Tag Archives: A Month of Single Frames

Between Sight and Touch: Selected Shorts by Barbara Hammer / e-flux Screening Room


Between Sight and Touch: Selected Shorts by Barbara Hammer
e-flux Screening Room
September 19, 2022
Screening on September 22, 2022
https://www.e-flux.com/live/491616/between-sight-and-touch-selected-shorts-nbsp-by-barbara-hammer/

Introduction by Lynne Sachs

“Welcome to ‘Between Sight and Touch: Selected Shorts by Barbara Hammer’

Which is Part of EFlux Screening Room’s

Revisiting Feminist Moving-Image Art, a monthly series of screenings aimed at revisiting the origins, contexts, developments, and impact of feminist video art and experimental cinema around the world from the 1960s through the present.

It’s really an honor for me to have the chance to introduce this exciting and thought provoking selection of films by artist and dear friend Barbara Hammer.

Tonight you’ll be watching.

“Psychosynthesis”, “Women I Love”, “Sync Touch”, “No No Nooky T.V.”, “Save Sex”, and “Lesbian Whale”, accompanied by a screening of “A Month of Single Frames”

Barbara Hammer and I met in 1987 in San Francisco, a mecca for alternative, underground, experimental filmmaking.  She taught me the fine, solitary craft of optical printing during a weekend workshop, thus beginning a friendship that eventually followed us across the country to New York City.

Tonight you will see her 1975 “Psychosynthesis” and her 1981 “Sync Touch” both of which will give you a sense of her masterful ability to use this extremely technical analog machine which was absolutely essential to her practice as a filmmaker who wanted to both celebrate and deconstruct – a word of the day – the culture she saw swirling around her.  In “Psychosynthesis”, Barbara goes completely auto-biographical, but in oh so psychodelic way, using her body and her archive of family photos to investigate who she was and who she wanted to be. You will see her unbelievably skillful use of mattes and superimpositions here.  Pre computers, this kind of image manipulation took incredible skill!  Made around the same time…yes Barbara was extremely prolific, her film “Women I Love” is an openly Lesbian, openly compassionate embrace of the women in her life she holds dear.  How extraordinarily brave Barbara was in the mid 1970s!

 “Sync Touch”, a favorite of mine for a long time, is an exhilarating celebration of the haptic – skin to skin – in all its manifestations and a precise, ingenious investigation of feminist theory – which Barbara was clearly exploring in profound ways at the time.

Barbara first decided to call herself a moving image artist at a time when the separation between the practice of making films and the practice of making video were very, very different.  More than a painter choosing oil over acrylic, a moving image artist who sided with celluloid was forced to decide how she wanted to embrace or reject a long legacy of mostly male produced media that were circulating on screens or on tv.  For the most part, Barbara opted for the film side of things, but in 1987 her 12min “No Nooky TV” arrived in the scene. I dare say, the videomaking would never be the same again.  This brazen, text based send up of all things “broadcast” took the body language of experimental film coming out of the 60s and 70s and transformed into a TV-minded send up of advertising, news, and mainstream graphic design – transposing the culturally tame words of the media mainstream with words like Boob, Cunt, Do It. Literal becomes Cliteral and away we go. Plus Barbara has figured out how to make and disseminate all of the wildest 1980s character-generator signage to make her feminist discourse look like something you might have seen lit up in Times Square.  In her 1993 “Save Sex”, we see Barbara’s AIDS activism in full force. This Hammer-esque public service announcement type of piece that celebrates SAFE SEX while while also advocating for “saving” sex at the same time.

You will see Barbara’s face and body in most of the films curator Lukas Brasiskis is presenting tonight. Barbara always had an uncanny ability to understand herself from the inside out and from the outside in.  Her films were visceral and personal. In both subtle and overt way, they were also intentionally political calling attention to the sexual inequities she witnessed everywhere.

Now I will tell you a bit about “A Month of Single Frames”, the film I made with and for Barbara.

Some background. Between 2015 to 2018, Barbara agreed to be part of the making of my short, experimental documentary Carolee, Barbara and Gunvor (2018) a three-part film that includes Carolee Schneemann and Gunvor Nelson.  All three were renowned artists and beloved friends, just a generation older than I, who had embraced the moving image throughout their lives.  I shot this film with Barbara near her home and studio in the West Village.

In 2018, Barbara asked me to come to her home to discuss something she needed to say in person. I immediately faced a complicated set of emotions. This was around the time she gave the talk “The Art of Dying or (Palliative Art Making in the Age of Anxiety)” at the Whitney Museum. I knew that this tête-à-tête would involve some kind of good-bye, but I had no idea that she had decided to share a part of her personal archive, and thus a part of her being on this earth, with me. Filmmaking, in the tradition that Barbara and I have espoused for most of our lives as experimental makers, involves a deeply focused solitary period of introspection. A complementary aspect of our practice, however, calls for playful, engaged exchanges with all of the people in the film — both in front and behind the camera.  Fundamental to Barbara’s sense of herself as an artist was her commitment to deep and lasting intellectual engagement with her fellow artists in the field, particularly other women who were also trying to find an aesthetic language that could speak about the issues that meant so much to us.  By asking me to work with her, alongside her but not “for” her, Barbara, a feminist filmmaker, was actually creating an entirely new vision of the artist’s legacy.

While writing the text for my own film, the words I placed on the screen came to me in a dream. By the time I finished my film, Barbara had died. I quickly realized that this kind of oneiric encounter could become a posthumous continuation of the dialogue I had started with Barbara.

I hope you enjoy this program, a part of a magnificent series of films and videos made by women over the years. If you are interested in reading more about my work with Barbara, you will find an essay I wrote in Camera Obscura: a journal on Feminism, Culture, and Media published last year.

I also hope that you will join me for EFlux’s presentation of my work on Oct. 27, 2022 when I will  be able to join you in conversation here in Brooklyn.



Between Sight and Touch: Selected Shorts by Barbara Hammer
With a video introduction and special screening by Lynne Sachs

Admission starts at $5

Date
September 22, 2022, 7pm

172 Classon Avenue
Brooklyn, NY 11205
USA

A lesbian/feminist aesthetic proposing the connection between touch and sight to be the basis for a “new cinema.”
—Barbara Hammer

Join us at e-flux Screening Room on Thursday, September 22 at 7pm for Between Sight and Touch, a screening of selected works by Barbara Hammer, featuring PsychosynthesisWomen I LoveSync TouchNo No Nooky T.V.Save Sex, and Lesbian Whale, accompanied by a screening of A Month of Single Frames by experimental documentary filmmaker and poet Lynne Sachs, who will also be introducing the evening via video.

Barbara Hammer (1939-2019), a pioneer of queer experimental filmmaking in the US, devoted most of her five-decade artistic career to the deconstruction of normative understandings of gender and sexuality. She was attempting to build a new cinema via material explorations of onscreen representations of the female body and analysis of the functioning of the film medium itself. This program features Hammer’s lesser-known short films and video works in which the artist questions the strict boundaries between the representation of gender and sexuality and the exploration of one’s body—between sight and touch.

Between Sight and Touch is part of Revisiting Feminist Moving-Image Art, a monthly series of screenings at e-flux Screening Room aimed at revisiting the origins, contexts, developments, and impact of feminist video art and experimental cinema around the world from the 1960s through the present. 



Films

Barbara Hammer, Psychosynthesis, 1975, 6 minutes
“The sub-personalities of me, as baby, athlete, witch, and artist are synthesized in this film of superimpositions, intensities, and color layers coming together through the powers of film.” (Barbara Hammer)

Barbara Hammer, Women I Love,  1976, 23 minutes
A series of cameo portraits of the filmmaker’s friends and lovers intercut with a playful celebration of fruits and vegetables in nature. Culminating footage evokes a tantric painting of sexuality sustained.

Barbara Hammer, Sync Touch, 1981, 10 minutes
“…The film explores the tactile child nature within the adult woman filmmaker, the connection between sexuality and filmmaking, and the scientific analysis of the sense of touch.” (Barbara Hammer)

Barbara Hammer, No No Nooky T.V., 1987, 12 minutes
Using a 16mm Bolex and Amiga computer, Hammer creates a witty and stunning film about how women view their sexuality versus the way male images of women and sex are perceived. The impact of technology on sexuality, emotion, and the sensual self is explored through computer language juxtaposed with the everyday colloquial language of sex. 

Barbara Hammer, Save Sex, 1993, 1 minutes
A minute-long, partly animated color video that is a humorous plea for good sex, safely prophylactic though it may be.

Barbara Hammer, Lesbian Whale, 2015, 6 minutes
A video animation of Hammer’s early notebook drawings set to a soundtrack of commentary by the artist’s friends and peers.        

Lynne Sachs, A Month of Single Frames, 2019, 14 minutes
In 1998, lesbian experimental filmmaker Barbara Hammer took part in a one-month residency at a Cape Cod dune shack without running water or electricity, where she shot film, recorded sound, and kept a journal. In 2018 she gave all of this material to Lynne Sachs and invited her to make a film with it.


Accessibility     
–Two flights of stairs lead up to the building’s front entrance at 172 Classon Avenue.      
–For elevator access, please RSVP to program@e-flux.com. The building has a freight elevator which leads into the e-flux office space. Entrance to the elevator is nearest to 180 Classon Ave (a garage door). We have a ramp for the steps within the space.     
–e-flux has an ADA-compliant bathroom. There are no steps between the Screening Room and this bathroom.

​​For more information, contact program@e-flux.com.

Category

FilmSexuality & EroticismFeminism

Subject

Experimental FilmVideo ArtQueer Art & Theory

Barbara Hammer was born in 1939 in Hollywood, California. She lived and worked in New York until her death in 2019. With a career spanning fifty years, Barbara Hammer is recognized as a pioneer of queer cinema. Working primarily in film and video, Hammer created a groundbreaking body of experimental work that illuminates lesbian histories, lives, and representations. Hammer has stated: “My work makes these invisible bodies and histories visible. As a lesbian artist, I found little existing representation, so I put lesbian life on this blank screen, leaving a cultural record for future generations.”

Affairs of the Art: This is How I See You / dotdotdot – Open Air Kurzfilmfestival

Affairs of the Art: This is How I See You
dotdotdot – Open Air Kursfilmfestival
August 8, 2022
https://dotdotdot.at/programm/this-is-how-i-see-you/

SEKUNDENARBEITEN
Christiana Perschon, Österreich 2021, 14 min

*WOMEN (VALIE)
Karin Fisslthaler, Österreich 2021, 7:30 min

DAS BIN NICHT ICH, DAS IST EIN BILD VON MIR
Christiana Perschon, Österreich 2021, 9:30 min

BEATRICE GIBSON TO BARBARA LODEN, NINA MENKES AND BETTE GORDON
Beatrice Gibson, Großbritannien 2022, 4 min

DIANA TOUCEDO TO DANIÈLE HUILLET
Diana Toucedo, Spanien 2022, 8 min

*WOMEN (NICO)
Karin Fisslthaler, Österreich 2021, 2:30 min

A MONTH OF SINGLE FRAMES
Lynne Sachs, USA 2019, 14 min


About the Affairs of the Art program

This Maria Lassing-like express lesson on the history of art takes us directly into the heart of this year’s focus program, searching for propitious places from which creativity emerges. After all, creativity is essential for dealing with the daily struggle between coping with everyday life, inspiration crises, striving for recognition, self-marketing and self-optimization pressure. How could all that be reconciled with an artist’s own identity? Which subversive methods can help to skirt the laws of the art world that are so hostile to art? Four film nights – with a special focus on the fight for gender equality that artists have waged for future generations – afford resistive considerations and creative strategies for self-empowerment.

A4 – Space for Contemporary Culture / Minizoom Lynne Sachs: Short film curated selection

Minizoom Lynne Sachs: Short film curated selection
A4 – Space for Contemporary Culture
Bratislava, Slovenia
curated by Barbora Nemčeková
June 22, 2022
https://a4.sk/en/events/2022/06/22/minizoom-lynne-sachs-short-film-curated-selection/

Director: Lynne Sachs, ENG + ENG subtitles
Lynne Sachs is an American filmmaker and poet who focuses on documentary and short experimental films, film essays and live performances. Her work often pushes on the boundaries of genre, relying on a feminist approach and an introspective form to explore the complex relationship between personal observation and universal historical experience. She is interested in the implicit connection between body, camera and the materiality of film. She has produced a body of more than 40 films, several installations and hybrid performances. Our selection will feature the short film A Month of Single Frames (2020), which Sachs has made for legendary American experimental filmmaker Barbara Hammer and which earned the main prize at last year’s International Short Film Festival Oberhausen, as well as her piece Maya at 24, screened for the ‘Fascinations’ section at Ji.hlava IDFF 2021.

Films screened
Following the Object to its Logical Beginning
The House of Science: A Museum of False Facts
Carolee, Barbara and Gunvor
Month of Single Frames
Maya at 24
Window Work


About us
A4 – Space for Contemporary Culture is an independent cultural centre focusing on contemporary forms of professional theatre, dance, music, film, visual art and new media. Established in 2004 as a result of a joint effort between several civic cultural organisations, it became one of the first cultural centres in Slovakia founded by a bottom-up initiative. Since its beginning, A4 has been a vivid and active location on the Central European cultural scene, an open field for creative experimentation as well as a home for fresh and unique experiences. Besides presenting innovative contemporary art, it actively supports the new creative activities and education. A4 engages in public debate on important social issues, and attempts to foster conditions for non-commercial cultural activities, culturing of public space, urban development, etc.

Digital506 Announcement of Sachs Retrospective at Costa Rica Festival Internacional de Cine

Digital506- Costa Rica
May 31, 2022
https://digital506.com/preambulo-inicia-junio-con-las-proyecciones-de-la-retrospectiva-de-lynne-sachs/

ENGLISH TRANSLATION (FROM GOOGLE)

Preamble kicks off June with screenings of the Lynne Sachs Retrospective

Preamble kicks off June with the presentation of the Lynne Sachs Retrospective as a preview of the American filmmaker’s visit to the Costa Rica International Film Festival to be held June 9-18.

To kick off the billboard on Thursday, June 2, starting at 7:00 pm, an exhibition of Film About a Father Who (United States, 2020) .

From 1984 to 2019, Lynne Sachs filmed her father, a lively and innovative businessman. This documentary is the filmmaker’s attempt to understand the networks that connect a girl with her father and a woman with her brothers. The show is for ages 12 and up.

On Friday June 3 starting at 7:00 pm screening of short films. A selection of short films by Lynne Sachs that shows her aesthetic and thematic searches and the experimentation that characterizes a good part of her creations.

The program includes the works: DRAWN AND QUARTERED, STILL LIFE WITH WOMAN AND FOUR OBJECTS, FOLLOWING THE OBJECT TO ITS LOGICAL BEGINNING, THE HOUSE OF SCIENCE: A MUSEUM OF FALSE FACTS, PHOTOGRAPH OF WIND, SAME STREAM TWICE, 2012, CUADRO BY CUADRO , CAROLEE, BARBARA AND GUNVOR, A MONTH OF SINGLE FRAMES, E•PIS•TO•LAR•Y: LETTER TO JEAN VIGO and MAYA AT 24.

For Saturday, June 4, at 7:00 pm presentation of the documentary Tip of my Tongue . To celebrate her 50th birthday, filmmaker Lynne Sachs brings together other people, men and women, who have lived the exact same years but hail from places like Iran, Cuba, Australia, or the Lower East Side of Manhattan, but not Memphis, Tennessee, where Sachs grew up.

The documentary takes place with all these people discussing the most remarkable, strange and revealing moments of their lives, in a brazen and self-reflective examination of the way events outside our own domestic universe impact who we are.

SPANISH

Costa Rica Festival Internacional de Cine que se realizará del 9 al 18 de junio.

Para dar inicio a la cartelera el jueves 2 de junio a partir de las 7:00 p.m exhibición de Film About a Father Who (Estados Unidos, 2020).

Desde 1984 hasta 2019, Lynne Sachs filmó a su padre, un animado e innovador hombre de negocios. Este documental es el intento de la cineasta por entender las redes que conectan a una niña con su padre y a una mujer con sus hermanos. La función es para mayores de 12 años.

El viernes 3 de junio a partir de las 7:00 p.m. proyección de cortometrajes. Una selección de cortos de Lynne Sachs que muestra sus búsquedas estéticas, temáticas y la experimentación que caracteriza buena parte de sus creaciones.

La programación incluye las obras: DRAWN AND QUARTERED, STILL LIFE WITH WOMAN AND FOUR OBJECTS, FOLLOWING THE OBJECT TO ITS LOGICAL BEGINNING, THE HOUSE OF SCIENCE: A MUSEUM OF FALSE FACTS, PHOTOGRAPH OF WIND, SAME STREAM TWICE, 2012, CUADRO POR CUADRO, CAROLEE, BARBARA AND GUNVOR, A MONTH OF SINGLE FRAMES, E•PIS•TO•LAR•Y: LETTER TO JEAN VIGO y MAYA AT 24.

Para el sábado 4 de junio en función de 7:00 p.m. presentación del documental Tip of my Tongue . Para celebrar su cumpleaños 50, la cineasta Lynne Sachs reúne a otras personas, hombres y mujeres, que han vivido exactamente los mismos años pero que provienen de lugares como Irán, Cuba, Australia o el Lower East Side de Manhattan, pero no de Memphis, Tennessee, lugar donde creció Sachs.

El documental transcurre con todas estas personas discutiendo sobre los momentos más destacados, extraños y reveladores de sus vidas, en un examen descarado y autorreflexivo de la forma en que los eventos fuera de nuestro propio universo doméstico impactan quiénes somos.

AM Costa Rica Announces CRIFF Kick-Off with Lynne Sachs Retrospective

Costa Rica International Film Festival kicks off this week
AM Costa Rica
Published on Wednesday, June 8, 2022
By the A.M. Costa Rica staff
https://www.amcostarica.com/Costa%20Rica%20International%20Film%20Festival%20kicks%20off%20this%20week%20060822.html

– The retrospective category has been dedicated to the American filmmaker and poet Lynne Sachs –

Displaying independent films from 37 countries and in 15 different languages, the tenth edition of the Costa Rica International Film Festival begins on Thursday.

According to the Ministry of Culture, the festival will take place in two parts. First from June 9 to 18 and then from June 29 to Aug. 26.

The categories of the festival include retrospective films, panorama, young people and pioneers of cinema, among others.

The retrospective category has been dedicated to the American filmmaker and poet Lynne Sachs, who has made 37 films, some of which have won awards or have been included in retrospectives at major festivals.

Sachs’s 2019 film, “A Month of Single Frames,” made with and for Barbara Hammer, won the Grand Prize at the International Short Film Festival Oberhausen in 2020.

In 2021, both the Edison Film Festival and the Prismatic Ground Film Festival at the Maysles Documentary Center awarded Sachs for her body of work in the experimental and documentary fields.

Last year the Festival displayed “Film About a Father Who” (2020), directed by Sachs, which is defined as “a poignant and moving film,” by Fernando Chaves-Espinach, director of the festival. “(Sachs) mixes fiction, documentary, experimental film, performance among others,” he said.

“Sachs demonstrates the energy of contemporary cinema and the multiple forms that this art takes, from an intimate and reflective perspective that dialogues with certain forms of filmmaking in our context,” Chaves said.

The festival will be held in several movie theaters in San José, as well as in different communities of the country in rural areas so that more people can enjoy the event, the ministry said.

In San José, the films will be shown at Cine Magaly, the Film Center of the Ministry of Culture and the French Alliance of the France Embassy in Costa Rica.

In rural areas, the festival will be presented at the CCM movie theaters, located in San Ramón and San Carlos in Alajuela Province, in Jacó Beach in Puntarenas Province.

Also, CitiCinemas movie theaters in rural areas will present the festival in Grecia in Alajuela Province, Limón City in Limón Province and Paso Canoas in Puntarenas Province.

In addition, the festival will be presented at Multiplexes in Liberia, Guanacaste Province.

The jury is made up of directors, producers and people of the film industry from Costa Rica and other places such as Northern Ireland, the United Kingdom, Colombia, the Basque Country, Germany and Hungary.

The festival will award three mail films for their formal quality and content. In addition, the winning films will receive about $11,000 in prizes in the categories such as Best National Short; Best Costa Rican Feature Film, Best Central American and Caribbean Feature Film, among others.

People interested in participating in the festival can buy tickets, priced between $3 and $4, on the Festival weband Magaly Theater web.

Provincetown Magazine – “Barbara Hammer: Through the Lens of Lynne Sachs”


Barbara Hammer: Through the Lens of Lynne Sachs
Provincetown Magazine
June 8, 2022
by Rebecca M. Alvin
https://provincetownmagazine.com/index.php/2022/06/08/barbara-hammer-through-the-lens-of-lynne-sachs/

When filmmaker Barbara Hammer died from complications of ovarian cancer in 2019, the film world lost one of the most innovative filmmakers of its avant garde. In a career that spanned more than 50 years, Hammer had created an outstanding body of work, ranging from scores of experimental shorts, including Multiple Orgasms (1976), which was chosen to be preserved by the National Film Preservation Foundation with funding provided by the George Lucas Family Foundation, to the extraordinary Nitrate Kisses, a documentary about the hidden lives and legacies of lesbians that went on to win numerous accolades and is considered a landmark masterpiece of queer cinema, a first of its kind. Her work is at once provocative, playful, sensual, and formally inventive.

Although 10 years younger than Hammer, experimental documentary filmmaker Lynne Sachs hit her professional stride in the same circles with her in San Francisco in the 1980s, and the two developed a unique friendship that spanned several decades. Sachs, herself an innovator in creative nonfiction filmmaking, took a workshop taught by Hammer about optical printing, a process for creating special effects through specialized processing and techniques in celluloid film. Likewise, Hammer studied sound recording with Sachs. Both conceptually and practically, they were working in an alternative film universe compared with the mainstream, male-dominated one. Each of them operated like a one-woman band: filming, recording sound, editing, performing, directing, etc. each on her own, making deeply personal films that addressed larger societal issues from individual perspectives.

In that environment at that particular time, Sachs says, “The word documentary was not assumed to be a sort of template for an educational film or a diatribe on a political thesis, but it was a place to explore the subjectivity of reality. And that’s what drew us into working with issues that matter to us. Whether we were looking into issues around race or age, at the time we were doing it from our subjective place. We were both making films that refracted and played with the reality we were observing.”

As each woman’s career in cinema expanded, they maintained a creative connection, with talk of collaboration going back many years. But as Hammer was preparing to die, having lived with ovarian cancer for several years, she asked four filmmakers to complete films she had in the works. One of those filmmakers was Sachs, whom Hammer asked to complete a film from footage, sound, and journal entries created here in Provincetown while staying in one of the famed dune shacks in 1998. Sachs agreed and the resulting 14-minute film, A Month of Single Frames (2019), will be shown at AMP Gallery as part of a month-long celebration of Hammer’s life, work, and legacy, along with Sachs’ 2018 documentary about Hammer and two other filmmakers (Carolee Schneeman and Gunvor Nelson) called Carolee, Barbara & Gunvor, and one by Brydie O’Connor called Love, Barbara.

A Month of Single Frames is an extraordinarily beautiful meditation that combines sound and image from the 1998 dune shack stay with present-day recordings of Hammer reading from her journal and poetic on-screen text Sachs wrote. The process is transparent, with Sachs and Hammer discussing what to record as they record it, bringing us back to that idea of documentary as a construction and not mere “reality.” Closeups of a dragonfly, beach grass swaying in the breeze, stop-motion animation with snail shells are enveloped in the sounds of nighttime insect choirs, waves, and creaky floorboards. Hammer’s sense of wonder, what she describes as being “overwhelmed by the simplicity” comes through bright and clear through colored gel flag shadows in the sand with her narration describing the cinematic experimentation that continued throughout her life. Sachs weaves these elements together to create a portrait of an incredible film artist who, like many before her, found inspiration here in the ecology of the dunes.

While Hammer’s body of work is centered on female sexuality quite specifically, and Sachs often weaves in elements of her family history, (sometimes focusing entirely on it, such as in the film Film About a Father Who… about the complexity of her father and his problematic relationships), the two filmmakers share a feminist approach and an interest in film as language; they worked with its formal qualities, experimenting with techniques and devices unique to cinema, and they both imbue their films with the personal and specific, often in a documentary context. In an age where documentaries have become extremely popular but also extremely narrow in their formal conventions, there is often a misunderstanding of just how diverse documentary as a form is. Both fiction and documentary films convey truth, opinion, and fabrication by virtue of being creative works, and there is a long history of hybridity that distinguishes documentary from journalism. This doesn’t only include experimental artists like Sachs and Hammer, but also more mainstream documentarians like Werner Herzog and Agnes Varda whose works never attempt to hide the personal lens through which the subject matter is seen.

“It’s a vessel for thinking about how reality works and doesn’t work sometimes… It’s separate from journalists. We actually not only deal with reality, we also ask how that can become a truth, or it becomes a subjective hypothesis. It always comes with a subjectivity that’s, I think, really important—that who sees the reality is as important as what is seen. And so when we say, ‘through the lens,’ it’s, you know, through the lens of a woman or through the lens of a gay person or a Black person, and it shapes your experience of that reality,” explains Sachs.

But also, she says the process is about discovery as you go. “To engage with reality is also the possibility for play and a kind of dance with what you observe and how you then share it with your audience. I think Barbara taught us that. She loved to play with her materials. That was like her touch, and that’s where she found surprises and found out more about herself. I think in documentary you also have a chance for introspection which to me is really important.”

Barbara Hammer’s films, drawings, and other works are on view at AMP Gallery, 432 Commercial St., Provincetown, along with the films by Lynne Sachs and Brydie O’Connor through June 22. For more information call 646.298.9258 or visit artmarketprovincetown.com.


This Week’s Films at AMP Gallery
Films by Barbara Hammer

June 9 Place Mattes: 1987, 7:36 min, color, sound, 16 mm film on video.

June 11 Contribution to Light: 1968, 3:42 min, color, silent, Super 8mm film on HD video.

June 12 Multiple Orgasm: 1976, 5:32 min, color, silent, 16 mm film on HD video.

June 13 Dream Age: 1979, 10:58 min, color, sound, 16 mm film on HD video.

June 14 Pond and Waterfall: 1982, 15 min., color, silent, 16 mm film on video.

Film by Brydie O’Connor

June 8 & June 15 – 16  Love, Barbara (documentary; 15 min.)

Films by Lynne Sachs

June 10 & June 17 – 18  A Month of Single Frames (Made with and for Barbara Hammer; 14 min. color sound 2019)

NOTE: Films continue through late June. Visit artmarketprovincetown.com/happenings for a complete schedule.

Delfino: “Costa Rica International Film Festival pays tribute to filmmaker Lynne Sachs”

Costa Rica International Film Festival pays tribute to filmmaker Lynne Sachs
June 1, 2022
By Valeria Navas Castillo
https://delfino.cr/2022/06/costa-rica-festival-internacional-de-cine-rinde-homenaje-a-la-cineasta-lynne-sachs

ENGLISH TRANSLATION FROM GOOGLE

The American filmmaker and poet Lynne Sachs will be the dedicatee of the tenth edition of the Costa Rica International Film Festival (CRFIC10), which will take place from June 9 to 18.

Sachs will visit the country during the festival, as he will be honored in the Retrospective section with a sample of 14 films of his authorship , characterized by a poetic, intimate, experimental and reflective tone with very personal themes.

The Sachs retrospective is made up of the films  Epistolary: Letter to Jean Vigo  (2021),   Maya at 24  (2021);  Film About a Father Who  (2020) ,  Carolee, Barbara & Gunvor  (2018),  Tip of my Tongue  (2017),  Same Stream Twice  (2012),  With the Wind in Her Hair  (2010),  Frame by Frame  (2009),  Photograph of The Wind  (2001),  The House of Silence: A Museum of False Facts  (1991),  Drawn and Quartered  (1987),  Following the Object to It’s Logical Beginning  (1987), and  Still Life with Woman and Four Objects (1986).

According to the artistic director of the festival, Fernando Chaves Espinach , “We are interested in Lynne Sachs’s visit because with her films, made with few resources, she tells us about a very particular form of expression that seems relevant to our context. We are proud to present different ways of making cinema and, above all, to share it in a workshop with filmmakers and visual artists who can learn from his methodology and his approaches to cinematographic art”.

In addition to the presentation of his works, the festival has scheduled that Sachs give a face-to-face tutorial to a group of people linked to Costa Rican cinematography.

The main venue for the 10CRFIC will be the Cine Magaly and it will have three more screening rooms in the capital of San José and five outside the Greater Metropolitan Area: San Ramón, San Carlos, Jacó, Grecia, Limón and Paso Canoas.


SPANISH

Costa Rica Festival Internacional de Cine rinde homenaje a la cineasta Lynne Sachs

La cineasta y poeta estadounidense Lynne Sachs será la dedicada de la décima edición del Costa Rica Festival Internacional de Cine (CRFIC10), que se llevará a cabo del 9 al 18 de junio.

Sachs visitará el país durante el festival, pues se le rendirá homenaje en la sección Retrospectiva con una muestra de 14 películas de su autoría, caracterizadas por un tono poético, intimista, experimental y reflexivo con temáticas muy personales.

La retrospectiva a Sachs está constituida por los filmes Epistolary: Letter to Jean Vigo (2021),  Maya at 24 (2021);  Film About a Father Who (2020)Carolee, Barbara & Gunvor (2018), Tip of my Tongue (2017), Same Stream Twice (2012), Con el viento en el pelo (2010), Cuadro por cuadro (2009), Photograph of The Wind (2001), The House of Silence: A Museum of False Facts (1991), Drawn and Quartered (1987), Following the Object to It’s Logical Beginning (1987) y Still Life with Woman and Four Objects (1986).

De acuerdo con el director artístico del festival, Fernando Chaves Espinach,“Nos interesa la visita de Lynne Sachs porque con su cine, hecho con pocos recursos, nos habla de una forma de expresión muy particular que nos parece relevante para nuestro contexto. Nos enorgullece presentar distintas maneras de hacer cine y, sobre todo, compartirlo en un taller con cineastas y artistas visuales que pueden aprender de su metodología y sus acercamientos al arte cinematográfico”.

Además de la presentación de sus obras, el festival ha programado que Sachs imparta una tutoría presencial a un grupo de personas vinculadas con la cinematografía costarricense.

La sede principal del 10CRFIC será el Cine Magaly y contará con tres salas de proyección más en la capital de San José y cinco fuera de la Gran Área Metropolitana: San Ramón, San Carlos, Jacó, Grecia, Limón y Paso Canoas.

Costa Rica International Film Festival Hosts Lynne Sachs Retrospective

June 2022

https://www.costaricacinefest.go.cr/articulo/costa-rica-festival-internacional-cine-inicia-9-junio-alcance-nacional

https://www.costaricacinefest.go.cr/categorias/retrospectiva

  • The tenth edition of the CRFIC is celebrated from June 9 to 18, in its first stage, and from June 29 to August 26, in a second itinerant stage, in communities outside the GAM.
  • The public will be able to enjoy 87 films in competition and screening, from 37 countries and in 15 different languages.
  • 69% of the films in programming are directed or co-directed by women.
  • With the presence in the country of the American filmmaker Lynne Sachs, the CRFIC10 pays tribute to her career.

RETROSPECTIVE DEDICATED TO LYNNE SACHS

The CRFIC Retrospective section is dedicated to the renowned American filmmaker and poet Lynne Sachs (1961), who has 37 films to her credit, including short films and feature films, some of which have won awards or have been included in retrospectives at major festivals. .

Regarding the Retrospective, the artistic director of CRFIC10, Fernando Chaves, mentioned that last year the Festival showed Film About a Father Who , a poignant and moving film.

“In this tenth edition of the CRFIC we have the honor of having its director, Lynne Sachs, as a guest of our retrospective,”  continued Chaves, “whom we are excited to present for her mixture of fiction, documentary, experimental cinema, performance and other media. ” 

According to Chaves, with this solid filmography, Sachs demonstrates the energy of contemporary cinema and the multiple forms that this art takes, from an intimate and reflective perspective that dialogues with certain ways of making cinema in our context. 

To close with a flourish, Sachs will hold a workshop where he will experiment with national artists.

Program includes:
• Film About a Father Who
• Con viento en el pelo
• Tip of My Tongue
• A Month of Single Frames
• Carolee, Barbara & Gunvor
• Epistolary: Letter to Jean Vigo
• Drawn & Quartered
• Following the Object to Its Logical Beginning
• Maya at 24
• Same Stream Twice
• Photograph of Wind
• Still Life with Woman and Four Objects
• House of Science: a museum of false facts
• Cuadro por cuadro


https://www.costaricacinefest.go.cr/persona/lynne-sachs


ABOUT & ADDITIONAL PROGRAMS

San José, Costa Rica, May 20, 2022- With a program of outstanding independent films from 37 countries and in 15 different languages, the tenth edition of the Costa Rica International Film Festival (CRFIC10) is held from May 9 to June 18, in a first stage, and from June 29 to August 26 in a second itinerant stage.

The CRFIC10 will be held in person in downtown San José, as well as in different communities in the country outside the Greater Metropolitan Area (GAM), with the aim of reaching larger audiences that can enjoy the alternative audiovisual experience proposed by the festival program of the Costa Rican Center for Film Production (Cinema Center). 

The artistic director of the 10CRFIC, Fernando Chaves Espinach, stated that “the Festival brings us the opportunity to confront ourselves with the most challenging, innovative and inspiring cinema that is being made today, with different languages and approaches, from very different countries. We have chosen winning films at renowned festivals such as Sundance, San Sebastián and Locarno, films nominated for Oscars and winners at other competitions, but we have also rescued titles that otherwise would not reach our theaters, true discoveries that show us the effervescence of contemporary cinema and its ability to shake us” .

The venues of the Festival will be located in the Magaly Cinema (the Main Hall and La Salita), the Gómez Miralles Hall of the Cinema Center, the French Alliance (in Barrio Amón) and the CCM San Ramón, CCM San Carlos, CCM Jacó rooms. , CitiCinemas Grecia, CitiCinemas Limón, Paso Canoas and Multiplexes Liberia.

In the itinerant stage, it will take place in the communities of Matambuguito, Shiroles, Boruca, Térraba, Sarapiquí and Grano de Oro.


OUTSTANDING CINEMA

The 10CRFIC program is made up of a careful selection of 87 international, regional and national films directed and co-directed, 69% by women, with varied content for audiences of all ages.

“We are proud to present a diverse programming in gender and geographical origin, which shows that cinema has never been monolithic in its language or in its origin; this programming allows us to articulate a defense of cinema as a diverse, complex art whose permanence as a vehicle of artistic expression requires spaces for debate and enjoyment such as festivals” , commented Chaves.

OPENING WITH UTAMA FEATURE FILM
For the inauguration of the 10CRFIC, the curatorial team chose the feature film Utama (2022), by Bolivian director Alejandro Loayza Grisi. 

The feature film is a co-production between Bolivia, Uruguay and France and is set in the arid Bolivian highlands, where an elderly Quechua couple have lived the same daily life for years.

In the middle of a drought, Virginio (80 years old) gets sick and aware of his imminent death, he lives his last days hiding the illness from Sisa (81 years old).

Loayza Grisi (1985) began her career in still photography and later entered the world of cinema through film photography. 

As director of photography, he worked on the documentary series Planeta Bolivia, and on multiple short films such as Aicha, Dochera and Polvo. 

Attracted by the stories that can be told through moving images, he ventured into writing and directing his first feature film titled Utama. 

The competitive categories of the programming for this tenth edition are the following: Central American and Caribbean Feature Film Competition, with films from Costa Rica, Guatemala, Panama and the Dominican Republic; and the National Short Film Competition, with eleven Costa Rican productions.

The 10CRFIC will award a statuette to three films that stand out for their formal quality and content, as well as 8 million colones (approximately US$11K at the exchange rate) in total in incentives and support to the filmmakers selected as winners of the Competitive categories: a 1 million colones prize for Best National Short Film, a 3 million colones prize for Best Costa Rican Feature Film, and a 3 million colones prize for Best Central American and Caribbean Feature Film, as well as two 500,000 colones prizes for special mention Jury Mention in Feature Films and Jury Mention in Short Films, respectively. 

The other sections of the program are: Panorama, Radar, Approach, Last batch, Young people, Memory, Pioneers of cinema and Retrospective.

COMPETITION JURIES
The jury for the Central American and Caribbean Feature Film Competition is made up of Peter Taylor (Northern Ireland), programmer and curator, and currently director of the Berwick Film & Media Arts Festival; Christina Newland (United Kingdom), journalist for Vice, Sight & Sound, BBC, Mubi and Empire, on topics such as cinema, pop culture and boxing; and Pablo Hernández Hernández, (Costa Rica), professor at the University of Costa Rica with a doctorate in Philosophy from the Universität Potsdam and specialist in Aesthetics, philosophy of art and culture.

The jury of the National Short Film Competition is Alexandra Latishev (Costa Rica), a filmmaker who graduated from the New Film and Television School of the Véritas University; Juan Soto (Colombia), editor, director and archivist, who currently works at the Filmoteca de Catalunya as Film Preservation Project Manager; and Vanesa Fernández (Basque Country), director of the Zinebi Festival and coordinator of the Degree in Audiovisual Communication at the University of the Basque Country / Euskal Herriko Unibertsitatea (UPV/EHU). 

For their part, the CRFIC Industry juries are Gudula Meinzolt (Germany), with training and experience in cultural management and cinema in areas such as research, promotion, organization of festivals, distribution, exhibition and co-production; Karolina Hernández (Costa Rica), founder and general producer of Dos Sentidos SA and coordinator of the Audiovisual Production area of the Office of Communication and Marketing of the Tecnológico de Costa Rica and professor at the University of Costa Rica; and Zsuzsi Bankuti (Hungary), who since 2020 directs the Cutting Edge Talent Camp, since 2022 is the interim director of Open Doors, and also works as an international strategy consultant for the Doha Film Institute, the Torino Film Lab and Cinemart. 

PRESSKIT: bit.ly/CRFIC10presskit 
ITENERARY:  bit.ly/CRFIC10grid
FULL SCHEDULE:  bit.ly/CRFIC10films

Films by Barbara Hammer, Brydie O’Connor, and Lynne Sachs at Art Market Provincetown (May 27- June 22)

Art Market Provincetown
AMP: The Happenings | 2022
May 27 through June 22
http://www.artmarketprovincetown.com/happenings/

Films by Barbara Hammer, Brydie O’Connor, and Lynne Sachs

Screenings at AMP

Schedule: Dates are listed below with films. Each film will show individually and looped throughout the day – come anytime.

Films by Barbara Hammer

May 27 & June 11 | Contribution to Light: 1968, 3:42 min, color, silent, Super 8mm film on HD video. “Contribution to Light is all about my excitement and thrill at seeing reflected and refracted light. I shot the edges of pieces of found broken glass that streamed light rays broken into myriad colors. I saw, years later, a shared aesthetic in Stan Brakhage’s study of a crystal ashtray.” — Barbara Hammer

May 28 & June 12 | Multiple Orgasm: 1976, 5:32 min, color, silent, 16 mm film on HD video.
This film was preserved by Electronic Arts Intermix and the Academy Film Archive through the National Film Preservation Foundation’s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation.

May 29 & June 13 | Dream Age: 1979, 10:58 min, color, sound, 16 mm film on HD video. A 70-year-old lesbian feminist, seeing little change in the society after years of work, sends out her 40-year-old self on a journey taking her around the perimeters of the San Francisco Bay.

“During her quest she encounters aspects of her personality: the guardian angel who has all that she needs; the seductress who leads her astray; the wise woman of secrets who she meets underground. The film culminates in a visual crescendo ascending a tower as the heroine’s hair is painted white by her counterparts. A dream vision film.” — Barbara Hammer

May 30 & June 14 | Pond and Waterfall: 1982, 15 min., color, silent, 16 mm film on video. An underwater exploration of verdant pond growth pulling the viewer into actually being the creature actively exploring.

“Hiking in Point Reyes National Seashore I came upon a vernal pool with an intriguing and mysterious underwater world. I optically printed swimming underwater to slow the movement to a meditative rhythm. I hoped that the appreciation of the clarity and beauty of water would lead us to better protect it.” — Barbara Hammer

“The camera eye is like an amphibian that sees on two levels in its journey from underwater in a safe pond down to a violent, turbulent ocean. Early in the silent film shot north of San Francisco we see an homage to Monet’s Nymphiades in the faded raspberry color of the step-printed underwater lilies. The painterly effects of the printing make the water seem viscous. Pushing through clouds of fish eggs, fronds and algae, the camera establishes a sense of intimacy and connection in a natural ecosystem. But this amiable underwaterscape acquires ominous overtones as the camera/amphibian surfaces. Splashes strike the lens, and the rock of the ocean surf is destabilizing and disorienting. One of the most provocative foreshadowing ambiguities occurs when the half-submerged camera tracks the tip and slosh of the horizon, echoing the mood change from underwater confidence to vulnerability to natural forces, a passage from balance to defiance.” — Kathleen Hulser, “Frames of Passage: Nine Recent Films of Barbara Hammer,” Centre Georges Pompidou

June 1 & June 9 | Place Mattes: 1987, 7:36 min, color, sound, 16 mm film on video. As the figure and ground are presented as two planar relationships, flattened and made two-dimensional through optical printing, so the artist (figure) is unable to touch the natural environment (ground) in Puget Sound, Yosemite and the Yucatan, yet finally comes to rest in the interior space of a restaurant.

Sound Score: Terry Setter

June 2 | No No Nooky T.V.: 1987, 16mm, color and B&W, sound, 12 min. Using a 16mm Bolex and Amiga computer, Hammer creates a witty and stunning film about how women view their sexuality versus the way male images of women and sex are perceived. The impact of technology on sexuality and emotion and the sensual self is explored through computer language juxtaposed with everyday colloquial language of sex.

No No Nooky T.V. confronts the feminist controversy around sexuality with electronic language, pixels and interface. Even the monitor is eroticized in this film/video hybrid that points fun at romance, sexuality, and love in our post-industrial age.

June 3 | Two Bad Daughters: by Barbara Hammer and Paula Levine. 1988, 12:21 min, B&W and color, sound. “…The ‘Bad Daughters’ reject obedience to the Father in favor of the impish anarchy of self-possession.” — Steve Seid, Berkeley Art Museum and Pacific Film Archive

Two Bad Daughters, 1988, is a whirlwind tour of paternal institutions: fatherhood, Lacanian psychoanalysis and bondage. The tape turns on the dominators, using a heavy complement of graphics and manipulated images to collapse control. The stratified surface of Two Bad Daughters is playful, an energetic barrage of text, acrimony and artifice. It is play that proves most subversive. The ‘Bad Daughters’ reject obedience to the Father in favor of the impish anarchy of self-possession.” — Steve Seid, Berkeley Art Museum and Pacific Film Archive

June 4 | Still Point: 1989, 9:14 min, color, sound, 16 mm film on HD video. Still Point whirls around a point of centeredness as four screens of home and homelessness, travel and weather, architecture and sports signify the constant movement and haste of late twentieth century life.

“At the still point of the turning world, that’s where the dance is,” wrote T.S. Eliot in “Burnt Norton,” the first poem of Four Quartets. Hammer seeks a point of quiet from which all else transiently moves.

June 5 & June 20 | Our Grief in Not a Cry for War: 2001, 3:36 min, color, sound. Hammer documents a demonstration and, in so doing, makes her own contribution to the national post–September 11 dialogue.

On October 11, 2001, in Times Square, New York City, an ad hoc group of artists named Our Grief Is Not a Cry for War silently demonstrated for peace at a time when the nation was clamoring for war and sacrificing its own civil liberties.

June 6 & June 19 | Lesbian Whale: 2015, 6:35 min, color, sound, HD video. Lesbian Whale is a video animation of Hammer’s early notebook drawings set to a sound track of commentary by the artist’s friends and peers.

“The script is composed of fragments and stray thoughts – ‘as a feminist I’m very skeptical’; ‘not necessarily physical time but emotional time’ – and it’s not quite clear whether it’s spontaneous, planned, composed by the speakers, or read from Hammer’s notebooks. If Hammer’s artistic influence is well documented, this slippage between voices, authors, and images suggests an ethos of collaboration and conviviality that may prove to be her greatest legacy.” — Andrew Kachel, Artforum

Director/Drawer/Sound Designer: Barbara Hammer. After Effects: JiYe Kim. Post Production: Valery Estabrook.

Voice Participants: A.K. Burns, Heather Cassils, Myrel Chernick, Janlori Goldman, Holly Hughes, Daniel Alexander Jones, Reena Katz, Bradford Nordeen, Liz Rosenfeld, Julia Steinmatz.

____

Film by Brydie O’Connor

June 8 & June 15-16 | Love, Barbara (documentary; 15 min.)

Love, Barbara is a short documentary about the iconic legacy of pioneering lesbian experimental filmmaker, Barbara Hammer, through the lens and love of her partner of over 30 years, Florrie Burke.

Directed by Brydie O’Connor; Featuring Florrie Burke and Barbara Hammer; Executive Produced by Anne Alexander, Jessica Chermayeff, Ana Veselic, and Brian Doyle; Produced by Brydie O’Connor and Myriam Schroeter; Cinematography by Maria Rusche; Edited by Matt Hixon; Original Score by Bryn Bliska; Color Grade by Sean Dunckley at Light Iron Post; Sound Mix & Design by Jeremy Siegel at Heard City; Supported by : The Future of Film is Female, Women Make Movies, New York State Council on the Arts, and New York Foundation for the Arts

____

Films by Lynne Sachs

June 10 & June 17-18 | A Month of Single Frames (Made with and for Barbara Hammer; 14 min. color sound 2019)

“In the last few months of filmmaker Barbara Hammer’s life, she asked me to come to her home to discuss something she needed to say in person. I immediately faced a complicated set of emotions. I knew that this tête-à-tête would involve some kind of good-bye, but I had no idea that she had decided to share a part of her personal archive, and thus a part of her being on this earth, with me. As I sat at her side, Barbara vividly described to me her 1998 artist residency in Provincetown, Cape Cod, Massachusetts. For one month, she lived and made her art in a shack without running water or electricity. While there, she shot 16mm film with her Beaulieu camera, made field recordings, and kept a journal. Barbara’s only instructions to me were very simple: “Do absolutely whatever you want with this material.” While writing the text for my own film, the words I placed on the screen came to me in a dream. I quickly realized that this kind of oneiric encounter could become a posthumous continuation of the dialogue I had started with Barbara. Since I would never again be able to speak to her about her life or the ontological nature of cinema or the textures of a sand dune, I would converse with her through A Month of Single Frames. Through my writing, I tried to address Barbara’s celebration of solitude and cinematic embodiment. Ultimately, my text on the screen over Barbara’s images functions as a search for a cinematic experience that brings us all together in multiple spaces at once. It is also an embrace of an ambiguous second person you who might be Barbara herself or might be anyone watching the film.”

June 21 | Carolee, Barbara & Gunvor (Super 8mm and 16mm film transferred to digital, 9 minutes, 2018)

From 2015 to 2017, Lynne Sachs visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives. From Carolee’s 18th Century house in the woods of Upstate New York to Barbara’s West Village studio to Gunvor’s childhood village in Sweden, Lynne shoots film with each woman in the place where she finds grounding and spark.

_______________

About the Filmmakers

Barbara Hammer | Selected Films

Barbara Hammer (1939-2019) is a feminist filmmaker and pioneer of queer cinema, who made over 90 moving image works as well as performances, installations, photographs, collages, and drawings.

During her lifetime she created two awards for lesbian and queer filmmakers, and had retrospectives at the Museum of Modern Art, the Tate Modern, the Jeu de Paume in Paris, and the Hammer Museum in Los Angeles. The Leslie-Lohman Museum of Gay and Lesbian Art in New York mounted a retrospective of her film, photography, drawings, and sculpture, which New York Times art critic Holland Cotter named one of the best exhibitions of that year.

Hammer’s work is held in several permanent collections, including the Museum of Modern Art in New York, the Centre Pompidou in Paris, the Whitney Museum of American Art, and the Australian Center for the Moving Image in Melbourne. Her complete catalogue of 16 and 8mm film, as well as Super 8, is in the collection of the Academy of Motion Picture Arts and Sciences Film Archive in Los Angeles, and her papers are available for review at Yale University’s Beinecke Rare Book and Manuscript Library in New Haven.

______

Brydie O’ Connor | Documentary film: Love, Barbara

Brydie O’Conner is a Kansas-bred, New York based filmmaker.

Her award-winning work spans the documentary and narrative fields with a focus on women-driven and queer stories. Brydie has directed short documentaries LOVE, BARBARA (2021) which premiered at Academy Award-qualifying Santa Barbara International Film Festival and FRIENDS OF DOROTHY (2020), which premiered in New York at DOC NYC. In 2021, Brydie was selected for The Future of Film is Female Award, and she received a NYSCA grant sponsored by Women Make Movies in addition to a Brooklyn Arts Council grant. In 2019-2020, she workshopped her forthcoming film in the Female Filmmakers Berlin Directing Lab. Much of her work is inspired by archival histories.

Brydie’s producing credits include THE LESBIAN BAR PROJECT with Executive Producer Lea DeLaria, WOMONTOWN for PBS Kansas City, and she has archival produced Season 7 of THE CIRCUS on Showtime in addition to various projects on Left/Right TV’s roster. She is a graduate of The George Washington University.

______

Lynne Sachs | Films: A Month of Single Frames & Carolee, Barbara & Gunvor

Lynne Sachs is an experimental filmmaker and poet living in Brooklyn. She has produced over 40 films as well as numerous live performances, installations and web projects. In 2019, Tender Buttons Press published Lynne’s first book Year by Year Poems. Working from a feminist perspective, she investigates connections between the body, the camera, and the materiality of film itself. She uses letters, archives, diaries, poetry and music, to take us on a critical journey through reality and memory. Over the years, Lynne has worked closely with fellow filmmakers Craig Baldwin, Bruce Conner, Barbara Hammer, Chris Marker, Carolee Schneemann, and Trinh T. Min-ha. Between 1994 and 2006, she produced five essay films that took her to Vietnam, Bosnia, Israel/ Palestine, Italy and Germany — sites affected by international war — where she looked at the space between a community’s collective memory and her own subjective perceptions. Lynne’s films have screened at MoMA, Tate Modern, Image Forum Tokyo, Wexner Center for the Arts, and festivals such as New York Film Festival, Oberhausen Int’l Short FF, Punto de Vista, Sundance, Vancouver IFF, Viennale and Doclisboa. Retrospectives of her work have been presented at the Museum of Moving Image, Sheffield Doc/Fest, BAFICI, Cork Film Festival, Havana Film Festival.

Provincetown Celebrates Barbara Hammer with Exhibition

Opening reception: Friday, May 27, 6-9 PM | Barbara Hammer, Brydie O’Connor and Lynne Sach’s film schedule will be posted during the exhibition in “Happenings”.
Art Market Provincetown
http://www.artmarketprovincetown.com/art/20220527/

Barbara Hammer | Selected Films, Photographs, Drawings & Collages, along with Films by Brydie O’ Connor & Lynne Sachs

Many thanks to Florrie Burke and Louky Keijsers Koning for their support and collaboration on this exhibtion of Barbara Hammer’s works.

All works are Courtesy of the Estate of Barbara Hammer and Company gallery, New York.

Barbara Hammer often said that she had three great loves- art, nature and me. Her time in the dune shack was thrilling for her and she would be gratified that her work has come full circle to land here at AMP in Provincetown. The natural beauty of the Cape has inspired so many-Hammer among them. She loved its’ winds, sand and waves. It is fitting that the waters off Provincetown are her final resting place as she swims with the whales. — Florrie Burke

Barbara Hammer (1939-2019), known for her groundbreaking films that celebrated female sexuality began filming in the 1970s, the decade she called “that glorious time of feminist ideals and lesbian bed-hopping.” It was also the time, after a yearlong trip around the world on a motor scooter, that she decided to be an artist. She enrolled in a painting course taught by abstract expressionist William Morehouse, who saw such movement in Hammer’s paintings that he encouraged her to experiment with film. It was the start of her new life: as filmmaker, single woman, and lesbian—a word she’d never heard until the age of 30.

“When I made love with a woman for the first time my entire worldview shifted,” Hammer said. “In addition to the sensual pleasures, my social network completely changed; I was swept up with the energies and dreams of a feminist revolution.” Hammer made 29 films in the 1970s, many of which reflected her exploration of sex and identity, like Multiple Orgasm, 1976 and Dream Age from 1979.

Hammer’s artistic output wasn’t limited to film only, she took her sketchbooks and photo camera everywhere she went, which resulted in intimate drawing as well as playful and performative photographs, like the BH Gestallt series, which will be on view among a selection of drawings.

Throughout the 1980s and 1990s, the time of Reagan, AIDS, and heightened LGBT activism, Hammer’s films blended feminist politics, lesbian erotica, and social comment. No No Nooky TV (1987), one of the films on display confronts the feminist controversy around sexuality with electronic language, pixels and interface.

In the 2000s Barbara Hammer’s output slowed down, as she focused on feature films. However, in the last 13 years of her life she published an autobiography, Hammer! Making Movies Out of Sex and Life and created 7 new films as well as a digital rendering of a selection of her sketchbook drawings, titled Lesbian Whale (2015).

Hammer’s work is held in several permanent collections, including the Museum of Modern Art in New York, the Centre Pompidou in Paris, the Whitney Museum of American Art, and the Australian Center for the Moving Image in Melbourne. Her complete catalogue of 16 and 8mm film, as well as Super 8, is in the collection of the Academy of Motion Picture Arts and Sciences Film Archive in Los Angeles, and her papers are available for review at Yale University’s Beinecke Rare Book and Manuscript Library in New Haven.

During her lifetime she created two awards for lesbian and queer filmmakers, and had retrospectives at the Museum of Modern Art, the Tate Modern, the Jeu de Paume in Paris, and the Hammer Museum in Los Angeles. The Leslie-Lohman Museum of Gay and Lesbian Art in New York mounted a retrospective of her film, photography, drawings, and sculpture, which New York Times art critic Holland Cotter named one of the best exhibitions of that year.

(The above text is based on a text written by Andrew Durbin and Susan Champlin)

______

Brydie O’ Connor | Documentary film: Love, Barbara

Love, Barbara is short (15 min.) documentary about the iconic legacy of pioneering lesbian experimental filmmaker, Barbara Hammer, through the lens and love of her partner of over 30 years, Florrie Burke.

Brydie O’Conner is a Kansas-bred, New York based filmmaker.

Her award-winning work spans the documentary and narrative fields with a focus on women-driven and queer stories. Brydie has directed short documentaries LOVE, BARBARA (2021) which premiered at Academy Award-qualifying Santa Barbara International Film Festival and FRIENDS OF DOROTHY (2020), which premiered in New York at DOC NYC. In 2021, Brydie was selected for The Future of Film is Female Award, and she received a NYSCA grant sponsored by Women Make Movies in addition to a Brooklyn Arts Council grant. In 2019-2020, she workshopped her forthcoming film in the Female Filmmakers Berlin Directing Lab. Much of her work is inspired by archival histories.

Brydie’s producing credits include THE LESBIAN BAR PROJECT with Executive Producer Lea DeLaria, WOMONTOWN for PBS Kansas City, and she has archival produced Season 7 of THE CIRCUS on Showtime in addition to various projects on Left/Right TV’s roster. She is a graduate of The George Washington University.

______

Lynne Sachs | Films: A Month of Single Frames & Carolee, Barbara & Gunvor

A Month of Single Frames (Made with and for Barbara Hammer; 14 min. color sound 2019): “In the last few months of filmmaker Barbara Hammer’s life, she asked me to come to her home to discuss something she needed to say in person. I immediately faced a complicated set of emotions. I knew that this tête-à-tête would involve some kind of good-bye, but I had no idea that she had decided to share a part of her personal archive, and thus a part of her being on this earth, with me. As I sat at her side, Barbara vividly described to me her 1998 artist residency in Provincetown, Cape Cod, Massachusetts. For one month, she lived and made her art in a shack without running water or electricity. While there, she shot 16mm film with her Beaulieu camera, made field recordings, and kept a journal. Barbara’s only instructions to me were very simple: “Do absolutely whatever you want with this material.” While writing the text for my own film, the words I placed on the screen came to me in a dream. I quickly realized that this kind of oneiric encounter could become a posthumous continuation of the dialogue I had started with Barbara. Since I would never again be able to speak to her about her life or the ontological nature of cinema or the textures of a sand dune, I would converse with her through A Month of Single Frames. Through my writing, I tried to address Barbara’s celebration of solitude and cinematic embodiment. Ultimately, my text on the screen over Barbara’s images functions as a search for a cinematic experience that brings us all together in multiple spaces at once. It is also an embrace of an ambiguous second person you who might be Barbara herself or might be anyone watching the film.”

Carolee, Barbara & Gunvor (Super 8mm and 16mm film transferred to digital, 9 minutes, 2018): From 2015 to 2017, Lynne Sachs visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives. From Carolee’s 18th Century house in the woods of Upstate New York to Barbara’s West Village studio to Gunvor’s childhood village in Sweden, Lynne shoots film with each woman in the place where she finds grounding and spark.

Lynne Sachs is an experimental filmmaker and poet living in Brooklyn. She has produced over 40 films as well as numerous live performances, installations and web projects. In 2019, Tender Buttons Press published Lynne’s first book Year by Year Poems. Working from a feminist perspective, she investigates connections between the body, the camera, and the materiality of film itself. She uses letters, archives, diaries, poetry and music, to take us on a critical journey through reality and memory. Over the years, Lynne has worked closely with fellow filmmakers Craig Baldwin, Bruce Conner, Barbara Hammer, Chris Marker, Carolee Schneemann, and Trinh T. Min-ha. Between 1994 and 2006, she produced five essay films that took her to Vietnam, Bosnia, Israel/ Palestine, Italy and Germany — sites affected by international war — where she looked at the space between a community’s collective memory and her own subjective perceptions. Lynne’s films have screened at MoMA, Tate Modern, Image Forum Tokyo, Wexner Center for the Arts, and festivals such as New York Film Festival, Oberhausen Int’l Short FF, Punto de Vista, Sundance, Vancouver IFF, Viennale and Doclisboa. Retrospectives of her work have been presented at the Museum of Moving Image, Sheffield Doc/Fest, BAFICI, Cork Film Festival, Havana Film Festival.


AMP is a live contemporary gallery space dedicated to exhibiting multi-disciplined work by visual, conceptual, performance artists, filmmakers and writers. Exhibitions & Happenings are primarily cutting-edge, and often process-based.

2022 features Martin R. Anderson, Shez Arvedon, Midge Battelle, Susan Bernstein, Mx Justin Vivian Bond, Terry Boutelle, Linda Leslie Brown, Bobby Busnach, Karen Cappotto, Jamie Casertano, Barbara E. Cohen, Liz Collins, Anne Corrsin, Jeanne-Marie Crede, Jay Critchley, Katrina del Mar, Phyllis Ewen, Lola Flash, Kathi Robinson Frank, Barbara Hadden, Barbara Hammer, Michelle Handelman, Heather Kapplow, Jackie Lipton, Shari Kadison, Zehra Khan, David Macke, Jade McGleughlin, Zammy Migdal, Bobby Miller, Pasquale Natale, Alice O’Malley, Pat Place, Mark Rosenthal, Marian Roth, Nancy Rubens, Jicky Schnee, Lori Swartz, Christopher Tanner, Gail Thacker, Judith Trepp, Suara Welitoff, Forrest Williams, Rick Wrigley & others.

JP Art Market, AMP’s independent sister gallery created by artist Patti Hudson has long been an integral contributor to the Boston arts community showing work by emerging and established, local and international artists such as Kristen Dodge, Leslie Hall, Lisa King, Roger Miller, and Patti Smith.

AMP Gallery, 432 Commercial Street, Provincetown MA 02657 | Mail: PO Box 807

Debbie Nadolney, Gallery Director, Curator

info@artmarketprovincetown.com | 646.298.9258

Open May – October, and always by appointment.