CURATORIAL PROJECTS

State Film Project

In this ongoing project, I am inviting artists to make 16mm films of the U.S. states. The two constraints are medium and state line. The rest is up to the artist. 25 artists have signed on. 3 have finished. Many are underway. This project serves many goals, including: to use and project film, and to work in conversation with other artists. The works will be shown in series.

 Owen Land,  Thank You Jesus For The Eternal Present , 1973

Owen Land, Thank You Jesus For The Eternal Present, 1973

OWEN LAND

Human Resources Los Angeles

Sept 6 and 7, 2014

SATURDAY: PROGRAM I – 8PM

SUNDAY: PROGRAM II – 3PM

curated  by Kate Brown

SATURDAY: PROGRAM I – 8PM

Film in Which There Appear Sprocket Holes, Edge Lettering, Dirt Particles, etc, 1966 (4.5 min)

"The richest frame I have seen in any film when you take into consideration all movements, lines, the beautiful white, and reds, and blacks," --Jonas Mekas, Village Voice

Diploteratology: Bardo Follies, 1967 (7 min)
‘’…a woman, in garish 1930s Technicolor, [waves] goodbye to a group of tourists on a pleasure boat.” – Ronald Bergan, The Guardian

“My films are not intended as entertainment or easy viewing. They do not attempt to engage the spectator on an emotional level. Therefore audience reactions are unpredictable, especially during Diploteratology or Bardo Follies.” – George Landow, Film-Makers Lecture Bureau Catalog No. 1 (1969).

The Film That Rises to the Surface of Clarified Butter, 1968 (9 min)

 “... as profoundly strange as its title” – James Stroller, Village Voice

Pat O'Neill
Foregrounds, 1978 (14 min)

 “…devoted almost entirely to carefully constructed spatial ambiguities.” —J. Hoberman, The Village Voice

Remedial Reading Comprehension, 1970 (5 min)

“Landow rejects the dream imagery of the historical trance film for the self-referential present, using macrobiotics, the language of advertising, and a speed-reading test on the definition of hokum. The alienated filmmaker appears, running uphill to distance himself from the lyrical cinema.” – Mark Webber

Margo Victor

Astronauts, 2014 (10 min)

An atmospheric space film.

INTERMISSION

What's Wrong With This Picture? 1972 (12.5 min)

"The first portion of this film is an old instructional film about being a 'good citizen,' presented intact; the second section is a color reconstruction of this black and white film by Land. The original film abounds in absurdities in both image and sound; [Land's] 'copy' is even more bizarre. Both are also extremely funny, and the humor is not totally without meaning: … each line of dialog, each direction given, implies a situation or character so absurdly plodding as to be almost inconceivable. In [Land's] version he creates an additional paradox - one of depth - by matting out certain parts of the frame." - Fred Camper

Deirdre O'Dwyer

The Rule of 3 (version 2), 2014 (11 min)

My gray paintings were hung on a sheet of white foam core, which in turn was hung on a plywood-decked chain-link fence in Los Angeles. I switched them out in turns as I switched between daylight speeds of film in a borrowed Bolex camera that went roughly 30 seconds each time I wound it. I hadn’t used a Bolex in 15 years.

Thank You Jesus for the Eternal Present, 1973 (5.5 min)

"... devilishly difficult... to write anything coherent about this film, which I very much love, respect, and admire..." --John Luther

A Film of Their 1973 Spring Tour Commissioned by Christian World Liberation

Front of Berkeley, California, 1974 (11.5 min)

"As an experience, it's mind-boggling." --Roger Ebert, Chicago Sun-Times

“The leader of the CWLF was Jack Sparks, a quiet, patient man from Indiana, who had a remarkable tolerance for the foibles of his flock. … he asked me if I would be willing to make a documentary film of a tour of the entire United States soon to be embarked on by Jack and a few other members… I said “I’m not a documentary filmmaker; I’m an avant-garde, experimental filmmaker.” Jack was quiet. Then he somehow communicated that I was the one he wanted for this project.” – Owen Land

Stroboscopic edits of three-frame segments of at least two subjects make this a unique documentary.

TRT 91 minutes

SUNDAY: PROGRAM II  – 3PM

No Sir, Orison! 1975 (3 min)

“The film grew out of the attempt to create a structure around my first original palindrome, "no sir, orison," written while working on WIDE ANGLE SAXON. "No sir, orison" is the answer to a question. The question soon revealed itself to be: "what's this, meditation?" Someone is praying in the aisle of a ... church? No, a supermarket. … The film might have been entitled "Practical Solutions to the Problem of the Supermarket." The protagonist is played by an artist who calls himself Hermen Euticalcircle, with whom I have collaborated on several live performances.” – Owen Land

Wide Angle Saxon, 1975 (22 min)

“Earl Greaves is polishing the grille of his Cadillac Coupe de Ville. He used to work as an assistant cameraman for a television station. … One evening he goes to a film showing at the Walker Art Center in Minneapolis. The film is long and boring, consisting of shots of red paint being poured on "a wide variety of objects," the last of which is a hotplate. Earl is so bored that his mind wanders all over the place. One of the places it wanders to is the realization that he is in fact too attached to his possessions, and he determines to do something about it ...”  – Owen Land

Margo Victor

Astronauts, 2014 (10 min)

An atmospheric space film.

INTERMISSION

New Improved Institutional Quality: In the Environment of Liquids and Nasals a Parasitic Vowel Sometimes Develops, 1976 (10 min)

"... the type of personal film which fits so many 'categories' it defies labeling." --D. Marie Grieco, EFLA: Sightlines.

Deirdre O'Dwyer

The Rule of 3 (version 2), 2014 (11 min)

My gray paintings were hung on a sheet of white foam core, which in turn was hung on a plywood-decked chain-link fence in Los Angeles. I switched them out in turns as I switched between daylight speeds of film in a borrowed Bolex camera that went roughly 30 seconds each time I wound it. I hadn’t used a Bolex in 15 years.

On The Marriage Broker Joke as Cited by Sigmund Freud in Wit and Its Relation of the Unconscious, Or Can the Avant-Garde Artist be Wholed? 1979 (18 min)

“Two pandas, who exist only because of a textual error, run a shell game for the viewer in an environment with false perspectives. They posit the existence of various films and characters, one of which is interpreted by an academic as containing religious symbolism. Sigmund Freud's own explanation is given by a sleeper awakened by an alarm clock." – P. Adams Sitney

TRT 74 minutes

BIOS

Owen Land (née George Landow) (1944-2011) studied drawing, painting and sculpture at Pratt, and acting, improvisation and a wide range of music at other colleges. He taught film at institutions including the Art Institute of Chicago, where he founded the Experimental Theater Workshop. He made at least 30 films between the 1961 and 2009, and several musical theater plays (including Mechanical Sensuality and Schwimmen mit Wimmen). His films have screened around the world.

Film curator Mark Webber on Owen Land:
Owen Land (formerly known as George Landow) was one of the most original American filmmakers of the 1960s and 1970s. His works fused an intellectual sense of reason with the irreverent wit that distances them from the supposedly ‘boring’ world of avant-garde film. His early materialist works anticipated Structural Film, the definition of which provoked his rejection of film theory and convention. Having explored the physical qualities of the celluloid strip, his attention turned to the spectator in a series of ‘literal’ films that question the illusionary nature of cinema through the use of elaborate wordplay and visual ambiguity.

Deirdre O'Dwyer is an artist living in Brooklyn and Los Angeles. A painter, O’Dwyer has made at least 4 films, including the 16mm Dear Self, which will be installed at Revolver II at Matt’s Gallery in London, Sept 10-October 5, of this year.

Pat O’Neill has been deeply involved in Los Angeles culture since the late 1960’s. A founding father of the city’s avant-garde film scene, an influential professor at CalArts, and an optical effects pioneer, he is best known for his short works from the 1960’s onwards which are highly graphic, layered and reflexive assemblages based on a mastery of optical printing techniques.

Margo Victor is a Los Angeles-based artist working in film, painting, and sculpture. Her films have shown in Los Angeles, at LACE, LAMOA, and other venues, and points beyond.

Kate Brown makes works on paper and film. Her films have screened around the country.

THANKS

This screening made possible by generous support from the Rema Hort Mann Foundation YoYoYo Artist Grant, and by Human Resources, the Film-Makers’ Coop, and the artists.

Thank you Mark Webber.

 Isabell Spengler,  The Pitch, 2008

Isabell Spengler, The Pitch, 2008

 AnitRa Menning,  Scab Glam , 1999

AnitRa Menning, Scab Glam, 1999

MIDNIGHT SHOW: SPENGLER/MENNING

Echo Park FIlm Center

December 7, 2013

ISABELL SPENGLER

The Pitch, 2008

HD Video, 17min

“An off-screen voice – a hard-to-place Teutonic-Texan twang – recapitulates the loopy details of an idea for making an “Easy Rider for girls” to a fleshy woman in a sunglasses and a fur hat. As the plot descriptions become crazier… THE PITCH achieves bonkers verbal virtuosity.” – Melissa Anderson, Artforum, April 2009

ANITRA MENNING

Scab Glam, 1999

16mm film telecine to video, 29 minutes

A romp through the crass beauty empire of Miss Omega (Alex Mar). Featuring Matt Saunders, Luke Fischbeck, Michael E Chapman as Dan, and Menning, with an ensemble cast. PG 13.

 Haruko Tanaka,  California Telephone , 2003 (L, R)

Haruko Tanaka, California Telephone, 2003 (L, R)

SELECTIONS FROM THE VENICE BEACH BIENNIAL

Echo Park Film Center

curated by Kate Brown and Monique van Genderen

August 31, 2013

HARUKO TANAKA

I Love You, 2002

16mm, 2 minutes

California Telephone, 2003

16mm, 3 minutes

LAIDA LERTXUNDI

My Tears Are Dry, 2009

16mm, 4 minutes, color, sound

A film in three parts of a dialectic. Hoagy Land’s song is played and interrupted as guitar makes sound, two women, a bed an armchair, and the beautiful outside. After Bruce Baillie’s All My Life. The lyrics of the song reference the eternal sunshine of California and its promises. - LL

TUNI CHATTERJI

Sunset at Noon, 2012

16mm film, 6 minutes

Playing with the blurry lines between pure documentation and staged scenarios relating to ideas around Hollywood, this is a portrait of Sunset Boulevard at noon. - TC

LAURA OWENS

Laura Owens: Clock Paintings, 2012

Video, 4 min 21 seconds

From 2010 to 2012 Laura Owens created an untitled body of work consisting of ninety-two 24x24” “clock” paintings. Laura Owens: Clock Paintings compiles footage of these works from exhibitions at Kunstmuseum Bonn and Art Basel, documenting the breadth of the work and the slowly churning movement of their clock hands. - LO

KATE BROWN
X Niagara, 2012

Video, 5 min 38 seconds

Nic Wallenda crosses Niagara Falls.

MARGO VICTOR

Venus Crossing the Sun, 2012

Video, 1 min 36 seconds

A spontaneous document. - MV

JOE SOLA

Riding with Adult Video Performers, 2002

Video, 1 minute 12 seconds

Made for the 2002 California Biennial. - JS

99CENT CHEF

Hi I'm The 99 Cent Chef and I take the haute out of cuisine, creating recipes for the people. – NNCC

Tomato & Basil Bruschetta

Video, 2 min 25 seconds

“It's like an Italian version of fresh salsa, but served on toasted bread instead of tortilla chips.”

Composting with The 99 Cent Chef

Video, 4 minutes 11 seconds

“With shovel in hand the Chintzy Composter shows you a simple method that reduces the garbage you throw away by about half”

HARUKO TANAKA

Here there now and then, 2012

Video, 4 min 38 seconds

ISABELL SPENGLER

The Pitch, 2008

HD Video, 17min

“An off-screen voice – a hard-to-place Teutonic-Texan twang – recapitulates the loopy details of an idea for making an “Easy Rider for girls” to a fleshy woman in a sunglasses and a fur hat. As the plot descriptions become crazier… THE PITCH achieves bonkers verbal virtuosity.” – Melissa Anderson, Artforum, April 2009

INTERMISSION

ANITRA MENNING

Bookfiends, 1998

16mm film telecine to video, 19 min 25 seconds

Julian (Alex Gourevitch) fights a book addiction. Roy (Pete Grana) writes a screenplay. Dan (introducing Michael E Chapman) passes through the film like heat. Shot in Cambridge, MA.

Scab Glam, 1999

16mm film telecine to video, 29 minutes

A romp through the crass beauty empire of Miss Omega (Alex Mar). Featuring Matt Saunders, Luke Fischbeck, Michael E Chapman as Dan, and Menning herself with an ensemble cast. PG 13.

DAVID TUCKER

Auto Pos, 1996

16mm, 8 minutes

Auto Pos is an experimental construction in six sections, all using film elements scavenged from the process of making optical effects for commercial films. It was assembled entirely on the optical printer. - DT

SEEMA KAPUR

Destination To Be Determined, 2004

16mm, 22 minutes

An experimental narrative about a woman who has become lost in the vast desert landscape.  Here she is serendipitously confronted with an extraordinary band of dancing chickens that present her with a “gift” which she decides to leave behind in exchange for the unpredictable chaos of the world. This film is part of a series of five short films entitled Ema’s Opus in which the filmmaker’s alter ego is the main character. -SK

Program TRT: 135 minutes

 Tucker Stilley, Soul Prisoners

Tucker Stilley, Soul Prisoners

Artist Curated Projects (ACP) presents

Tucker Stilley

Lines of Sight: Experiments in Eyetracking

Opening reception March 23, 2013 4-6pm

Closing reception April 13, 2013 4-6pm

Multimedia artist Tucker Stilley chops, collages, and recombines images and sounds, with a wry, generous take on artmaking that leaves few stones unturned. This ACP show will feature all new work, including a massive series of "Soul Prisoners", images of souls caught in the process of police booking; "RGBTotems", resin drenched vertical panels; and random "broken voice" sound elements assembled from his journals. His eye movements have created some of his most stark and arresting images. Recorded over days or even weeks, the tracks of his eyes reveal, cosmic, even volcanic eruptions, like galaxies colliding. Everything on Stilley’s hybrid computer is raw material. With “brute-force computing”, searches, actions, maps and gestures become "Meta-art", and with witty selectivity, Stilley brings us the world refracted, shattered and illuminated, face-first on its mysterious side.

Mostly paralyzed with Gehrig's disease, Stilley uses a bizarre hybrid PC/Mac eye tracker system to make art: “Because l can move nothing but my eyes, we use my eyes to move my computer mouse. An infrared beam illuminates my face and causes my eyes to reflect brightly, like a cat's or wolf's, and the angle of this reflection is carefully calculated against known points on the computer screen. This way, the computer knows where I'm looking and places the cursor there... this is eyetracking."

An artist for over thirty years, Tucker Stilley, 51, attended Studio for Interrelated Media, at the Massachusetts College of Art. He has worked in Boston, San Francisco, and LosAngeles as a media artist, sound designer and film editor. Previous exhibitions include the MFA, Harding House and ART, Cambridge, MA, and The Monte Vista Projects, REDCAT, Keystone and Octopus Garden Salon, Los Angeles, CA.

Curated by Kate Brown, Sam Durant, and Randi Malkin Steinberger.

 Kate Brown,  Vilas Kortas , production still

Kate Brown, Vilas Kortas, production still

LA AIR: Kate Brown

Echo Park Film Center

March 28, 2013

9/1/75 (1975), James Benning
16mm, color, 22.00 min
Twenty-two minute tracking shot through campgrounds in Southern Wisconsin.

Werra (2002), Margo Victor
16mm transferred to DVD, color, 45 sec
Victor's “illustration of the mirror stage phenomenon
in Lacanian psychoanalytic theory.” Too good to see just once.

Vilas Kortas (2013), Kate Brown
16mm, color, 10 min
Celebrating cars, film, sound and Los Angeles. Made during the March 2013 LA AIR residency at the Echo Park Film Center.

Thanks to the EPFC and the Film-Makers’ Cooperative

IMG_4802.JPG

Fine Art and Film on the Beach

Co-curated with Monique Van Genderen

at the Hammer Museum's Venice Beach Biennial

July 2012

Abstract paintings and artist films by: Isabell Spengler, Laida Lertxundi, Haruko Tanaka, Anitra Menning, Dave Tucker, Jedediah Cesar, Laura Owens, Joe Sola, Caitlin Lonegan, Deirdre O'Dwyer, Yunhee Min, Katie Grinnan, Kate Brown, Monique Van Genderen, 99Cent Chef, Tucker Stilley, Lindsay Moffard, Tuni Chatterj, Margo Victor.

The following is a quote from an article by Paul Soto, in Art in America, July 18, 2012:

"This past weekend saw the "first and only" (a promotional brochure touted) Venice Beach Biennial, a festival of performance, sculpture and installation organized by Hammer Museum curator Ali Subotnick as part of "Made in LA" [through Sept. 2]. The event significantly expanded that survey's mandate to present the work of locals, including vendors and artists in their own right who regularly sell their work on the beach.
...
Artists Kate Brown and Monique Van Genderen, mimicking the vernacular of local vendors, brought small-scale paintings and DVD bootlegs (made by the likes of Alice Könitz and Laura Owens) to sell. "We mashed two ideas together: abstract painting, as the boardwalk is heavy on figurative works, and bootlegs, but here of artists' videos," explained Van Genderen. Katie Grinnan's work on view at their site, a YouTube capture projected on a slab of concrete, married their two concepts in a single form. Bootlegs were on sale for $20-$2,000. Brown remarked, "People are actually seeing these obscure art films. We have a portable DVD player, so customers have been able to get a preview. We hook them in thinking it's some sort of pop film." 

http://www.artinamericamagazine.com/news-features/news/venice-beach-biennial/

 Tom Chomont,  The Cat Lady , 1969

Tom Chomont, The Cat Lady, 1969

Tom Chomont

Echo Park Film Center

Thursday,  May 10, 2012

1200 N Alvarado

LA CA 90026

8pm

tickets are $5

curated by Kate Brown

All-16mm program includes:

Ophelia/The Cat Lady (1969)

Love Objects (1971, Holland)

The Mirror Garden (1967)

Epilogue/Siam (1969)

Jabbok (1967)

Phases of the Moon (1968)

Oblivion (1969). 

The Tom Chomont films will be preceded by a 16mm program:

Glimpse of the Garden by Marie Menken, 1957

Fire of Waters by Stan Brakhage, 1965

Lemon by Hollis Frampton, 1969

Futuristic Death Ray and Anna/Anna by Clay Dean, 2003 and 2010

16mm preservation print courtesy of the UCLA Film & Television Archive.Preserved by the UCLA Film & Television Archive for The Outfest Legacy Project for LGBT Film Preservation and through the Avant-Garde Master Program. Preservation funded by The Film Foundation and administered by the National Film Preservation Foundation. Thanks also to the Film-Makers' Cooperative, Jim Hubbard, and Clay Dean.