Peter Hay Halpert Fine Arts is now accepting pre-orders of Ron Diorio’s new photography book, Empire City. Printed in a very limited edition of only 50 copies, every signed and numbered copy includes a corresponding print and DVD of Diorio’s video work. Empire City exclusively features Diorio’s architectural photography, and follows the 2010 publication of Comin’ Around Again, a book containing every photograph in Diorio’s three most recent solo exhibitions in New York and London. Contact the gallery via email (email@example.com) for more information on either publication.
Archive for the ‘Reading’ Category
Posted in Reading, Thinking, Watching, tagged #NYFF, Avant garde, Hanging upside down in the branches, Nathaniel Dorsky, Ouverture Christopher Becks, Pastourelle, Robert Beavers, The Suppliant, Ute Aurand on October 11, 2010 | 1 Comment »
Pastourelle Nathaniel Dorsky, USA, 2010, 16.5m.
There was some buzz in line about seeing “Nathaniel’s” new film so I was happy to know that as the first film in this set I would see it before I was going leave. I felt like I had been dropped into a midtown church in the middle of the afternoon, first recognizing the slow, quiet thoughtfulness of the moment and followed after a while by how uncomfortable slow, quiet thoughtfulness can be for this city boy.
Ouverture Christopher Becks, France, 2010, 5m.
One of the interesting things about this film was that I felt Mr. Becks had captured the feeling of “discovery” in these five minutes. As I sat and watched his movements and edits it seemed more like a recollection than a recording. A bit magical.
The Suppliant Robert Beavers, USA/Switzerland, 2010, 5m.
I had been looking forward to Mr. Beavers film having read some positive reviews. However I had a hard time seeing it. It seemed to project too dark – the film stills seemed clearer. I was disappointed.
Hanging upside down in the branches Ute Aurand, Germany, 2009, 15m.
One last film. Ms. Aurand spoke briefly before the showing about losing her parents and her implied regrets for having not captured enough on film. Loss, love, life – a remembrance.
I ended my marathon here. Apologies to the other artists below for not getting to see their films, I will track them down on the web over the next few weeks.
Film for Invisible Ink, case no. 323: ONCE UPON A TIME IN THE WEST David Gatten, USA, 2010, 20m.
In a Year with 13 Deaths Jonathan Schwartz, USA, 2008, 3m.
One Eve Heller, USA/Austria, 2010, 4m.
Shibiyu-Tokyo Tomanari Nishikawa, Japan, 2010, 10m.
Beneath Your Skin of Deep Hollow Malena Szlam, Chile/Canada, 2010, 3m.
Gesturings Peter Herwitz, USA, 2010, 5m.
Day Dream Jim Jennings, USA, 2010, 7m.
Fatal Attractions: An Introduction to Black and White Magic
These Blaezing Starrs Deborah Stratman, USA, 2010, 14.4m.
Tranquility Sigfried A. Fruhauf, Austria, 2010, 6.30m.
To Another Josh Mabe, USA, 2010, 48sec.
Sugar Slim Says Lewis Klahr, USA, 2010, 7m.
Sorry Luther Price, USA, 2010, 14m.
Shutter Alexi Mani, Canada, 2009, 7m.
Floor of the World Janie Geiser, USA, 2010, 8m.
Toads Milena Gierke, Germany, 1997/2008, 6m.
Pigs Pavel Wojtasik, U.S., 2010, 7.45m.
Shadow Cut Martin Arnold, Austria, 2010, 4m.
Coming Attractions Peter Tscherkassky, Austria, 2010, 23.40m.
Posted in Reading, Thinking, Watching, tagged #NYFF, April Simmons, Avant garde, Dani Leventhal, Fern Silva, Hearts are Trump Again, In the Absence of Light Darkness Prevails, Place for Landing. Shambhavi Kaul, Ray’s Birds Deborah Stratman, razor’s edge, Slave Ship, Someone Should Be Happy Here, Stephanie Barber, T. Marie, THE HUNCH THAT CAUSED THE WINNING STREAK AND FOUGHT THE DOLDRUMS MIGHTILY, Xav LePlae on October 8, 2010 |
Landing on the Edge
Place for Landing Shambhavi Kaul, USA, 2010, 6m.
Ms. Kaul noted before the film that it was entirely shot in mirrors which created some interesting framing choices. A good choice to lead off this session.
Hearts are Trump Again Dani Leventhal, USA, 2010, 14m.
Two and half days in and the first laughter generated by any of the films! Maybe because there seemed to be real life in this film it came across as honest. If one piece could be said to feel comfortable in its own skin this was it.
Ray’s Birds Deborah Stratman, USA, 2010, 7m.
Interesting profile of Ray. Well made. Not sure what is avant garde here.
In the Absence of Light, Darkness Prevails Fern Silva, Brazil/USA, 2010, 13m.
Another film that came to life with music and rhythms. The soundtrack/mix made this memorable and complemented Mr Silva’s story telling. I was glad to be able to see a second piece for Mr. Silva. I want to see more.
Slave Ship T. Marie, USA, 2010, 4m.
Beautiful work in its simplicity.
Someone Should Be Happy Here April Simmons, USA, 2010, 5m.
I am sure this was clever, however I could not connect with it.
THE HUNCH THAT CAUSED THE WINNING STREAK AND FOUGHT THE DOLDRUMS MIGHTILY Stephanie Barber, USA, 2010, 2m.
Imaginative. Hope to see it at the Tate as part of their program next time I am in the UK.
razor’s edge Stephanie Barber and Xav LePlae, USA, 2010, 44m.
The 44 minutes seemed three times that long. Maybe that was the point?
Posted in Reading, Thinking, Watching, tagged #NYFF, Arianne Olthaar, Atlantiques, Atlantis, Avant garde, blue mantle Rebecca Meyers, David Gatten, Dining Cars, Distance, John Price, Julie Murray, Mati Diop, Pieter Geenen, Sea Series #7: Naufrage aux îles de Madeleine, Shrimp Boat Log, Travelogue Vincent Grenier on October 7, 2010 |
Atlantis Pieter Geenen, China/Belgium, 2008, 11.18m.
If Google Street was in the experimental movie business, this might be the kind of movie they would deliver. The never blinking eye, always scanning, never stopping, never making judgments.
Dining Cars Arianne Olthaar, Netherlands, 2009, 15.5m.
I remember going to Flordia by train and having dinner with my family in a dining car. Ms. Olthaar’s film is an attempt at an aesthetic that I would describe as an unsentimental b-roll lyrical.
Sea Series #7: Naufrage aux îles de Madeleine John Price, Canada, 2010, 3.39m.
This was some of the best matched photography to subject that I saw over the three days. At 3.39m Mr Price delivers an efficient and complete work.
Atlantiques Mati Diop, Senegal/France, 2009, 11m.
This may have been the most traditional based narrative that I saw – strong use of spoken word imagery which locked into Diop’s visual storytelling.
Distance Julie Murray, USA, 2010, 12m.
I have no recollection of this film.
Travelogue Vincent Grenier, USA, 2010, 8.8m.
There is a comfort in scanning the rolling highway, I wish that Mr. Grenier brought a little more to this work. It carries a certain “lostness” that I reacted to.
Shrimp Boat Log David Gatten, USA, 2010, 6m.
I have been spending time with Peter Greenaway’s short and early films so I really enjoyed the overlaying structure that Mr. Gatten brought to this work. I also liked that this a piece of a bigger ongoing work which made me want to dig deeper into his catalog.
blue mantle Rebecca Meyers, USA, 2010, 34m.
Ms. Myers “blue mantle” was the best and possibly the most mainstream of all the works I saw. A David McCullough voice over or Ken Burns pan would not have been out place in this moody ode to place and sea..
At this point I am wondering who is clearing the music/recordings in all of these films.