From 2015 to 2017, Lynne Sachs visited with Carolee Schneemann, Barbara Hammer, and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives. From Carolee’s 18th Century house in the woods of Upstate New York to Barbara’s West Village studio to Gunvor’s childhood village in Sweden, Lynne shoots film with each woman in the place where she finds grounding and spark.
Upcycles
RT: 07:00
Ariana Gerstein, 2016
Up-cycled cycles. From super 8 to 16, 35mm, back to 16. Recently re-thought with a digital still camera and jk.
Optimism
RT: 14:00
Deborah Stratman, 2017
Draw down the sun, boil up the gold. The impulse to relieve a winter valley of permanent shadow and find precious metal in alluvial gravel are part of a long history of desire and extraction in the northern Canadian landscape. Cancan dancers, curlers, smelters, ex city officials and a curious cliff-side mirrored disc congregate to form a Yukon town portrait.
Mountain Castle Mountain Flower Plastic
RT: 03:08
Annapurna Kumar, 2017
Small pieces of information can be stored separately within a shared container. The most efficient containers can house multiple pieces of information in the same location, intersecting from different angles.
Dragons and Seraphim
RT: 14:00
Sasha Waters Freyer, 2017
Ancient flowers and animal desire. The past rises up – a mirage, but I can't bury it deep enough. Fever season of magic, madness: adolescence. It's their turn now, our willing sacrifice. "dragons & seraphim" fuses original film footage of three generations of family shot on a handcranked Bolex camera, with 16mm nature films and the home movies of strangers that optically reprinted frame by frame. Sound design by Stephen Vitiello; poem "Childless" by Michael Morse.
Walking Cycle
RT:08:26
Wenhua Shi, 2016
Walking Cycle an abstract audiovisual piece that celebrates the line, its quality, and its movements. This piece is a tribute to early abstract animation masters Len Lye and Hans Richter.
A Path Seems Like A Place
RT: 19:20
Sylvia Herbold, 2017
Archival images of women and nature are intercut with recent footage of my sisters. This mixture is simultaneously intimate and unfamiliar. A Path Seems like a Place plays with the line between performance and documentary.
