Visiting Artists - SPRING 2017
LECTURE HALL 6 AT 7:30 (Unless otherwise noted)
All Shows are free and open to The Public
Co-sponsored by the Cinema Department, Harpur College Dean’s Speakers Series and the Broome County Arts Council. This presentation is made possible in part with public funds from the New York State Council on the Arts’ Electronic Media and Film Presentation Funds grant program, administered by The ARTS Council of the Southern Finger Lakes.
Tuesday, March 28th 2017
“50 years ago I borrowed a movie camera and began to work with it. Almost immediately, the process and results offered pleasure, a sense of discovery and a sense of internal balance. In addition, it became a force to counter loneliness, and other forces of darkness. Over the years, there have been some external rewards for the works I have created, such as opportunities for teaching, opportunities to show the work as well as befriend a few individuals near and far that otherwise I would never have met. For all of this I am very grateful, but the reasons for continuing to “work” to this very day have been the same as they were at the very beginning. The work for this evening is both “formal” and “personal”. The focus is on the phenomenology of the moving image, the materials and processes I work with as well as topics that I seem to return to time and again: early cinema, the urban landscape, and travel.” – Ernie Gehr
This screening program includes:
Sensations of Light (8 min., 2016)
Street Scenes (32 min., 2016)
Picture Taking (10 min., 2010)
Winter Morning (18 min., 2013)
A Commuter’s Life (What a Life!) (21 min., 2014)
“Ernie Gehr is a key figure in postwar American avant-garde filmmaking, best known for such experimental film works as Serene Velocity (1970) and Side/Walk/Shuttle (1991) (both of which are in MoMA’s collection). Gehr’s films dazzle the senses, but they are not mere eye candy; they touch deeper themes of human perception and consciousness, while at once subverting the illusion of continuity and movement that film affords the viewer. Due to the escalating costs of film production, Gehr began experimenting with digital video in 2001, and to date has created more than 70 digital works. Gehr has also found that digital media works outside the traditional theater setting.” – MoMA
Tuesday, April 4th 2017
Lewis Klahr has been making films since 1977. He is known for his uniquely idiosyncratic films, which use found images and sound to explore the intersection of memory and history. Klahr's films have screened extensively in the United States, Europe and Asia. Lewis Klahr lives in Los Angeles and teaches in the Theater School of the California Institute of the Arts. Lewis Klahr's work is represented by The Anthony Reynolds Gallery in London, UK.
"Above all, Klahr's great subject is time, which certainly explains the exquisitely melancholy tone that pervades his work. He traffics in modes that are pitched just beyond the realm of reason. Somewhere between waking and sleeping, we can find that wavelength and achieve understanding-- only to have it slip away as we enter one state or the other. Klahr's films and videos provide a rare opportunity for us to engage with a liminal state of consciousness with our alert mind and to reach those "infrathin" moments that Proust describes as existing outside of time." – Chris Stults, Assistant Curator Film/Video Wexner Center for the Arts from "Collective Unconscious" an article in Film Comment, May/June 2010
“Organized in 12 discrete chapters, “Sixty Six” is a milestone achievement, the culmination of Klahr’s decades-long work in collage filmmaking. With its complex superimpositions of imagery and music, and its range of tones and textures at once alluringly erotic and forebodingly sinister, the film is a hypnotic dream of 1960 and 70s Pop. Elliptical tales of sunshine noir and classic Greek mythology are inhabited by comic book super heroes and characters from Portuguese foto romans who wander through midcentury modernist Los Angeles architectural photographs and landscapes from period magazines. Sixty Six is the latest, and perhaps most magisterial, entry in Klahr’s open-ended digital series Prolix Satori, in which the artist mines his vast 30-year archive of collage materials. As the historian Tom Gunning observes, ‘Klahr’s films generate a blend of melancholy and desire from this interplay of grasping and losing, remembering and forgetting.’”— Josh Siegel, Film Curator MoMA
Sixty Six (90 min., 2002-2015) is written, directed, and collaged by Lewis Klahr, music by Mark Anthony Thompson (aka Chocolate Genius Inc.), Josh Rosen, Debussy and others, and narration by Andrea Leblanc.
Monday, April 24th 2017John Price
John Price is a Canadian artist living in Toronto, and he works primarily as a documentary cinematographer and teaches part time at Humber College in Toronto. He has produced experimental documentaries, dance and diary films since 1986. His love of analog photography led naturally to extensive alchemical experimentation with a wide range of motion picture film emulsions and camera formats. Engagement with these modes of creation connected the way an images texture communicates subtext and is a key feature of his work and the work he shoots for others.
Price’s work has been screened at numerous venues, including Berlinale, International Film Festival Rotterdam, Jihlava International Documentary Film Festival, New York Film Festival, and Toronto International Film Festival. He has received production support from The National Film Board, the Canada Council for the Arts, the Ontario Arts Council and the Liaison of Independent Filmmakers of Toronto and his work has been exhibited at festivals and galleries internationally. He has also produced film projections for opera and dance and has led workshops in Canada and Europe. He is active as a Toronto based cinematographer working with directors like Bruce Macdonald, Charles Officer, Rob Pilichowski, Peter Lynch, Liz Marshall, Annette Mangaard, and Mike Hoolboom among others.
“The gestures in John Price’s films – a hazy body in the throes of a ragged dance, a child nestled in a blanket on a beach rock, or a woman in a brown trench coat and high heels tweaking out – are not for us. They have no message, no promise, and no delivery. They are the impressions of a man watching his life closely, intuitively following each moment with a flickering shutter held close to his body. Alone in the darkroom with cheap expired reels and industry tail ends, Price mixes chance with chemistry to work out the colours, tones, tints, and grain. The images may fall off altogether, but he doesn’t care.” – DIM Cinema