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Tricky Poses and Taxing Conditions: Performance and Media
Spielberg Theater at the Egyptian
Los Angeles, CA
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Tricky Poses and Taxing Conditions: Performance and Media
Los Angeles Filmforum presents
Tricky Poses and Taxing Conditions: Performance and Media

Much early video work captured performance events in real time, utilizing this capability of video and its distribution.  Some works went further, to analyze the nature of performance for media; replicating performances from past performances; and confronting the challenging space created by bodies.  Less well known are films that also made these investigations.  All films that have people in them in some way involve performance; these selections raise questions about the nature and purpose of performance, and also playfully look at how the camera, filmmaker, and projectionist also perform their roles.

In person: Sam Erenberg, Susan Mogul, Richard Newton, Allan Sekula (schedules permitting)

Screening (Subject to change):

Performance Under Working Conditions (Allan Sekula, 1973, video, b/w, 20min.)
Direction: Allan Sekula; Camera: Lennart Bourin
Performance: Gregg Arreguin, Allan Sekula, David Scholar
Originally produced as a companion piece to a photo novel about working in a pizza restaurant, this early video performance is rarely shown, even though its title was lifted for a 2003 retrospective of Sekula's work at the Generali Foundation in Vienna.
The structure is that of live television, an empty studio with two cameras and a switcher, no editing after the fact.
Two cooks try to reproduce the gestures and banter of their work minus the ingredients and utensils of the kitchen. This is labor performed as madcap talky pantomine, without capital. There's a line here that goes back to the anarcho-syndicalism of Laurel and Hardy.  

Pulling Mouth (Bruce Nauman, 1969, 16mm, b/w, silent, 8min.)

Ma Bell (Paul McCarthy, 1971, video, b/w, 7min.)

Frozen & Buried Alive (Cynthia Maughan, 1974-75, 1:30 min, b&w, sound)

Trajectory (Sam Erenberg, 1977, color, super 8 transfer to HD, 4:19)  

Projection Instructions (Morgan Fisher, 1976, 16mm, b/w, 4min.)

Big Tip, Back Up, Shout Out (Susan Mogul, 1976, b&w, sound, video, 10:20)  
First public screening since 1976!
"Her extroversion is so extreme that her story leaps from the vacuum around her, over the camera and off the screen entirely.I know of no way to reduce the fantastic density of Mogul's chatter into a few lines of a review and still retain her hilarity -  Artforum, December 1976 on Big Tip

Nun and Deviant (Nancy Angelo, Candace Compton Pappas, 1976, b/w, 20:28)

A Glancing Blow (Richard Newton, 1979, super 8mm transferred to 35mm, color, sound, 3:10)
Direction: Richard Newton; Cameras: Charles C Hill, Stephen Seermayer; Music: Mona Lia Ventress, Nick Dodet
A Glancing Blow offers a new form of energy. Using sharp glancing blows, it demonstrates how we are now able to effect an energy transference from one American gas guzzler to another.

Cheap Imitations 1: Melies - India Rubber Head (Grahame Weinbren & Roberta Friedman, 1980, 16mm, b/w, 5:30)

I'm Too Sad To Tell You (Bas Jan Ader, 1971, 16mm, b/w, silent, 3.5min.)
Alternative Projections: Experimental Film in Los Angeles, 1945-1980 will feature over 24 shows between now and May 2012. Alternative Projections is Filmforum's exploration of the community of filmmakers, artists, curators and programmers who contributed to the creation and presentation of experimental film and video in Southern California in the postwar era.  Film series curated by Adam Hyman and Mark Toscano, with additional contributions by Rani Singh, Jerri Allyn, David James, Christine Panushka, Terry Cannon, Ben Caldwell, Stephanie Sapienza, Amy Halpern, and more.

Alternative Projections: Experimental Film in Los Angeles, 1945-1980 is part of Pacific Standard Time: Art in L.A. 1945-1980. This unprecedented collaboration, initiated by the Getty, brings together more than sixty cultural institutions from across Southern California for six months beginning October 2011 to tell the story of the birth of the L.A. art scene.  Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.

Primary funding for Alternative Projections was provided by the Getty Foundation, with additional support from the Andy Warhol Foundation for the Visual Arts.  This screening series is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; the Department of Cultural Affairs, City of Los Angeles; and the Andy Warhol Foundation for the Visual Arts. Special support provided by the Academy of Motion Picture Arts and Sciences and Metabolic Studio.   Additional support generously provided by American Cinematheque.

Note that the Egyptian no longer validates for the Hollywood & Highland parking, although that may still be your best bet for parking.  You'll have to get validation in the Hollywood & Highland complex though.  There is also street parking, some $5 lots, and the Metro Red Line to Hollywood & Highland.


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


Arts > Performance
Film > Movies

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


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