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CIRCLES OF CONFUSION, a five-screening series of films by Hollis Frampton, part 2
Spielberg Theater at the Egyptian
Los Angeles, CA
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CIRCLES OF CONFUSION, a five-screening series of films by Hollis Frampton, part 2
Los Angeles Filmforum and Khastoo Gallery present
CIRCLES OF CONFUSION, a five-screening series of films by Hollis Frampton
Part 1 on January 21 at Khastoo Gallery
Part 2 on January 24 at Filmforum at the Egyptian
Details below
In conjunction with Art Los Angeles Contemporary at the Pacific Design Center, January/February 2010

Hollis Frampton (1936-1984) was an American filmmaker, artist and writer who left a legacy of brilliant innovation in avant-garde cinema. His films were challenging and ground breaking explorations in the material properties of the medium, including but not limited to mathematics, the contours of perception and cognition, and the phenomenological nature of the motion picture. Among his best-known works are (nostalgia), Zorns Lemma, and the unfinished epic film cycle Magellan.  Although few have seen (or had the opportunity to see) the full extent of his catalog, his reputation as a profound thinker and pioneer predicates the broad influence his work has had on both his peers in the 60s and 70s (from Frank Stella to Carl Andre and Lee Lozano) and artists today, from James Welling and Sharon Lockhart, to Jennifer Steinkamp, and many more.  The past few years in particular have witnessed a mounting interest in the Frampton, with important symposiums organized in the states and internationally (Princeton University, 2004; Anthology Film Archives, 2009; Centre Pompidou, Paris, 2009; Chicago, 2010), publications (Rachel Mooreâs study on (nostalgia) and the Bruce Jenkins edited collection of Framptonâs writings, On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton) as well as a new release of (nostalgia) on DVD (âAmerican Treasures IVâ from the National Film Preservation Foundation).  In this retrospective of more than half of his complete catalog of films, audiences are offered an unique glimpse at what made this modernist âthinkerâ so significant to art history and relevant to contemporary practices in film, from pure celluloid to digital and online technologies.
http://hollisframpton.org.uk/

Hollis Frampton interviewed by Robert Gardner, excerpt:
http://www.der.org/films/screening-room-hollis-frampton.html

From January 21 to February 7, 2010, there will be five screenings with guest scholars and artists at each program to discuss his works and their influence on later artists.
Among those speaking will be James Welling, artist; Peter Lunenfeld, scholar at UCLA Yvonne Rainer, artist; Erika Vogt, artist; David E. James, film scholar at USC; William E. Jones, artist; Alex Klein, artist and curatorial fellow at LACMA.  More to be added!

Sunday January 24, 7:30 pm â Filmforum at the Egyptian Theater, 6712 Hollywood Blvd., Los Angeles CA 90028; lafilmforum@yahoo.com; www.lafilmforum.org
Admission $10 general, $6 students/seniors, free for Filmforum members

Discussion following the film with Yvonne Rainer and Erika Vogt

Prince Ruperts Drops (1969, 7 min., silent)
Two repetitive, banal rhythmic acts -- as it were from the observe and reverse of a phenakistiscope disk -- factored and expanded into a cinema filmstrip. Note: Prince Ruperts Drops are not a confection or a nose candy, but a physical demonstration of extreme internal stresses in equilibrium.

Critical Mass (Hapax Legomena III) (1971, 25.5 min., sound)
As a work of art I think (Critical Mass) is quite universal and deals with all quarrels (those between men and women, or men and men, or women and women, or children, or war). It is war!... It is one of the most delicate and clear statements of inter-human relationships and the difficulties of them that I have ever seen. It is very funny, and rather obviously so. It is a magic film in that you can enjoy it, with greater appreciation, each time you look at it. Most aesthetic experiences are not enjoyable on the surface. You have to look at them a number of times before you are able to fully enjoy them, but this one stands up at once, and again and again, and is amazingly clear." -- Stan Brakhage

Public Domain (1972, 14 min., silent)
"In PUBLIC DOMAIN...(Frampton) recapitulates cinema's infancy in a series of direct quotes from such notable primitive works as RECORD OF A SNEEZE (FRED OTT'S SNEEZE) and SANDOW FLEXING HIS MUSCLES, two 1894 Edison kinetoscopic shorts, as well as literal pieces of cinematic juvenilia (child wading at the beach, another throwing a tantrum at home, three women merrily blowing bubble pipes, and the finale, a melodramatic weighing of a newborn attended by an anxious father, doctor, and nurse)--all readily retrievable/quotable fragments from our finite federal version of the 'infinite film,' the paper print collection at the Library of Congress."--Bruce Jenkins
Matrix (1977, 27.5 min., silent)

"This is a work that is central to the Magellan voyage.There are multiple layers of imagery; (slaughterhouse footage, steel mill footage, imagery of cows in a field, hexagonal shapes apparently punched into the film material) which are all presented simultaneously. The superimposition of what are, I assume, variously filtered layers of colour material which creates a glorious flow of shapes" - Scott MacDonald

On Yvonne Rainer:
When Yvonne Rainer made her first feature-length film in 1972, she had already influenced the world of dance and choreography for nearly a decade. From the beginning of her film career she inspired audiences to think about what they saw, interweaving the real and fictional, the personal and political, the concrete and abstract in imaginative, unpredictable ways. Her bold feminist sensibility and often controversial subject matter, leavened with a quirky humor, has made her, as the Village Voice dubbed her in 1986, âThe most influential American avant-garde filmmaker of the past dozen years, with an impact as evident in London or Berlin as in New York.â

Rainer was born in San Francisco in 1934. She trained as a modern dancer in New York from 1957 and began to choreograph her own work in 1960. She was one of the founders of the Judson Dance Theater in 1962, the beginning of a movement that proved to be a vital force in modern dance in the following decades. Between 1962 and 1975 she presented her choreography throughout the United States and Europe, notably on Broadway in 1969, in Scandinavia, London, Germany, and Italy between 1964 and 1972, and at the Festival DâAutomne in Paris in 1972. In 1968 she began to integrate short films into her live performances, and by 1975 she had made a complete transition to filmmaking.

In 1972 she completed a first feature-length film, LIVES OF PERFORMERS. In all she has completed seven features: FILM ABOUT A WOMAN WHO... (1974), KRISTINA TALKING PICTURES (1976), JOURNEYS FROM BERLIN/1971 (1980, co-produced by the British Film Institute and winner of the Special Achievement Award from the Los Angeles Film Criticsâ Association), THE MAN WHO ENVIED WOMEN (1985), PRIVILEGE (1990, winner of the Filmmakersâ Trophy at the Sundance Film Festival, Park City. Utah, 1991, and the Geyer Werke Prize at the International Documentary Film Festival in Munich, 1991), and MURDER and murder (1996).

Erika Vogt has exhibited her film and video work at the Centre Pompidou, Paris, France (2006), The Museum of Modern Art, New York, NY (2006), The Artists Cinema at Frieze Art Fair, London, UK (2006). Works have also been exhibited at The Contemporary Art Center, Cincinnati, Ohio (2006). She will be exhibiting in the Whitney Biennial in 2010.  She lives and works in Los Angeles.  http://www.artslant.com/no/events/show/17684-motor-post-motor-band-disband


Admission for Khastoo Gallery is free. No reservation necessary; seats are available on a first come first serve basis.

For the screening at Khastoo Gallery:
Parking is available in the lot behind the gallery (cross streets Sierra Bonita and Curson) or street parking is available on Sunset Boulevard after 7pm.

Admission for Pacific Design Center and Filmforum screenings: $10 general, $6 students/seniors, free for Filmforum members
Advance ticket purchase available through Brown Paper Tickets, links also found on the Los Angeles Filmforum website, www.lafilmforum.org

For the screenings at the Egyptian Theater:
Parking is now easiest at the Hollywood & Highland complex. Bring your ticket for validation. Parking is $2 for 4 hours with validation. Enter that complex on Highland or Hollywood. The theater is 1.5 blocks east.

For more information on the Art Los Angeles Contemporary at the Pacific Design Center, please visit http://www.artlosangelesfair.com/

Los Angeles Filmforum is the city's longest-running organization screening experimental and avant-garde film and video art, documentaries, and experimental animation.  2010 is our 34th year.
Memberships available, $60 single or $95 dual
Contact us at lafilmforum@yahoo.com.  www.lafilmforum.org

Khastoo Gallery was founded in November of 2008 by Leila Khastoo, a Los Angeles native interested in bringing an international academic perspective to the artistic landscape of the city.  Shows at Khastoo emphasize the critical content of art and art making, integrating current global viewpoints with an art historical approach to programming. www.khastoo.com

This screening series is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission and the Department of Cultural Affairs, City of Los Angeles.  Additional support generously provided by the American Cinematheque.

Discussion

Location

Spielberg Theater at the Egyptian
6712 Hollywood Blvd.
Los Angeles, CA 90028
United States


Categories

Film

Kid Friendly: No
Dog Friendly: No
Non-Smoking: No
Wheelchair Accessible: No

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