New Year New Work 2019 at Film-Makers’ Cooperative, NYC Friday, Jan 25, 7PM

video still, Joe, 2018

New Year New Work 2019
4 programs of experimental and avant-garde films
Friday Jan 25 – Sunday Jan 27
 
Please join us for a weekend of experimental moving images at FMC’s 6th annual NEW YEAR NEW WORK festival! We are celebrating recent additions by new and longstanding Coop members to our growing collection of experimental and avant-garde films. Over the course of the weekend, there will be 4 programs showcasing both digital and 16mm works. The festival will conclude with a special screening of Stan VanDerBeek’s newly restored computer animation series: POEMFIELD. Please make sure to RSVP for the programs you wish to attend. All are welcome!
Featuring works by Ken Jacobs, Diana Barrie, Janie Geiser, Jack Waters, Josh Lewis, Cecilia Dougherty, Cynthia Madansky, Marie Losier, and more!!!
 
Further screenings of new work by other artists/filmmakers on Saturday the 26th and Sunday the 27th.

Artists will be present after the screenings for discussion.

Curated by: Emily Apter, Ladya Cheryl, and Devon Narine-Singh.
 
WHERE AND WHEN:
475 Park Avenue South, 6th floor, NYC 10016
Suggested Donation: $10
RSVP: filmmakerscoop@gmail.com to reserve your spot!

This Just In: KUNSTHALLE BERN / KUNSTHALLE BAR PROGRAMM

CIRCLES

Community in den Filmen von
Peggy Ahwesh, Cecilia Dougherty und Hannah Quinlan & Rosie Hastings
DONNERSTAG, 23. AUGUST 2018, 19 Uhr

installation view, Kunsthalle, Bern
Circles, an installation at Kunsthalle Bern, Hannah Quinlan & Rosie Hastings

Here’s the description of the complete show, if you’re in Bern mañana:

In the late seventies, the filmmakers Lis Rhodes, Jo Davis, Felicity Sparrow and Annabel Nicolson founded the feminist film and video distribution network Circles in London. Circles was created in response to the need to have a platform for films by women. Previously, its founders had all been members of the London-based Film-Maker’s Co-op, and Circles was also a response to the lack of representation of women filmmakers in that co-op.
The screening at the Kunsthalle is part of a series of events and screenings focusing on filmmakers since the 1970s. The films screened are by Peggy Ahwesh, Cecilia Dougherty as well as by Hannah Quinlan and Rosie Hastings. They look in different ways at queer communities, playing with stereotypes, exploring the autonomy of community spaces and looking for individual forms of expressions within the communities.

With an introduction by the organizers Ann-Kathrin Eickhoff (Author & Art Historian, Zurich) & Geraldine Tedder (Assistant Curator Kunsthalle Bern)

Image: Hannah Quinlan & Rosie Hastings, UK Gay Bar Directory, 2016, Still from Film

Mit einer Einleitung von den Organisatorinnen Ann-Kathrin Eickhoff (Autorin & Kunstwissenschaftlerin, Zürich) & Geraldine Tedder (Kuratorische Assistenz Kunsthalle Bern)

I’m showing two videos, Eileen, from 2000, and Joe, from 2018 in Circles.
 


Desire as Politics at the Valade Family Gallery in Detroit, Feb-Mar 2018

Exhibition of LGBT Media in Detroit

Gay Tape: Butch and Femme (1985) screened recently at the Valade Family Gallery in Detroit. Many thanks to curators Scott Northrup and Jonathan Rajewsky!

Desire as Politics, gallery installation, Valade Family Gallery, Detroit Feb-Mar 2018
Desire as Politics, gallery installation, Valade Family Gallery, Detroit Feb-Mar 2018

Work by:
Sadie Benning
Cecilia Dougherty
Matt Lambert
Zachary Marsack
Benny Nemerofsky Ramsay
Rashaad Newsome
Ira Sachs
Akram Zaatari

Desire as Politics presents a selection of LGBTQ perspectives in contemporary film and video from 1985 to 2017. The exhibition is not meant to summarize this arbitrary span of time, but rather to look at works exploring a range of identities, social constraints and prejudices unique to LGBTQ positions, including representation, fantasy, fear, love and the blurring of binaries, positions that we feel are vital in our current climate.

Scott Northrup & Jonathan Rajewski

video still, gallery installation, Gay Tape: Butch and Femme by Cecilia Dougherty, 1985
Larger than life, a mural-sized installation for my video Gay Tape: Butch and Femme (1985)

From the exhibition catalogue:

Dougherty’s first video, made while she was studying at Berkely:
“I made it just around the time when the term ‘gay’ was for everyone and then ‘lesbian and gay’ become the new term, until we progressed to ‘LGBTQ’.

“Gay Tape is a documentary about some of the regulars at Ollie’s Bar, a lesbian dive on Telegraph Avenue in Oakland. The 1970s sartorial statement of flannel shirts, 501s, and Frye boots was passé and at odds with the new eighties aesthetic—tons of makeup, big hair, and complicated lingerie. Along with the new aesthetic came the reemergence of good old fashioned butch-femme role-playing. While the femmes pranced around like Stevie Nicks, their butch girlfriends reverted to an earlier role model, acting out fifties and sixties-style tough girl with brilliant aplomb. I asked some of the women from Ollie’s to talk on camera about role-playing.

“The camera instantly gave me too much control over content, so I tried to balance it by providing a platform for the women to speak on the butch-femme issue without overtly directing them. I relinquished authorship in favor of revelation and avoided coming to conclusions; the speakers were experts as well as subjects and could say whatever occurred to them. They spoke extemporaneously about their lovers, the details of their sexual identities, and their fantasies. My girlfriend at the time was one of the subjects. As her story unfolded I realized from my privileged position behind the lens that the lover she was describing in detail was not me. So much for the power of the gaze!

At a recent screening, the audience was interested in the difference between butch and transgendered, maybe not understanding that there were trans people in the community in 1985. I think there’s a distinction and as always, the people making the distinction are self-identified.”