still post to the list but there may be a brief delay for me to = > approve them. > - Pip Chodorov > > >> On Aug 11, 2022, at 4:23 AM, Bruce Cooper <[email protected]> = > wrote: >> =20 >> What if Brakhage made a film called "Woman I Love" instead of some = > dead lesbian.=20 > > > > > > From: lalumière collective <[email protected]> > Subject: [Frameworks] Jean-Claude Bustros & Caroline Monnet August 24th 2022 > Date: August 11, 2022 at 9:03:53 AM PDT > To: [email protected] > > > As part of the screening series IN SITU, la lumière collective > <http://www.lalumierecollective.org/> presents :Jean-Claude Bustros and > Caroline Monnet on August 24th at 6:30 pm . > > <J-C Bustros and Monnet fb banner2.jpg> > --- > la lumière collective > www.lalumierecollective.org > <http://www.lalumierecollective.org/> > > > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
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