Between Gold, Jonathan Schwartz, U.S., 2011, 10m 42s
Mr. Schwatrz’s between Gold was created around (if my notes are right) a single take audio clip. One of the most haunting sounds of the festival was the dogs barking throughout this piece.
Tin Pressed, Dani Leventhal, U.S., 2011, 6m 23s
The program notes indicated that it would open with “jarring violence” and maybe that told too much. Ms. Leventhal seemed reticent to discuss her work before the audience saw it when given a chance prior to the program and she is probably right. One of the pleasures watching her work is to be surprised about where she will take us.
Fifteen an Hour, Kevin Jerome Everson, U.S., 2011, 6m
Fifteen an Hour annualized is 31,200 USD. That’s little less than double the state minimum in Florida of 7.31 USD an hour.
Tableaux Vivants, Vincent Grenier, U.S., 2011, 10m 20s
I drifted in an out of the this. Some films force you to concentrate, some films allow you to wander.
Curious Light, Charlotte Pryce, U.S., 2011, 4m 12s
I was looking forward to Ms. Pryce’s work since reading the description in the program. Turning the camera into a way of visually sculpting an object opens up the possibilities to many further discoveries and illuminations.
Forms Are Not Self-Subsistent Substances, Samantha Rebello, U.K., 2010, 22m
This came out of nowhere. Wow. Wish I could have seen this a few more times. Ms. Rebello’s work was edgy but accessible and did not feel formal or academic.
The Matter Propounded, of its Possibility or Impossibility, treated in four Parts, David Gatten, U.S., 2011, 13m
Interesting presentation. Avant-garde meets power point. Although silent, reading the text made a lot of noise in my head.
(3 more) from Jhana and the Rats of James Olds: Stephanie Barber, U.S., 2011
Miniatures, 2m
Degas, 58s
The Eclipse, 33s
Ms. Barber’s second series in the festival, were short and clever. I would like to see all the work from this project in one sitting.
ransom notes, Kelly Egan, Canada, 2011, 4m
A process film. Ms. Egan put words and letters directly on the optical soundtrack. It is the type of experimental film that is “inside the game” and given the opportunity at Views to be seen in the context of the current state of the general experimental film and video practices. Messers Smith and McElhatten do a remarkable job of sampling and organizing a wide variety of visual experiences here.
Conjuror’s Box, Kerry Laitala, U.S., 2011, 4m
I liked the images in the film and wanted to see more of the work. I will look to purchase Ms. Laitala’s work on DVD.
