Re: [Frameworks] Anthony McCall's films

[o...@thenowcorporation.com]

mm serra may have some light to shed in this discussion re: fmc. Unintended pun 
acknowledged. 

Owen P.


> On Sep 13, 2018, at 12:50 PM, Chrissie Iles, Curatorial 
>  wrote:
> 
> Responding to this thread (and Anthony can correct me as he is on this list), 
> Anthony McCall’s spatial film works that Jonathan mentions are not in 
> distribution catalogues because, like Paul Sharits’ location works and other 
> expanded cinema works from that period, they are multiple projection works 
> made to be shown in the physical space of the gallery rather than in cinemas, 
> where it would be impossible to show them. ‘Line Describing a Cone’ and 
> ‘Partial Cone’ were the exception to this because they are single 
> projections. I would be wary of the good old days of film versus the art 
> world argument, or the implication that the inclusion of ‘Line Describing a 
> Cone’ in ‘Into the Light’ somehow made his 1970s works less accessible. The 
> opposite is true. The early works have been restored, and anyone who wants to 
> show them can contact his gallery, Sean Kelly or Anthony himself. Likewise, 
> Tony Conrad’s yellow movies can still be borrowed, and are seen more widely 
> than ever before. The Whitney has ‘Yellow Movie 2/26/73’ (1973) and six 1970s 
> collage drawings by Conrad in its collection.  Many artists (like Carolee 
> Schneemann, Bruce Conner, Taka Iimura, Harry Smith, Stan VanDerBeek, Jack 
> Smith, Hollis Frampton, et al) did not work exclusively in one world or the 
> other; their refusal of purity (which the yellow movies specifically address) 
> articulated a fluidity of approach that laid the ground for the current 
> pluralism of the field (though sadly not its racial and gender diversity, 
> which is finally being addressed in a long-needed correction).
> Chrissie 
>  
> From: FrameWorks  On Behalf Of Eric 
> Theise
> Sent: Thursday, September 13, 2018 2:32 AM
> To: Experimental Film Discussion List ; 
> Jonathan Walley 
> Subject: Re: [Frameworks] Anthony McCall's films
>  
> Continuing along Jonathan's line of inquiry, courtesy BAMPFA's Film Library 
> and Study Center. I know McCall's Line Describing a Cone is from 1973 but I'm 
> not familiar with the dates in the rest of his filmography so here's the full 
> dump.
>  
> Canyon Cinema Cooperative Catalogue Number One (1966): no McCall.
> Canyon Cinema Cooperative Catalogue Number Two (1969): no McCall.
> Canyon Cinema Cooperative Catalogue Number Two Supplement Number One (1969): 
> no McCall.
> Canyon Cinema Cooperative Catalogue Number Two Supplement Number Two (1970): 
> no McCall.
> Canyon Cinema Cooperative Catalogue Number Two Supplement Number Three 
> (1970): no McCall. Curt McDowell makes a first appearance with A Visit to 
> Indiana (1970).
> Canyon Cinema Cooperative Catalogue Number Three (1972): no McCall.
> Canyon Cinema Cooperative Catalogue Number Three Supplement (1973): no McCall.
> Canyon Cinema Cooperative Catalogue Number Three Supplement Number Two 
> (1974): no McCall.
> Combined with my previous email, the only McCall work available in Canyon 
> catalogs #4-#8 was Light Describing a Cone.
>  
> Film-Makers' Cooperative Catalogue #4 (1967): no McCall. Lots of Markopoulos 
> though!
> Film-Makers' Cooperative Catalogue #5 (1971): no McCall.
> Film-Makers' Cooperative Catalogue #6 (1975): no McCall.
>  
> Light Cone Additif Avril 1991: no McCall.
> Light Cone Catalogue (Mars 1994): no McCall.
> Light Cone Catalogue 1997: Line Describing a Cone only. 250F.
> Light Cone Catalogue 2001: Line Describing a Cone only. 55 €.
>  
> LUX catalogs were not available on my visit today.
>  
> A few bonus publications:
> Filmmakers Co-Operatives Catalogue of Independent Film (1975/76) & Supplement 
> (January 1977). These are Australian publications representing co-ops in 
> Brisbane, Perth, Hobart, Sydney, Melbourne, plus the South Australia Media 
> Resources Centre (Adelaide). But no McCall.
>  
> Film Programmer's Guide to 16mm Rentals, Third Edition (1980). Edited by 
> Kathleen Weaver, Associate Editor Richard Prelinger, Consulting Editor Linda 
> J. Artel. Lists Line Describing a Cone as available from CAN (Canyon) for 
> $40. I'm realizing now that I didn't check the other titles in that book. 
> Will circle back and check, sorry.
>  
> As an aside, I completely forgot about that book. Seeing the cover (below) 
> transported me back to John Schofill's kitchen table in Chicago, mid-80s, 
> making lists of films to show at Randolph St Gallery. Also forgot to mention 
> it to Rick Prelinger who chatted with Kelly Sears about her work after 
> tonight's screening at BAMPFA.
>  
> Also below:  I don't recall seeing those Lenny Lipton designs before.
>  
> Eric
>  
> 
> 
>  
>  
> On Sat, Aug 18, 2018 at 9:06 AM Eric Theise  wrote:
> Canyon #4 (1976), #5 (1982), #6 (1988), #7 (1992), #8 (2000): Light 
> Describing a Cone is the only work available. I've also checked the 
> supplements from 1988, 1989, 1990, 1993, 1994, 

[Frameworks] film festivals experimentalfilm

[Leonie Nagel]

Hello, hello,

I currently try to research film festivals worldwide that show experimental 
film. A friend of mine forwarded your contact and told me you might be able to 
help me with some suggestions!
I’d be really happy about any tip! My background is rather that of a visual 
artist and I’m trying to find out about festivals I could apply for with a 
feature film (80 mins).

Thank you and all the best,
Leonie Nagel



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Re: [Frameworks] Conner/Marker and women of color suggestions

[David Sherman]

THANK YOU for all the folks that made suggestions on Conner/Marker
alternatives. I greatly appreciate you taking the effort and am excited
about what new works I can include in my classes.
ALSO, on a side note EXPLODED VIEW MICROCINEMA in Tucson is still here, but
we are taking a programming break to focus on other projects. That being
said, if experimental filmmakers are going to be passing through the area,
please connect with me about doing a show while you are here.
Best, David

On Thu, Aug 30, 2018 at 11:29 AM, Chrissie Iles, Curatorial <
chrissie_i...@whitney.org> wrote:

> Arthur Jafa said recently “If you point a camera at a Black person, on a
> psychoanalytical level it functions as a White gaze. It therefore triggers
> a whole set of survival modalities that Black Americans have. It doesn’t
> matter if a Black person is behind the camera or not, because the camera
> itself functions as an instrument of the White gaze. In other words, it’s
> recording evidence of people speaking; hence there are certain things you
> can say, certain things you can’t say.” There are profound implications for
> black filmmakers’ use of found footage and collage in A.J.’s observation.
> Here are some suggestions. 1,3,5, 6 and 9 are in the Whitney’s collection;
> the others are in the process of being acquired.
>
>
>
> Gunvor Nelson and Dorothy Wiley’s film, though two white women, is also
> important to mention, and is an important counterpoint to the sexist
> imagery of ‘A Movie’ and other similar collage films of the time.
>
>
>
> 1.   Ja’Tovia Gary’s ‘An Ecstatic Experience’ (on show at the Whitney
> for the past nine months in ‘An Incomplete History of Protest’)
>
>
>
> 2.   Crystal Z. Campbell, ‘Go-Rilla Means War’ (2017) (collaged from
> a discarded 35mm film found in a former black civil rights movie theater in
> Brooklyn)
>
>
>
> 3.   Akusoa Adoma Owusu, ‘Split Ends (I Feel Wonderful)’ (2012) made
> from 1970s found footage of black women’s hair salons in New York, collaged
> images and soundtrack
>
>
>
> 4.   Yulan Grant, ‘Dis/Place’
>
>
>
> 5.   Diamond Stingily, ‘How Did he Die?’ (2016)
>
>
>
> 6.   Phillip Mallory Jones, ‘No Crystal Stair’ (1976) – viewable on
> Vimeo
>
>
>
> 7.   Tony Cokes, ‘Black Celebration’, 1988
>
>
>
> 8.   Theaster Gates, Do you hear me calling? (Mama Mamama or What Is
> Black Power?) 2018 – an installation using historical collaged footage
>
>
>
> 9.   Raphael Ortiz, ‘ “Cowboy” and “Indian” Film’ 1957-1958 – very
> early example of an indigenous voice critiquing the racist Hollywood
> portrayal of native Americans using collaged film clips.
>
>
>
> 10.   Gunvor Nelson and Dorothy Wiley’s ‘Schmeergunz’, 1966
>
>
>
> 11.   John Akomfrah (several of his films are currently being shown in
> his New Museum surveyin New York)
>
>
>
>
>
>
>
>
>
> *From:* FrameWorks  *On Behalf Of
> *Warren Cockerham
> *Sent:* Thursday, August 30, 2018 1:50 PM
> *To:* Experimental Film Discussion List 
> *Subject:* Re: [Frameworks] Conner/Marker and women of color suggestions
>
>
>
> Also Cauleen Smith (along with lots of other chicago-based folks) was
> commissioned a few years back to make a short piece from their collection..
> this is it:
>
>
>
> Songs for Earh and Folk 
>
>
>
> she has at least one other found footage short... I don't think it's
> readily available .. called T Minus Two
>
>
>
>
>
> also Buki Bodunrin's
>
>
>
> even when live is sad people still have a good time
> uh... made
> in Roger Beebe's 16mm class circa 2005...
>
>
>
>
>
>
>
>
>
> On Thu, Aug 30, 2018 at 1:30 PM, Beebe, Roger W.  wrote:
>
> I just saw An Ecstatic Experience by Ja’Tovia Gary for the second time
> last weekend at the Columbus Black International Film Festival & think it’s
> really doing interesting work with found footage:
>
>
>
> http://www.jatovia.com/an-ecstatic-experience-new/
>
>
>
> Not a black woman, but equally worthy of attention is Christopher Harris’s
> “Reckless Eyeballing”:
>
>
>
> https://www.viennale.at/en/films/reckless-eyeballing  [Chris, where’s
> your website???  Couldn’t find it with a quick google search…]
>
>
>
> As for composition & sequence, again not a black woman (just a woman), but
> I showed Katherin McInnis’s “Hat Trick” in my intro film production class
> to set up a flip book assignment this week, and I think the way she uses
> contact sheets of found images could be really interesting for both
> conversations:
>
>
>
> https://vimeo.com/98387497
>
>
>
> And Jen Proctor’s remake of Bruce Conner’s “A Movie” is already becoming a
> classic of the genre (for the YouTube era):
>
>
>
> https://vimeo.com/11531028
>
>
>
> Lots of non-white-dude options out there…
>
> Roger
>
>
>
> On Aug 30, 2018, at 11:30 AM, David Sherman 
> wrote:
>
>
>
> In a university production course have shown both Conner's  "A Movie" as a
> prompt for student found footage editing 

Re: [Frameworks] Anthony McCall's films

[Dominic Angerame]

The only two works available thru Canyon has been Light...and Conical Solid. I 
had talked to Anthony several times during my 32 year tenure and he explained 
clearly the situation with his other work and why they were not in distribution 

Dominic

Sent from my iPhone

> On Sep 13, 2018, at 9:50 AM, Chrissie Iles, Curatorial 
>  wrote:
> 
> McCall
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