Search Target

Visiting Artists

Fall 2011 

Cinema Visitors Series

At Binghamton University

LECTURE HALL 6 AT 7:30 (Unless otherwise noted) 

All Shows are free and open to The Public

Series Sponsored by Cinema Department and Harpur College Dean's Speakers Series.

Tuesday October 11, 2011

Nathaniel Dorsky

"It is the direct connection of light and audience that interests me. The screen continually shifts dimensionally from being an image-window, to a floating energy field, to simply light on the wall. In my films, the black space surrounding the screen is as significant as the square itself. Silence allows these articulations, which are both poetic and sculptural at the same time, to be revealed and appreciated." – ND

"Breathtaking," I thought, when I saw the closing sequence of San Francisco filmmaker Nathaniel Dorsky's "Visitation" (2002). It fills the screen with slowly descending skeins of reflected light, shimmering from waves as they wash upon a beach, seemingly shot from a considerable height. But "breath-giving" might say it better, because in his soundless films Dorsky frequently finds liberating visual equivalents for the rhythms of lungs and heart."—Ken Baker San Francisco Chronicle, Dec 7 2006

Program: Sarabande 2008 15 min color, silent Dark and stately is the warm, graceful tenderness of the Sarabande. (N.D.) ?(18 fps)

Compline 2009 | 18.5 minutes | COLOR | SILENT Compline is a night devotion or prayer, the last of the canonical hours, the final act in a cycle. This film is also the last film I will be able to shoot in Kodachrome, a film stock I have shot since I was 10 years old. It is a loving duet with and a fond farewell to this noble emulsion. (ND)

Aubade 2010 | 11.5 minutes | COLOR | SILENT An aubade is a poem or morning song evoking the first rays of the sun at daybreak. Often, it includes the atmosphere of lovers parting. This film is my first venture into shooting in color negative after having spent a lifetime shooting Kodachrome. In some sense, it is a new beginning for me.

Winter 2008 | 21.5 minutes | COLOR | SILENT San Francisco's winter is a season unto itself. Fleeting, rain-soaked, verdant, a brief period of shadows and renewal. (N.D.) ?(18 fps)

Tuesday October 18, 2011

Dani Leventhal

Draft 9 (2003) and other videos.

At once tender and savage, Dani Leventhal's video diaries capture the banal and the horrific to reveal the transcendent beauty and pain of daily life. In the award-winning Draft 9 (2003), Leventhal cuts between skinned animals, salsa dancers, a Holocaust-survivor, and her own romantic liaisons to create, in the words of critic Genevieve Yue, "something that is extraordinarily immediate, both fresh and painful, hard to watch and yet impossible not to watch." Leventhal studied sculpture at the University of Illinois at Chicago, and received an MFA in Film/Video from Bard College. She received the Visual Arts Award from the Astraea Lesbian Foundation for Justice and produced a limited edition book and video, Skim Milk and Soft Wax at the Women's Studio Workshop with the support of the National Endowment for the Arts and the Andy Warhol Foundation.  In 2011, she received the Wexner Center for the Arts Capital R Award. Leventhal was born in Columbus, Ohio in 1972. She lives and works in Brooklyn, NY.

"Dani's videos remind us that the people she encounters are holy or part of a higher world. She reminds us that we are part of that world, in the sense that Helene Cixous says that we cannot keep ourselves from being divine... Dani's focus, framing composition and editing accumulate this transcendent quality in the body... These unrehearsed and unstaged moments seem miraculous. They are records of the impossible merging of circles, disparate moments and lives."--Bryan Saner, Goat Island Performance Group

Tuesday, November 8, 2011

Vincent Grenier

Vincent Grenier teaches cinema at Binghamton University. He is a North American artist born in Quebec City who now resides in the US. As well as being a vital member of the New York avant-garde, he was also a frequent contributor to the San Francisco and Montreal Art scenes of the 1970's and 1980's. He also did pioneering film programming first for Canyon Cinema (later renamed the San Francisco Cinematheque) and then the Collective for Living Cinema in New York City. Grenier made over two dozens films and, in 1990, was one of the first of a wave of experimental filmmakers to move to video. Grenier's films and videos have earned myriad awards and have been shown all over North America, Europe and China at major museums and festivals, including perennial appearances at the New York Film Festival's Views from the Avant-Garde. His work was recently the subject of major retrospectives at Media City in Windsor, Ontario and the Images Film & Video Festival's Canadian Images Spotlight in Toronto. In 2010, he received a Guggenheim Foundation Fellowship.

"My works directly confront the ideas of spatiality and temporality as a continuum and unsettle the notion of a universal human experience," Grenier writes. Steve Anker, (RedCat Theater programmer) says: "over the past four decades [Grenier] has produced one of the most significant bodies of experimental films and videos of his generation. These films and videos move towards fracturing space and time in order to release how the everyday, and the specific, hold within them ineffable, untranslatable, revelations of light, color, form, and composition."

Tonight's program will feature a selection of pieces from his body of work, including recent Burning Bush (2010), which screened in last year's Wavelengths section of the Toronto International Film Festival as well as Travelogue (2010), Back View (2011), Tableaux Vivants (2011) and Armoire (in 4 parts). All of these works have also been shown at Views from the Avant-Garde at the New York Film Festival.

Tuesday November 15, 2011

Ben Russell, TRYPPS 1 - 7

"The American Ben Russell is still relatively unknown in Europe, even if his films have been shown at prestigious international festivals and galleries. Things have started to change, however, and the six short films in his experimental 'TRYPPS' series demonstrate why - and how. Despite their material formality, his early attempts at a soundless and abstract 'cinéma pur' are not devoid of the abstract, political comment that has become his self-conscious signature in the later works. Russell's interest in the ethnographic appear in the third installment's dreamlike documentations of the noise scene in Rhode Island, while his political occupations are released in a politico-psychedelic Rorschach test in the fourth of the 'TRYPPS'. It is, however, his most recent efforts in anthropological meta-documentarism which are promising to bring about his breakthrough. Shot in Dubai and Malobi respectively, parts five and six point to the methodical reworking of the ethics and aesthetics of a classical documentary genre with a burdened history and lots of blanks yet to be explored. The six 'TRYPPS' forms an artistic development with a common philosophical denominator: film is above all a material phenomenon with a potential that is far from being thoroughly explored. And Russell is something as rare as a political formalist, who doesn't shy away from challenging his audience, but who rewards the trust of the attentive spectator with ample generosity." – CPH:DOX 2009

"Using a fabricated Old English word as its guiding principle, this ongoing series of (mostly) 16mm films is conceptually organized around the possible meanings that its title elicits - physical voyages, psychedelic journeys, and a phenomenological experience of the world. Begun in 2005 in a somewhat vain attempt to hold cinema up as a mirror to the live and fully embodied reception of the crazy noise music scene in Providence, Rhode Island, the TRYPPS films quickly expanded their formal and critical language to include the various poles of action painting, avant-garde cinema, portraiture, stand-up comedy, global capitalism, and trance-dance a lá Jean Rouch. While the form of these works varies radically from one to the next, when taken as a whole they can be seen to enunciate what their maker calls "psychedelic ethnography" - a practice whose aim is a knowledge of the Self/self, a movement towards understanding in which the trip is both the means and the end." – Ben Russell

FEATURING: Black and White Trypps Number One (6:30, 16mm, 2005), Black and White Trypps Number Two (9:00, 16mm, 2006), Black and White Trypps Number Three (12:00, 16mm, 2007), Black and White Trypps Number Four (11:00, 16mm, 2008), Trypps #5 (Dubai) (3:00, 16mm, 2008), Trypps #6 (Malobi) (12:00, 16mm, 2009), Trypps #7 (Badlands) (10:00, Super16mm, 2010) TRT 65:00

These artists’ screenings are funded in part by Presentation Funds from the Experimental Television Center, which is supported by the New York State Council on the Arts. Series is co-sponsored by Harpur College Dean’s Speaker Series.
Info: 607-777-4998 or 777-4997

Last Updated: 8/25/16