|
|
|
|
In conjunction with Dead Flowers, Vox Populi and Light Industry, Brooklyn, are happy to announce a screening of
rarely-seen 16mm film works, curated by Ed Halter.
AROUND
1966: ANDREW MEYER, EDWARD OWENS,
PETER EMMANUEL GOLDMAN
Sunday, April 25 at 7pm at Vox Populi, free
Films
by three artists whose work has been relegated to the margins of
collective memory. A glimpse into the formative years of the
mythology--and reality--of the underground.
Once
part of Andy Warhol's circle, Andrew Meyer made several acclaimed
experimental films in New York, moved into making larger-budget
exploitation features for Roger Corman like Night of the Cobra
Woman in the 1970s, eventually dying of AIDS in 1987. Peter
Emmanuel Goldman was lauded as one of the three most important
directors in America by Jean-Luc Godard--the others being Shirley
Clarke and John Cassavetes--but his haunting debut feature Echoes
of Silenceis today barely remembered. Even less is now known
about Edward Owens, an African-American filmmaker praised by his
mentor Gregory Markopoulos as "one of the few for whom 'amateur'
and 'professional' need have no significance whatsoever... with
each subsequent struggle to complete a film he will leave us
breathless with anticipation for his next work." - Ed Halter
Part
I
Match
Girl by Andrew Meyer
1966,
16mm, color, sound, 25 mins
Based
on the Hans Christian Andersen fairy tale, a dreamlike parable and
critique of life in The Factory, featuring cameos from Andy Warhol
and Gerard Malanga, Vivian Kurz as analog for Edie Sedgwick, and a
pop soundtrack by The Rolling Stones and Martha & The Vandellas.
Private
Imaginings and Narrative Facts by Edward Owens
1967,
16mm, color, silent, 9 mins
"A
montage of still and moving images, mixing and alternating black
people and white people, fantasy and reality, a presidential suite
and a mother's kitchen: a sensitive, poetic evocation... Brilliantly
colored and nostalgic, it comprises a magical transformation of
painterly collage and still photographic sensibility into filmic time
and space." - Charles Boultenhouse
Part
II
Echoes
of Silence by Peter Emmanuel Goldman
1965,
16mm, black and white, sound, 75 mins
"Peter
Goldman is the most exciting new filmmaker in recent years. Echoes
of Silence, his first film, is a stunning piece of work." -
Susan Sontag
"Desperate
sexuality, desperate emotions; every gesture and inflection an act of
grave import; a film of young adults, infused with a new
existentialist humanism, devoid of certainty or illusion. The sharp
contrast and graininess of the still indicate the film's distance
from slick commercial cinema. A major new talent." - Amos Vogel,
Film as a Subversive Art
"His
people come to life simply and believably - more believably than most
of the people in the Chabrol and Truffaut cinema...the film has a
thematic and formal beauty that is remarkable." - Jonas Mekas,
Movie Journal
"All
the American film-makers we admire came into the cinema young. Now
they're old but no one's taking their place. When Hawks started out
he was the same age as Goldman and Goldman is alone...There will be
other great American film-makers (there's already Goldman, Clarke and
Cassavetes)." - Jean-Luc Godard, Cahiers du
Cinema
"An
underappreciated landmark of the New American Cinema [that]
chronicles the lives of twenty-somethings adrift in New York City,
finding tremendous pathos in the smallest moments: a furtive glance
across a museum gallery, girls putting on makeup, a stroll beneath
the pulsing lights of Times Square marquees. Composed with a lo-fi
purity and bereft of diegetic sound, its shadowy images of youthful
flaneurs are paired with evocatively hand-painted title cards and a
dynamic soundtrack drawn from the artist's LPs that, when combined,
conjure up a ballad of sexual dependency like none other." -
Thomas Beard, Light Industry
This project has been supported by The Pew Center for Arts & Heritage through Philadelphia Exhibitions Initiative.[Image: Still from Echoes of Silence, 1965. All rights reserved.]
|
|
04/19 16:36:20/2010
| |
