Selected Bulletin: Sunday, September 6th, 2009
September 6th 2009
Re: Sam Francis Premier 9/11 7PM NYC Anthology Film Archives w Jeffrey Perkins
From: Artist Organized Art
To: The Subscriber Email Address
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ANTHOLOGY FILM ARCHIVES
U.S. THEATRICAL PREMIERE RUN
Jeffrey Perkins
“THE PAINTER SAM FRANCIS”
September 11 to 17
40 Years in the making
EXTRA
THE PAINTER SAM FRANCIS
has just been selected for additional film festivals
Selected for the 14th Edition of ARTECINEMA
Festival in Naples at the Augusteo Theater, from October 15th to 18th
Festival Artecinema
Associazione Culturale Trisorio
Via Riviera Di Chiaia, 215
80121 Napoli
Italia
Selected for
2009 DOC FEST
International Documentary Film Review
on Art, Architecture, Cinema, Theatre, Music and Dance that will take place in Rome from the 16th to the 21st of October in the Facolta di Architettura “Valle Giulia” Universita degli studi di Roma La Sapienza and in the Cinema Azzurro Scipioni
“The strange and free spirited artist Sam Francis is now available to us in a film by Jeffrey Perkins with inspired music by Charles Curtis. This film is a must see.”
Alison Knowles
Fluxus Founder
support the arts
FILMMAKER, JEFFREY PERKINS, IS PRESENT OPENING NIGHT
“Despite his New York School affinities, Mr. Francis spent little time in the city. He came to maturity around 1950 while living in Paris, from a distance taking command of a style whose practitioners were generally a generation older. He had his first exhibition in Paris in 1952 and was an instant success. Throughout the 1950′s he was probably the American artist of his generation most celebrated in Western Europe and Japan.” — Roberta Smith, The New York Times, Nov.8, 1994
FOR IMMEDIATE RELEASE:
Contact: Stephanie Gray at publicity@anthologyfilmarchives.org
Anthology is thrilled to present the U.S. Theatrical Premiere Run of artist and filmmaker Jeffrey Perkins, THE PAINTER SAM FRANCIS. Forty years in the making, THE PAINTER SAM FRANCIS is Mr. Perkins’s lyrical and intimate portrait of a friend, mentor, and leading light of American abstract art.
The film retraces Francis’s life and career from his childhood in California to his artistic maturation in post-war Paris, his time spent in Japan, and his return to the United States. Hinging on an interview that Perkins conducted with Francis in 1973, as well as extended scenes of the artist at work in the studio, the film provides deep insight into a man for whom creativity was a powerful life-sustaining force.
Interviews with friends, family, and fellow artists – including Ed Ruscha, James Turrell, Bruce Conner, Alfred Leslie, and others – illuminate a mysterious and complex personality, and its reflection in a body of work that is simultaneously diverse and singular.
For Francis, art was a path to transcendence; for Perkins, Francis was art. The film is a labor of love, a moving portrait of a man, and a tribute to the power of art.
“When Sam Francis said, ‘I paint time,’ this concept could very well have been the primary template for the making of this film. When one considers that I started filming Sam Francis in his studio in Santa Monica in 1968, and that the film was completed in 2008 – a forty-year life span – ‘time’ must be seen as the best possible metaphor to describe it.
Sam Francis was an abstract painter, and therefore the dimensions of the subject do not follow the preconceptions that form our lives, but rather, spread across space and time in certain ways that are not spelled out for us in logic.”
“The very idea of abstract painting was not about logic; there was an individual anarchy about making truly abstract paintings, and of course Sam Francis was about that. All I could do in making a film about him was to facilitate the mechanical witness to the act of painting, and to attempt to ‘interview’ him.” — Jeffrey Perkins
Friday, September 11 through Thursday, September 17 at 7:00 & 9:00 nightly. Additional screenings on Saturday and Sunday at 3:00 & 5:00.THE FILMMAKER WILL BE PRESENT ON OPENING NIGHT, SEPT. 11, FOR AN INTRO and Q&A SESSION at the 7pm and 9pm shows.
(U.S., 2008, 85 minutes, 16mm/Super-8mm/Hi-8/DV. Music by Charles Curtis.)
WEBSITE FOR MORE INFO, CAST, CREDITS:
http://thepaintersamfrancis.com
PRESS KIT: Download Now
About Anthology Film Archives: Founded in 1970, Anthology’s mission is to preserve, exhibit, and promote public and scholarly understanding of independent, classic, and avant-garde cinema. Anthology screens more than 900 film and video programs per year, publishes books and catalogs annually, and has preserved more than 800 films to date. Directions: Anthology is at 32 Second Ave. at 2nd St. Subway: F or V to 2nd Ave; 6 to Bleecker. Tickets: $9 general; $8 Essential Cinema (free for members); $7 for students, seniors,
& children (12 & under); $6
http://www.anthologyfilmarchives.org
#permalink posted by E-List: 9/06/09 05:37:40 PM
Selected Bulletin: Monday, August 3rd, 2009
August 3rd 2009
Webcast: Bob Holman Joins Ursonate 7pm Est Thurs 8/6 Bowery Poetry Club
From: Artist Organized Art
To: The Subscriber Email Address
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Google+
Live Webcast from Bowery Poetry Club
Ursonate
Dada artist Kurt Schwitters’ classic
“Sonata In Primeval Sounds”
Webcast: Bob Holman Joins Ursonate 7pm Est Thurs 8/6 Bowery Poetry Club
Webcast Link:
http://www.rfg3travel.com/bowerylive103008.html
Dada artist Kurt Schwitters’ classic “Sonata In Primeval Sounds,” also called “Ursonate,” is performed by Ursonate Urchestra with special guest vocalist Bob Holman.
Ursonate Urchestra: Andy Laties, Rebecca Migdal and percussionist Eric Blitz with artists GLOVE, John Landino and Denis Luzuriaga plus special guests including, invented-instrument artists Mitch Ahern and Pronoblem.
“Ursonate” begins at 8pm, and is preceded by a 7pm benefit with sounds by Eric Blitz and GLOVE also with Andy Laties, Denis Luzuriaga, Pronoblem, and others to provide cost of care relief for fallen urtist Valerie Caris Blitz.
Published in 1932, Kurt Schwitters’ Sonata In Primeval Sounds is the granddaddy of sound-art poems: an hourlong nonsense opus that develops 26 abstract themes in classical sonata format. Andy Laties’ rousing participatory interpretations were honored in the Chicago Museum of Contemporary Art major retrospective “Art In Chicago 1945-1995″
Also, just declassified after 7 years:
Read, Andy Laties on “Ursonate”
http://artistorganizedart.org/commons/
Webcast Technicals
Webcast Link
http://www.rfg3travel.com/bowerylive103008.html
For Safari and Quicktime Users: You may wish to play the stream on Windows Media Player. Mac users may need to download the free plug-in “flip4mac” to view in Safari or Quicktime. After downloading, close and re-open your browser.
Download the Player for mac:
http://www.microsoft.com/windows/windowsmedia/player/wmcomponents.mspx
The Bowery Poetry Club
308 Bowery @ Bleecker, right across from CBGB’s
F train to Second Ave | 6 train to Bleecker | 212-614-0505
Information at BoweryPoetry.com and GonzoQuest.com
#permalink posted by E-List: 8/03/09 10:33:28 PM
Selected Bulletin: Thursday, July 23rd, 2009
July 23rd 2009
Re: Lance Fung Wonderland Exhibition Opens Oct. 17 in San Francisco Tenderloin
From: Artist Organized Art
To: The Subscriber Email Address
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ONE EVENING ONLY
Thursday
August 6th, 8:00PM
Bowery Poetry Club
Dada Masterpiece
Kurt Schwitters’s classic “Sonata In Primeval Sounds”
URSONATE
Bowery Poetry Club (BPC)
308 Bowery, NYC
(Between Houston and Bleecker)
Dada artist Kurt Schwitters’s classic “Sonata In Primeval Sounds,” also called “Ursonate,” is performed by The Ursonate Orchestra
•
Andy Laties,
Rebecca Migdal
and percussionist
Eric Blitz
with artists
GLOVE,
John Landino
and
Denis Luzuriaga
plus special guests including,
invented-instrument artists
Mitch Ahern
and
Pronoblem
•
on Thursday, August 6th at 8pm, Bowery Poetry Club, 308 Bowery (Between Houston and Bleecker)
F train to 2nd Ave, or 6 train to Bleecker. Information at BoweryPoetry.com and GonzoQuest.com
Published in 1932, Kurt Schwitters’s “Sonata In Primeval Sounds” is the granddaddy of sound-art poems: a 90-minute nonsense opus that develops 26 abstract themes in classical sonata format. Andy Laties’s rousing participatory interpretations were honored in Chicago Museum of Contemporary Art’s major “Chicago Artists 1945-1995″ r
Lance Fung Exhibition
“Wonderland”
To open in San Francisco
FOR IMMEDIATE RELEASE:
San Francisco, CA – Curator Lance Fung’s latest curatorial endeavor, Wonderland, is set to open to the public October 17, 2009, in San Francisco, with a symposium on October 18th. Teaming 43 artists from San Francisco and from 9 other countries, the exhibition features 10 site-specific projects throughout the Tenderloin neighborhood of San Francisco, a community known more for its immigrant population and diverse street life than for the visual arts. This unique setting presents opportunities for artists to engage in social consciousness and community building.
Wonderland emerged from one of Fung’s MFA classes, with the goal of introducing San Francisco artists to the arts community. “We chose the Tenderloin to work in, as it remains one of the most authentic areas in the USA,” states curator Lance Fung. “The Tenderloin is a true melting pot in the USA. No other place in San Francisco combines as many languages, ethnicities or outlooks. Despite the mythology of its dangerous nature, there is an ease about the community.”
The primary audience for Wonderland is the people who live and work in the Tenderloin, some of whom may never have been exposed to contemporary art. “This community-based art project aims to offer empowerment and hope to an area that has more than its share of economic hard times,” Fung continues. “The exhibition is an effort in social consciousness through art-making, a model the whole world can benefit from.”
The Community Benefit District of the Tenderloin is the proud organizer of the event. “Our participation in the Wonderland art project is a collaborative effort of several neighborhood groups bringing arts and art activities to the Tenderloin as a means of community engagement for improvement of the neighborhood,” states CBD director Elaine Zamora. Additionally the Tenderloin Economic Development Project has been instrumental in connecting Wonderland with a number of organizational agencies. The City of San Francisco’s Office of Economic and Workforce Development is contributing some logistical expenses, but Wonderland is otherwise 100% based on volunteerism, from the organizer, to the curator, to the artists and numerous participating local organizations. The project is a labor of love, with a huge potential for enriching the community; Wonderland is hopefully only the beginning.
The Tenderloin has been a thriving residential and commercial community since the California gold rush. Its name originated in an era in which police were paid more to work there, affording them better cuts of meat. Its history includes a hardscrabble reputation and active nightlife, and it has long served as a haven for artists and iconoclasts. Author Dashiell Hammett’s detective stories were influenced by living in the Tenderloin, and jazz legends Thelonius Monk and Miles Davis performed regularly. It is where Jack Kerouac reportedly wrote his early beat poetry. Today, nearly 40,000 people live and work there. It is one of the lowest income neighborhoods in San Francisco and has some of the highest concentrations of homeless, elderly, disabled and ex-offenders. Furthermore, the Tenderloin is home to families and approximately 4,000 children.
Wonderland presents a new approach to the already active San Francisco art scene through its focus on community-based public art, particularly because the art is all collaboratively created. Artists working in groups of three to nine members developed each project. The background of the artists range from MFA students from San Francisco to internationally established artists such as Lawrence Weiner.
Independent curator Lance Fung has created important exhibitions in the United States and abroad. An emphasis on site-specificity has been a core component of his curatorial practice. Past exhibitions include Lucky Number Seven, the SITE Santa Fe Seventh International Biennial 2008; The Ship of Tolerance, Illya and Emilia Kabalov, the Venice Biennale 2007; The Snow Show Torino, for the 20th Winter Olympic Games 2006; The Snow Show in Lapland 2004; The Snow Show preview at UNESCO’s Palazzo Zorzi for the 2003 Venice Biennale; Revisiting Gordon MattaClark, at the Venice Architectural Biennale 2002; Crossing Parallels, at the SSamzie Space in Seoul, Korea 2001; and Going Home, at the Edward Hopper Historical Museum, Nyack, New York 2000.
For Further Info:
www.wonderlandshow.org
Contact John Melvin
johnkmelvin@fungcollaboratives.org
415/694-9368
134 Golden Gate Avenue, Suite A
San Francisco, CA 94102
(415) 292-4812 (415) 292-7520 -Fax
nomtlcbd@att.net
www.wonderlandshow.org
#permalink posted by E-List: 7/23/09 04:22:09 PM
Selected Bulletin: Saturday, May 23rd, 2009
May 23rd 2009
Re: Ryszard Wasko: June 18, 7PM, Haus am Lützowplatz, Berlin, Opening Exhibition
From: Artist Organized Art
To: The Subscriber Email Address
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www.ryszardwasko.info
CONTEMPORARY PORTRAIT
and
HYPOTHETICAL CHECKPOINT CHARLIE
Please join us for an exhibition opening by the great Artist, Filmmaker and Founder of Construction In Process
Ryszard Wasko
at gallery Haus am Lützowplatz, Berlin, on June 18, 2009, 7:00 PM
Lützowplatz 9 · 10785 Berlin · +49 30 261 38 05
www.hausamluetzowplatz-berlin.de
Having organized the historic 1981 international exhibition Construction in Process infringing communist Poland’s restricted borders, this voice for the power of art inside the Solidarity movement, the artist Ryszard Wasko, was forced from Poland by government backlash. He found asylum in Berlin on a DAAD grant in 1985 during the clash of a prolific period in turmoil before returning home to a radically altered Poland.
June 18, 2009 is the first one man Berlin Exhibition of Ryszard Wasko’s works in twenty years.
The exhibition features photography from his Berlin period and from the last six years, selected works:
In 1971 Ryszard Wasko joined the Workshop of the Film Form, a collective formed in The Łódź Film School (members included Józef Robakowski, Paweł Kwiek as well as the renowned Zbigniew Rybczyński.) Some of his revolutionary photographic works are: ‘Four-dimensional Photography’, ‘Cut-up Portrait’ and films: ‘Straight-Awry’ and ’30 Sound Situations’. Workshop also experimented with video and installations in the early 1970′s such as Ryszard Wasko’s ‘Corner’. In 1974 the members of Workshop organized trips to western countries to meet with artists. Ryszard Wasko became one of a few Polish artists represented by a western gallery (the ‘m’ gallery in Bochum, also showing Richard Serra and Arnulf Reiner). In 1980 he was the only Polish artist showing in the ‘Pier + Ocean’ exhibition at the Hayward Gallery in London. This inspired him to counter organize an international exhibition in Poland in 1981 called Construction in Process. He invited Sol Le Witt, Richard Long, Richard Serra, Ian Dibbets, Carl Andre, Dan Graham and many other recognized western artists. Most accepted his invitation turning the exhibit into an historic event – an artist organized a successful international exhibition inviting western artists behind the restricted borders of communist Poland without any government subsidies (at the time The State controlled all public events.)
In the early 1980′s Ryszard Wasko shifted media from film and photography to painting, creating objects he called time sculptures. His work changed radically when he emigrated from Poland. His close ties with Berlin artists especially Fluxus pioneer Emmett Williams and gallerist René Block had a strong influence, opening a new period in his work. During this time his work as an organizer grew in importance and from 1990 to 1992 he became the Artistic Director of P.S.1 Museum and Clocktower Gallery in New York City. In 1990 he founded The International Artists’ Museum as an institution for independent exhibitions, meetings and exchange of ideas, run by artists for artists. In the 1990′s the Museum established offices in New York, Berlin, Tel Aviv, Moscow, Melbourne and other cities, spawning over 100 international exhibitions involving hundreds of artists from around the world. He established The Lodz Biennale in 2004 and The Lodz Art Center in 2005.
Ryszard Wasko’s works of the 1990′s are mainly influenced by the experience of emigration, works such as his performance ‘Meal For The Rich & Poor’ or installation ‘Small Rose Garden’ in Warsaw ‘Zacheta Gallery’ and he has derived works from his roots, film and photography, though the images are not finished works, rather a means in a process serving as objects holding information (‘Intimate paintings’, ‘Tv Stories’.) Perhaps ironically, he has also returned to the oil painting.
Resettled again, in 2008 Ryszard Wasko returned to Berlin. June 18, 2009 will be his first solo exhibition in the city in 20 years. He will be showing photography (‘Session with the supermodel Gisele B.’), as well as encaustic (‘Nasty Bedtime Stories’) and oil paintings (‘This image has been removed for security reasons’.)
The exhibition will be up at Haus am Lützowplatz (Lützowplatz 9 · 10785 Berlin · +49 30 261 38 05 ·www.hausamluetzowplatz-berlin.de) through the 26th of July and very worth visiting.
Haus am Lützowplatz is located at Lützowplatz 9 · 10785 Berlin
www.hausamluetzowplatz-berlin.de
Telephone: +49 30 261 38 05
For immediate release
www.ryszardwasko.info
#permalink posted by E-List: 5/23/09 07:10:32 AM
Selected Bulletin: Thursday, March 12th, 2009
537 Broadway, Floor 2, New York, NY 10012 (212) 925.0142
MAKING RAINBOWS
Please join us for a rare showing, live and on film,
of the great works of a great artist
Elaine Summers,
at Anthology Film Archives on March 28, 2009, 7pm.
In the Intermedia tradition, Making Rainbows is a performance created through a combination of live dancers, music and film. The retrospective begins with one of Elaine’s first Intermedia works, and includes monumental and reflective works, displaying the artistic range of a timeless creative spirit.
The evening will include musical collaborations with Carman Moore and Pauline Oliveros.
Program for the evening:
ILLUMINATED WORKINGMAN (1975, 8 minutes, 16mm film, color)
An Intermedia dance-and-film performance interpreting the movement of people at work, which premiered in 1975 at Niagara Square, Buffalo. The film was projected across a 120-foot-wide screen suspended on the columns of City Hall.
“The piece was a celebration of the creative energy of the proletariat; it connects with the concerns of Chinese Art.” –Mark Savitt, SOHO WEEKLY NEWS
TWO GIRLS DOWNTOWN IOWA (1973, 11 minutes, 16mm film, b&w) Improvised at a fast speed and projected at a slow speed, two women roam an Iowa street full of curious people
WALKING DANCE FOR ANY NUMBER (1968, 12 minutes, 16mm film, b&w) This Intermedia performance, which premiered at the NYU Theater in 1965, is for two-to-ten dancers and four projectors.
KINETIC ATHLETIC FRENZY (1969, 8 minutes, 16mm film/8mm film/slides, color) The title tells the tale: two wrestlers, badminton, football, basketball, cheerleaders, fencing, lacrosse, trampoline, running – sports as dance.
IOWA BLIZZARD (1973, 11 minutes, 16mm film, b&w) Made during the biggest blizzard in twenty years in Iowa City where Elaine Summers was artist-in-residence at the University of Iowa. Twenty students dressed in black, choreographed as they went along. A blizzard of improvisation in 16mm.
CROW’S NEST / SOLITARY GEOGRAPHY (1980, 18 minutes, 16mm film, color) An Intermedia installation of dance, film and a cubed screen construction, originally produced for the First Intermedia Festival at the Guggenheim Museum in 1980. The original music score was composed by Pauline Oliveros and some of the first performers included famed butoh dancer Min Tanaka.
“My memory is of a ravishingly beautiful environment which some extraordinary people explore, pass through, dwell in….” –Deborah Jowitt, VILLAGE VOICE
Anthology Film Archives is located at 32 Second Avenue, New York, NY 10003
Tickets:
$9 General Admission
$8 Essential Cinema (Free for members)
$7 Students, Seniors & Children (12 & under)
$6 AFA Members
To make a tax-deductible contribution for this event:
Make checks payable to Kinetic Awareness Center, specify Making Rainbows in the check memo section and send to: Elaine Summers Dance, 537 Broadway, 2nd Floor, New York, New York 10012
www.elainesummersdance.com
#permalink posted by E-List: 3/12/09 08:19:37 PM
