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November 14: The Film-Makers’ Coop presents: One Eye, Two “I’s” with P. Adams Sitney | by uniondocs
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November 14: The Film-Makers’ Coop presents: One Eye, Two “I’s” with P. Adams Sitney

This event marks the return of our screening series with The Film-Makers’ Cooperative, as we celebrate 50 years of Cinematic Collaborations from the their Archive.

Screened in glorious 16mm, tonight’s program celebrates five decades of film collaborations from the collection of the New York based Film-Makers’ Cooperative. Scholar and historian P. Adams Sitney will introduce our first short works — three New York City cine-poems shot by Rudy Burckhardt who worked regularly with artist Joseph Cornell during the 1950s. Our 1960s selection is Joyce Wieland’s and Michael Snow’s formalist vision of dripping water in a bowl – pure, liquid, kinetic sculpture in exquisite black and white. Next we will witness a grid-like flicker film hurled onto the screen by Beverly and Tony Conrad in 1970. By 1984 the avant-garde was into body art and filmmaker Tom Chomont photographed his brother Ken shaving — from the top of his head all the way down. Bradley Eros’ and Jeanne Liotta’s 1992 movie pushes our awareness of the body even further, into a dream-like reverie on cinema. And Stan Brakhage created one of his only film collaborations with Mary Beth Reed in 2001, revealing to the world his delicate process of painting on film. We will finish this evening with the premiere of a Wild West conceptual art video by the Zaqistan Arts Council (Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sisson).


Aviary, The/Nymphlight, A Fable For Fountains by Rudolph Burckhardt and Joseph Cornell

USA, 1957 – 1970, 19 minutes, 16mm

According to P. Adams Sitney, “Rudy Burckhardt photographed ‘The Aviary’ (1955), an impression of New York’s Union Square, under Joseph Cornell’s direction. This location held a particular fascination for Cornell who wanted to establish a foundation for artists and art therapy there. In the film he treats the park as an outdoor aviary.” In ‘Nymphlight’ (1957) Burkhardt and Cornell filmed a 12-year-old ballet student in Bryant Park behind the New York Public Library. In ‘A Fable for Fountains’ (1957-70) Cornell met a young actress when she played a boy in an off-off-Broadway production. He remarked at her resemblance to a figure in one of his boxes and later persuaded her to appear in this film, this time shot by Burckhardt in Little Italy.


Dripping Water by Joyce Wieland and Michael Snow

USA/Canada, 1969, 11 minutes, 16mm

“Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him, it opens his eyes to the phenomenal world. and how can you love people if you don’t love water, stone, grass.” -Jonas Mekas, New York Times, August 1969


Straight and Narrow by Beverly Conrad and Tony Conrad

USA, 1970, 10 minutes, 16mm

Straight And Narrow uses the flicker phenomenon, not as an end in itself, but as an effectuator of other related phenomena. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.


Razor Head by Tom Chomont with Ken Chomont

USA, 1984, 4 minutes, 16mm

One brother shaves another in this highly charged erotic performance.


Dervish Machine by Bradley Eros and Jeanne Liotta

USA, 1992, 10 minutes, 16mm

Hand-developed meditations on being and movement, as inspired by Brian Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material.


Garden Path by Mary Beth Reed and Stan Brakhage

USA, 2001, 7 minutes, 16mm

The film reveals The creative process of hand painted film visionary, Stan Brakhage. whose painted images leap out of black and white footage of the artist at work.


Defiance: Zaqistan at 5 years by Sofia Gallisá, Zaq Landsberg, Scott Riehs, and Jeff Sissonat

USA, 2010, 6 minutes, digital projection

This collaborative video documents the sixth expedition to Zaqistan, a breakaway republic founded from two acres of remote Utah desert purchased off of Ebay and declared independent from the United States in 2005.


Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.

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Taken on November 14, 2010