Art Radio International renegotiated the terms of its lease of the Clocktower Gallery with MoMA recently, consequently serving subleasers The Film-Maker’s Co-op (FMC) with an eviction notice. Founded nearly 50 years ago, FMC is one of the longest-running distributors of experimental and independent film in the world, its offices operating in the same building since 2000. The organization houses thousands of 16mm prints, many of them unique and irreplaceable including those by Stan Brakhage, Paul Sharits, Carolee Schneeman, Tony Conrad, Hollis Frampton, Jennifer Reeves, Jack Smith, Ken Jacobs, Peggy Ahwesh, Joyce Wieland, Michael Snow, Maya Deren, Marie Menken, Jonas Mekas, Shirley Clarke, Martha Colburn, Leslie Thornton, and literally hundreds of other artists, as well as an invaluable paper archive of letters, program notes and other materials. According to sources moving these fragile prints will take thousands of dollars the Co-op simply can’t afford.
Art Fag City passes along word that a significant archive devoted to art and experimental film is in danger of becoming homeless. The FMC is petitioning Department of Cultural Affairs Commissioner Kate D. Levin in the hopes she’ll help them either stay in the Clocktower or find a new space (and presumably the resources for the move). More details at the link.
Mike Everleth passes on a philosophical Jonas Mekas quote on the purpose of critics/criticism: “If the critic has any function at all, it is to look for something good and beautiful around him, something that can help man to grow from inside; to try to bring it to the attention of others, explain it, interpret it — and not to clutch at some little pieces of dirt, or mistakes, or imperfections.”
David Edelstein jumps into the Remembering Manny Farber fray, with a personal anecdote. “Once I made the mistake of saying I thought a film was ‘about’ something. ‘About…’ he said, softly, and glanced at Patricia. ‘How can we say what a film is ‘about’? There are so many things…’”
“It is a travesty that Mekas’ stark vision of elegiac melancholia has not been rewarded with the coveted Golden Popcorn statue,” Boston University film studies professor Ray Carney said. “His [1997] film Letter From Nowhere—Laiskas Is Niekur No. 1 should have easily walked away with Best On-Screen Duo, or Best Kiss, or at least Best Ass.”
Tee hee and everything, but there actually isn’t a huge gulf between Mekas’ most recent major project and the kind of thing you might see on post-Tila Tequila MTV.
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
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Mike Everleth passes on a philosophical Jonas Mekas quote on the purpose of critics/criticism: “If the critic has any function at all, it is to look for something good and beautiful around him, something that can help man to grow from inside; to try to bring it to the attention of others, explain it, interpret it — and not to clutch at some little pieces of dirt, or mistakes, or imperfections.”
