Poetry
from, I thought you said it was sound
Contributor
Stephanie GrayPoet-filmmaker STEPHANIE GRAY is the author of five collections of poetry including Shorthand and Electric Language Stars (Portable Press at Yo-Yo Labs, 2015) and A Country Road Going Back in Your Direction (Argos Books, 2015). A current LMCC resident in writing, she had a retrospective of her films at Anthology Film Archives in 2015.
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Site and Sound: The Films of Ha Gil-jong
By Jesse CummingDEC 19-JAN 20 | Film
Ha’s work always embodies a prickly relationship to the state and assumed social conventions. (It’s worth noting Ha’s lifelong commitment to such agitation, including his participation in the anti-government protests of the 1960 April Revolution, before his turn to filmmaking.) If the filmmaker’s oeuvre remains thrilling and unique 40 years later it arguably hinges upon such dissidence, complimented by a style which uses western points of reference—particularly European arthouse ones—in service of a distinctly domestic cinema responding to questions concerning South Korean society, politics, and cultural policy.
Judy Chicago: Los Angeles
By Olivia GauthierOCT 2019 | ArtSeen
What Judy Chicago: Los Angeles truly showcases is how Chicago grappled early on with her place in a male dominated discourse. We see the methods through which she challenged and defied normative conventions, working to define a practice that would push the dialogue of contemporary art forward in the direction of feminist interests.
Sound Explorers: Sound House and This is the Color Described by the Time
By Andi StoverFEB 2018 | Theater
This month, two new exciting productions, Sound House by Stephanie Fleischmann and This is the Color Described by the Time, conceived and directed by Lily Whitsitt, radically reimagine theater making, with symphonic results.
Revolutionary Cinematic Suicide, Godard+Gorin: Five Films, 1968-1971
By David FreskoJUNE 2018 | Film
1968 set Godard on a path upon which radical political and cinematic experimentation were inextricable from one another. What resulted was a series of films that explored different modalities of cinematic politics, celebrated as much for their militant commitment as they were vilified for the tortured aesthetic transformations they wrought upon cinematic norms.
