Shrooms.This year’s edition of TIFF Wavelengths opened with an unannounced extra. It was a 1967 film called Standard Time, an eight-minute series of circular pans around an apartment. The camera speeds up and slows down; it pans right, then left, then right again. Later, the film describes a truncated arc, showing one small section of the flat. Then, the camera pans up and down. Living beings can be glimpsed along the way, most notably a cat perched in a window, artist Joyce Wieland, and a surprise visitor at the end. But they are given the same relative attention as the objects in the space: a TV, a stereo, a cooktop, a blender, and a hutch full of china. Which is to say that all things in the field of the camera’s vision are abstracted, turned into pure painterly velocity.Of course, Standard Time is by Michael Snow, a...
- 9/12/2023
- MUBI
NYC Weekend Watch is our weekly round-up of repertory offerings.
Roxy Cinema
A 35mm-heavy David Cronenberg retro is underway, with Dead Ringers playing Friday and Naked Lunch on Sunday; a print of The Blair Witch Project plays Saturday; on Sunday a 16mm double-bill programmed by J. Hoberman will screen.
Film Forum
A restoration of Nuri Bilge Ceylan’s Distant has begun, while Jean-Jacques Beineix’s Diva continues on 35mm and Kiki’s Delivery Service screens this Sunday.
IFC Center
Johnnie To’s The Heroic Trio plays in a restoration as the Gaspar Noé retrospective continues; the new restorations of Inland Empire and Mississippi Masala continue; Mulholland Dr., Perfect Blue, Scanners, and Paprika have late-night showings.
Japan Society
Terror of Yakuza and Untamagiru play in the incredible new series “Okinawa in Focus,” which you can see a trailer for here.
Museum of the Moving Image
The great Dp James Wong Howe...
Roxy Cinema
A 35mm-heavy David Cronenberg retro is underway, with Dead Ringers playing Friday and Naked Lunch on Sunday; a print of The Blair Witch Project plays Saturday; on Sunday a 16mm double-bill programmed by J. Hoberman will screen.
Film Forum
A restoration of Nuri Bilge Ceylan’s Distant has begun, while Jean-Jacques Beineix’s Diva continues on 35mm and Kiki’s Delivery Service screens this Sunday.
IFC Center
Johnnie To’s The Heroic Trio plays in a restoration as the Gaspar Noé retrospective continues; the new restorations of Inland Empire and Mississippi Masala continue; Mulholland Dr., Perfect Blue, Scanners, and Paprika have late-night showings.
Japan Society
Terror of Yakuza and Untamagiru play in the incredible new series “Okinawa in Focus,” which you can see a trailer for here.
Museum of the Moving Image
The great Dp James Wong Howe...
- 5/19/2022
- by Nick Newman
- The Film Stage
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Wonder Woman 1984. Warner Bros announced the surprising decision this week to have its entire 2021 theatrical slate—which includes Dune, Wonder Woman 1984, and even Clint Eastwood's Cry Macho—on the streaming service HBO Max for each film's first month of release, in addition to a concurrent theatrical release. In other seismic shifts in cinema history, Kodak has sadly discontinued its color internegative stock, a decision that will no doubt have long-term consequences. As John Klacsmann points out on Twitter, this is "the most used stock when preserving 16mm experimental film." Recommended VIEWINGCo-organized with the Taiwan Film and Audiovisual Institute (Tfai) and Taiwan Cinema Toolkit, Anthology Film Archives is presenting a must-see, free series of Taiwanese b-movies, a realm of cinema containing "the down-and-dirty genre films that proliferated in the late 1970s and...
- 12/9/2020
- MUBI
The new issue of Cinema Scope is out, with Miguel Gomes on the cover and a conversation about Arabian Nights inside. Also, articles on Hou Hsiao-hsien's The Assassin, László Nemes's Son of Saul, Apichatpong Weerasethakul's Cemetery of Splendour, Andrew Cividino's Sleeping Giant, Patricio Guzmán, Marcel Broodthaers, Albert Serra, Joyce Wieland, George Miller's Mad Max: Fury Road and more. Also in today's roundup: The return of Carol Reed's The Third Man with Orson Welles, new work from Ben Rivers, a screening of the special triptych version of Kenneth Anger's Inauguration of the Pleasure Dome—and more. » - David Hudson...
- 6/24/2015
- Fandor: Keyframe
The new issue of Cinema Scope is out, with Miguel Gomes on the cover and a conversation about Arabian Nights inside. Also, articles on Hou Hsiao-hsien's The Assassin, László Nemes's Son of Saul, Apichatpong Weerasethakul's Cemetery of Splendour, Andrew Cividino's Sleeping Giant, Patricio Guzmán, Marcel Broodthaers, Albert Serra, Joyce Wieland, George Miller's Mad Max: Fury Road and more. Also in today's roundup: The return of Carol Reed's The Third Man with Orson Welles, new work from Ben Rivers, a screening of the special triptych version of Kenneth Anger's Inauguration of the Pleasure Dome—and more. » - David Hudson...
- 6/24/2015
- Keyframe
Via Criterion
"On March 8, 2012, Hollis Frampton went viral," begins Giampaolo Bianconi in Idiom. "The Criterion Collection, in preparation for the release of a long-anticipated Frampton box set [A Hollis Frampton Odyssey], posted a fragment from his 1968 film Surface Tension on Facebook; the clip was picked up by the New York Times blog City Room, and from there it spread. For a second, Frampton was everywhere."
Bianconi notes that some cinephiles objected to the Nyt's fascination with the film as a historical record of the City:
Frampton, though, was not only concerned with the materiality of film with regards to shape and texture, but also with materiality in terms of film being an historical artifact. To watch Surface Tension is to be fascinated by the images of New York, and illegitimizing that point of entry means that a facetious art-for-art's-sake conception of Frampton's work has foreclosed a more complete experience and understanding of the film.
"On March 8, 2012, Hollis Frampton went viral," begins Giampaolo Bianconi in Idiom. "The Criterion Collection, in preparation for the release of a long-anticipated Frampton box set [A Hollis Frampton Odyssey], posted a fragment from his 1968 film Surface Tension on Facebook; the clip was picked up by the New York Times blog City Room, and from there it spread. For a second, Frampton was everywhere."
Bianconi notes that some cinephiles objected to the Nyt's fascination with the film as a historical record of the City:
Frampton, though, was not only concerned with the materiality of film with regards to shape and texture, but also with materiality in terms of film being an historical artifact. To watch Surface Tension is to be fascinated by the images of New York, and illegitimizing that point of entry means that a facetious art-for-art's-sake conception of Frampton's work has foreclosed a more complete experience and understanding of the film.
- 4/27/2012
- MUBI
The 8th annual Florida Experimental Film/Video Festival, or Flex Fest, is one of their curated editions, featuring the work of three major avant-garde and experimental filmmakers and their influences over the course of three nights on Feb. 18-20 in Gainesville, Fl. Flex’s honorees this year are: Su Friedrich, Steve Reinke and Sam Green.
The work and influences of Su Friedrich will take to the screen on the first night at the Top Secret Space at 24 N. Main St. The event will begin with two films and one video that cover the span of Friedrich’s career, from 1981 to 2005. Over the past nearly35 years, Friedrich has been one of the leading figures in the feminist avant-garde, combining elements of documentary, narrative and experimental filmmaking in her work.
One of the films that Friedrich will screen is her seminal, autobiographical Sink or Swim, a compilation of 26 short films that chronicle...
The work and influences of Su Friedrich will take to the screen on the first night at the Top Secret Space at 24 N. Main St. The event will begin with two films and one video that cover the span of Friedrich’s career, from 1981 to 2005. Over the past nearly35 years, Friedrich has been one of the leading figures in the feminist avant-garde, combining elements of documentary, narrative and experimental filmmaking in her work.
One of the films that Friedrich will screen is her seminal, autobiographical Sink or Swim, a compilation of 26 short films that chronicle...
- 2/13/2012
- by Mike Everleth
- Underground Film Journal
The most enigmatically grouped programme in this year's Wavelengths was the third showcase. Where Wavelengths 1 was modelled on the fading analogue medium of celluloid, and Wavelengths 4 interpreted the concept of 'space' in six radically different ways, the theme of Serial Rhythms seemed to evolve from one piece to the next. Links between each work showed hints of motifs or ideas from the previous film, but to look at any two random films in the programme, one would be hard-pressed to locate many discernible commonalities. In truth, I think programmer Andréa Picard likes it best that way. In her introduction, she did not hesitate to mention the vagaries within this set's curation. She'd initially toyed with a concept of death, but admitted (and this was evident) that that theme drifted further away in the compilation's second half. There was still a concrete vision in the end - that being, to create...
- 9/27/2011
- IONCINEMA.com
As has been noted many times before, by me and others, the Wavelengths series of the Toronto International Film Festival is like a festival unto itself. So far removed from the red carpet nonsense, the deal-making, and the me-firstism of web journalists hoping to hit the Web with their initial impressions of some new Bryce Dallas Howard vehicle, Wavelengths affords breathing room to cinema and video at its most formally adventurous and, yes, uncommercial. We come here to look and listen, not to look “at” or listen “to,” and if that sounds hopelessly pretentious, come on down to the Jackman Hall and see for yourself. It’s actually quite cleansing, often funny, and a guaranteed good time, at least in part. (Short films are like the weather in my hometown of Houston, Texas. Don’t like it? Wait a moment. It’ll change.)
Sadly, Wavelengths 2011 will be the final year for series curator Andréa Picard.
Sadly, Wavelengths 2011 will be the final year for series curator Andréa Picard.
- 9/8/2011
- MUBI
Once again, the Wndx Festival of Film and Video Art will be celebrating the best in new and classic Canadian avant-garde, experimental and underground filmmaking with a little flair for the international thrown in. Wndx’s 6th annual edition is set to run on Sep. 29 to Oct. 2 in the city of Winnipeg.
This year, Wndx is paying special homage to two great Canadian artistic filmmakers: The late Joyce Wieland and Guy Maddin. For Wieland, the fest is holding two special retrospectives of the experimental filmmaker’s works spanning from 1965 to 1984. (Wieland passed away in 1998.) The first retrospective on Oct. 1 is a collection of all short films, such as Cat Food (1969) and A&B in Ontario (1984), which was co-directed with he contemporary Hollis Frampton. The second retrospective on Oct. 2 includes Wieland’s feature film Reason Over Passion (1969), plus two shorts.
From Sep. 2 to Oct. 1, Wndx is hosting Guy Maddin‘s Hauntings installation at the Platform Gallery.
This year, Wndx is paying special homage to two great Canadian artistic filmmakers: The late Joyce Wieland and Guy Maddin. For Wieland, the fest is holding two special retrospectives of the experimental filmmaker’s works spanning from 1965 to 1984. (Wieland passed away in 1998.) The first retrospective on Oct. 1 is a collection of all short films, such as Cat Food (1969) and A&B in Ontario (1984), which was co-directed with he contemporary Hollis Frampton. The second retrospective on Oct. 2 includes Wieland’s feature film Reason Over Passion (1969), plus two shorts.
From Sep. 2 to Oct. 1, Wndx is hosting Guy Maddin‘s Hauntings installation at the Platform Gallery.
- 8/23/2011
- by Mike Everleth
- Underground Film Journal
What follows is the Toronto International Film Festival's announcement of the lineup for Wavelengths, its avant-garde program. To reiterate, the text comes from the festival, which runs from September 9 through 18. See, too, the lineups for Visions, Contemporary World Cinema, Future Projections and the Galas and Special Presentations; entries on further programs are on the way — as are links and notes on this one.
Wavelengths 1: Analogue Arcadia. As celluloid threatens to disappear altogether, Wavelengths launches with a celebratory and elegiac program comprised of doomed desire, vanishing worlds and a love of analogue. Wavelengths launches with a rare screening of Tacita Dean's Edwin Parker (USA/United Kingdom — courtesy of the Marion Goodman Gallery), an intimate portrait of Cy Twombly, one of the great artistic geniuses of the past century. The film's inclusion in the Festival has been exclusively made possible in honour of Twombly, who died on July 5. Dean is...
Wavelengths 1: Analogue Arcadia. As celluloid threatens to disappear altogether, Wavelengths launches with a celebratory and elegiac program comprised of doomed desire, vanishing worlds and a love of analogue. Wavelengths launches with a rare screening of Tacita Dean's Edwin Parker (USA/United Kingdom — courtesy of the Marion Goodman Gallery), an intimate portrait of Cy Twombly, one of the great artistic geniuses of the past century. The film's inclusion in the Festival has been exclusively made possible in honour of Twombly, who died on July 5. Dean is...
- 8/16/2011
- MUBI
After three separate announcements (here, here and here), the Toronto International Film Festival has announced the final line-up for their Galas and Special Presentations, as well as a few other categories. Most notable is Andrea Arnold‘s Fish Tank follow-up Wuthering Heights, the next film from Timecrimes director Nacho Vigalondo, as well as Dogtooth director Yorgos Lanthimos’ Alps.
We also get Whit Stillman‘s Damsels in Distress starring Greta Gerwig and Geoffrey Fletcher’s Violet & Daisy starring Saoirse Ronan and James Gandolfini. In what should be a little fun we have Gary McKendry‘s Killer Elite starring Robert De Niro, Clive Owen and Jason Statham. We also get Owen’s horror flick Intruders and Joel Schumacher‘s Trespass starring Nicole Kidman and Nicolas Cage. Check out the full line-ups below.
Galas
Closing Night Film
Page Eight David Hare, United Kingdom
International Premiere
Johnny Worricker (Bill Nighy) is a long-serving M15 officer.
We also get Whit Stillman‘s Damsels in Distress starring Greta Gerwig and Geoffrey Fletcher’s Violet & Daisy starring Saoirse Ronan and James Gandolfini. In what should be a little fun we have Gary McKendry‘s Killer Elite starring Robert De Niro, Clive Owen and Jason Statham. We also get Owen’s horror flick Intruders and Joel Schumacher‘s Trespass starring Nicole Kidman and Nicolas Cage. Check out the full line-ups below.
Galas
Closing Night Film
Page Eight David Hare, United Kingdom
International Premiere
Johnny Worricker (Bill Nighy) is a long-serving M15 officer.
- 8/16/2011
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
Production equipment savvy? Living in Calgary or looking to move there? The Calgary Society of Independent Filmmakers wants to hire a Production Coordinator to help manage their equipment. Visit their site for details.Speaking of Canada, Rhizome has a cool video from a ’70s Canadian arts show where artist Evelyn Roth discusses crocheting sculptures out of videotape. Plus, Rhizome finally has their archives back online.Then, Experimental Cinema has news of a DVD of Canadian filmmaker Joyce Wieland’s films being released.Are female horror directors on the rise in the U.K.? Eleanor McKeown investigates for Electric Sheep.Then, for Peaches Christ’s website, Michael Varrati sticks up for the much maligned slasher genre. Hear, hear! They’re just damn fun, is all!Listen to the mellifluous voice of Mike Plante discussing his new Cinemad distribution effort.Landscape Suicide has some very lovely stills from Hollis Frampton’s underground classic Zorns Lemma,...
- 3/13/2011
- by Mike Everleth
- Underground Film Journal
To celebrate its 20th Anniversary, it appears as though the Tiff Cinematheque is set to pull out all the stops.
According to Criterion, the Tiff, formerly known as the Cinematheque Ontario, will be bringing out a rather superb and cartoonishly awesome summer schedule, that will include films ranging from Kurosawa pieces, to films from Pier Paolo Pasolini. Other films include a month long series dedicated to James Mason, Eric Rohmer’s Six Moral Tales, a tribute to Robin Wood, and most interesting, a retrospective on the works of one Catherine Breillat.
Personally, while the Kurosawa, Pasolini, and Rohmer collections sound amazing, the Breillat series is ultimately the collective that I am most interested in. Ranging from films like the brilliant Fat Girl, to the superb and underrated Anatomy of Hell, these are some of the most interesting and under seen pieces of cinema of recent memory, and are more than...
According to Criterion, the Tiff, formerly known as the Cinematheque Ontario, will be bringing out a rather superb and cartoonishly awesome summer schedule, that will include films ranging from Kurosawa pieces, to films from Pier Paolo Pasolini. Other films include a month long series dedicated to James Mason, Eric Rohmer’s Six Moral Tales, a tribute to Robin Wood, and most interesting, a retrospective on the works of one Catherine Breillat.
Personally, while the Kurosawa, Pasolini, and Rohmer collections sound amazing, the Breillat series is ultimately the collective that I am most interested in. Ranging from films like the brilliant Fat Girl, to the superb and underrated Anatomy of Hell, these are some of the most interesting and under seen pieces of cinema of recent memory, and are more than...
- 5/26/2010
- by Joshua Brunsting
- CriterionCast
April 6
7:30 p.m.
Light Industry
177 Livingston Street
Brooklyn, New York 11201
Hosted by: Light Industry
Now this sounds like an awesome evening. Media artist Paul Slocum presents two very special projections of two cult favorites: One pretty much straight-up and the other a slight remixing.
First up, anybody who was a devoted follower of Doctor Who broadcasts on PBS in America know that the singular most frustrating thing about being a fan was that many episodes from its early years in the 1960s were disposed of after their initial broadcast by the BBC. The network simply threw the tapes away or erased them in a short-sighted bid to save on storage costs.
Personally, I know that I used to have a checklist in a comic book fan magazine that listed every episode of Doctor Who ever made and I diligently checked off each one after viewing it. And it just...
7:30 p.m.
Light Industry
177 Livingston Street
Brooklyn, New York 11201
Hosted by: Light Industry
Now this sounds like an awesome evening. Media artist Paul Slocum presents two very special projections of two cult favorites: One pretty much straight-up and the other a slight remixing.
First up, anybody who was a devoted follower of Doctor Who broadcasts on PBS in America know that the singular most frustrating thing about being a fan was that many episodes from its early years in the 1960s were disposed of after their initial broadcast by the BBC. The network simply threw the tapes away or erased them in a short-sighted bid to save on storage costs.
Personally, I know that I used to have a checklist in a comic book fan magazine that listed every episode of Doctor Who ever made and I diligently checked off each one after viewing it. And it just...
- 4/5/2010
- by screenings
- Underground Film Journal
Jan. 30
7:30 p.m.
UnionDocs
322 Union Ave
Brooklyn, NY 11211
Hosted by: UnionDocs
Shirley Clarke was an early force in the New American Cinema movement back in the 1960s, directing several underground feature films and shorts. For this event, there will be a screening of her short experimental film Bridges-Go-Round, plus the feature-length documentary Shirley Clarke in Our Time, directed by Donna Cameron, an associate of Clarke’s in the late ’80s.
In addition to the films being screened, there will be a live discussion with Cameron, plus filmmaker and friend of Clarke’s Jonas Mekas; and film critic-programmer Cullen Gallagher.
Here’s a little bit more on the films being screened:
In 1958, Clarke was one of several filmmakers commissioned by the State Dept. to produce short films to be screened at the Brussels World’s Fair. Bridges-Go-Round was assembled from leftover footage from that project. Although it’s typically said...
7:30 p.m.
UnionDocs
322 Union Ave
Brooklyn, NY 11211
Hosted by: UnionDocs
Shirley Clarke was an early force in the New American Cinema movement back in the 1960s, directing several underground feature films and shorts. For this event, there will be a screening of her short experimental film Bridges-Go-Round, plus the feature-length documentary Shirley Clarke in Our Time, directed by Donna Cameron, an associate of Clarke’s in the late ’80s.
In addition to the films being screened, there will be a live discussion with Cameron, plus filmmaker and friend of Clarke’s Jonas Mekas; and film critic-programmer Cullen Gallagher.
Here’s a little bit more on the films being screened:
In 1958, Clarke was one of several filmmakers commissioned by the State Dept. to produce short films to be screened at the Brussels World’s Fair. Bridges-Go-Round was assembled from leftover footage from that project. Although it’s typically said...
- 1/27/2010
- by screenings
- Underground Film Journal
Jan. 6
7:30 p.m.
Light Industry
220 36th Street (between 2nd and 3rd Avenue), 5th Floor
Brooklyn, NY
Hosted by: Light Industry
Joyce Wieland (1931 — 1998) was a Canadian painter who moved to NYC in the 1960s and became a part of the then blossoming structuralist movement within the underground film scene. She primarily made films by herself, but did collaborate with both Hollis Frampton and her husband Michael Snow.
The five films screening in this program have been curated by Emily Roysdon and span Wieland’s career from her first film to her last. A listing of the films screenings is below. Roysdon says of Wieland’s work: “[It] evinces a sharp wit and inventive narrative sense that foreshadows the small-gauge cinema of the 1980s and 90s.”
Handtinting (16mm, 1967, 6 mins.)
Rat Life and Diet in North America (16mm, 1968, 16 mins.)
Pierre Vallieres (16mm, 1972, 30 mins.)
Solidarity (16mm, 1973, 10 mins.)
A & B in Ontario (made with Hollis Frampton,...
7:30 p.m.
Light Industry
220 36th Street (between 2nd and 3rd Avenue), 5th Floor
Brooklyn, NY
Hosted by: Light Industry
Joyce Wieland (1931 — 1998) was a Canadian painter who moved to NYC in the 1960s and became a part of the then blossoming structuralist movement within the underground film scene. She primarily made films by herself, but did collaborate with both Hollis Frampton and her husband Michael Snow.
The five films screening in this program have been curated by Emily Roysdon and span Wieland’s career from her first film to her last. A listing of the films screenings is below. Roysdon says of Wieland’s work: “[It] evinces a sharp wit and inventive narrative sense that foreshadows the small-gauge cinema of the 1980s and 90s.”
Handtinting (16mm, 1967, 6 mins.)
Rat Life and Diet in North America (16mm, 1968, 16 mins.)
Pierre Vallieres (16mm, 1972, 30 mins.)
Solidarity (16mm, 1973, 10 mins.)
A & B in Ontario (made with Hollis Frampton,...
- 1/3/2010
- by screenings
- Underground Film Journal
The film side of Canadian Artists ’68—an open competition that started with 120 entries and ended with 20 finalists and four prizewinners dividing $6,000— leaves strong impressions, stronger say than those of Secret Ceremony or the latest film featuring acting by a one-movie nymphet whose playing of a little girl parasite (Zita, Joanna, or Cenci) is being memorialized at this moment in Sunday supplements by Rex Reed or Guy Flatley.
Some of these impressions would obviously include (1) an austere “Loft To Let” space overlooking Canal Street in Manhattan, which is examined for 45 minutes in Michael Snow’s Wavelength as no room ever has been, outside of Vermeer paintings, (2) the nasty blankness of a prefab room in Clarke Mackey’s On Nothing Days and the poignantly dispirited way the lacklustre teenager walks to the window and stares at a scene of children jumping rope—as though he were going through a tunnel that stretched across seventeen cheerless years,...
Some of these impressions would obviously include (1) an austere “Loft To Let” space overlooking Canal Street in Manhattan, which is examined for 45 minutes in Michael Snow’s Wavelength as no room ever has been, outside of Vermeer paintings, (2) the nasty blankness of a prefab room in Clarke Mackey’s On Nothing Days and the poignantly dispirited way the lacklustre teenager walks to the window and stares at a scene of children jumping rope—as though he were going through a tunnel that stretched across seventeen cheerless years,...
- 12/7/2009
- MUBI
Art Radio International renegotiated the terms of its lease of the Clocktower Gallery with MoMA recently, consequently serving subleasers The Film-Maker’s Co-op (Fmc) with an eviction notice. Founded nearly 50 years ago, Fmc is one of the longest-running distributors of experimental and independent film in the world, its offices operating in the same building since 2000. The organization houses thousands of 16mm prints, many of them unique and irreplaceable including those by Stan Brakhage, Paul Sharits, Carolee Schneeman, Tony Conrad, Hollis Frampton, Jennifer Reeves, Jack Smith, Ken Jacobs, Peggy Ahwesh, Joyce Wieland, Michael Snow, Maya Deren, Marie Menken, Jonas Mekas, Shirley Clarke, Martha Colburn, Leslie Thornton, and literally hundreds of other artists, as well as an invaluable paper archive of letters, program notes and other materials. According ...
- 2/5/2009
- by Karina Longworth
- Spout
Art Radio International renegotiated the terms of its lease of the Clocktower Gallery with MoMA recently, consequently serving subleasers The Film-Maker’s Co-op (Fmc) with an eviction notice. Founded nearly 50 years ago, Fmc is one of the longest-running distributors of experimental and independent film in the world, its offices operating in the same building since 2000. The organization houses thousands of 16mm prints, many of them unique and irreplaceable including those by Stan Brakhage, Paul Sharits, Carolee Schneeman, Tony Conrad, Hollis Frampton, Jennifer Reeves, Jack Smith, Ken Jacobs, Peggy Ahwesh, Joyce Wieland, Michael Snow, Maya Deren, Marie Menken, Jonas Mekas, Shirley Clarke, Martha Colburn, Leslie Thornton, and literally hundreds of other artists, as well as an invaluable paper archive of letters, program notes and other materials. According ...
- 2/5/2009
- by Karina Longworth
- Spout
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