Hi FameWorks members: If you're in LA please come to the program described below,* Considering Marjorie: Intimate Family Portrayals, *this Saturday, December 10, in Pasadena. Best, Steve Anker Closing Reception and Film Screening at LAND Considering Marjorie Keller
* Los Angeles Nomadic Division and Los Angeles Filmforum present * * INTIMATE OBSERVER: HOME-MOVIE FAMILY PORTRAYALS * * BY MARJORIE KELLER * * At the Gamble House and Neighborhood Unitarian Church, Pasadena * *ON THE VERGE OF AN IMAGE:* *CONSIDERING MARJORIE KELLER* *CLOSING RECEPTION & FILM SCREENING* *Saturday, December 10, 2016* 4-6pm: Exhibition Open House 4-7pm: Closing Reception 7-8:30pm: Film Screening * http://nomadicdivision.org/exhibition/on-the-verge-of-an-image-considering-marjorie--keller/ <http://nomadicdivision.org/exhibition/on-the-verge-of-an-image-considering-marjorie--keller/> When: Saturday December 10, 2016, 4:00-7:00 pm * * - Cocktail Reception on the Gamble House terrace with an Open House from 4:00-6:00 pm **7:00-8:30 pm* * - Screening at the Neighborhood Church Sanctuary Where: The Gamble House4 Westmoreland Place, Pasadena CA 91103 The Neighborhood Church301 Orange Grove Blvd, Pasadena, CA 9110 (They are next door to each other) Tickets: Free * Please clink on this link to RSVP: https://www.eventbrite.com/e/on-the-verge-of-an-image-consid ering-marjorie-keller-closing-event-registration-29808018586 <http://r20.rs6.net/tn.jsp?f=0011eRqnZjygMBF4gTCeIUqv2KGhxrZD3UO7vmJIQVNSoydMqKofqb-CDTRihc3ZKM7wK7momiRRjc-RpW2xiOBCKqUl4ITJvCMiBAJV8WBRid-3w0Yc5fqWzNfOJ8xIpB9BsQ58xF0WsDfAf0zjNTfbM5Lh2KunIn1cshpWBMOdwlmMbqIoNiSL_wKGh67NU70lPGAdVco4eA6htvwu8x17OCwPr6NkRseVYRuxszPXwg49WpjagGcyBwADDu9Qwj1kvYSbWL5W-TOm0kWnONqoq-jIH-VAY6jRWOJpuW_kHRdx1t7d113Eg==&c=6LxDmNhlIQvxSIqVmiGbDC9OMJ0-iaK_qRxDKhHgvUBG1sqfvHakkQ==&ch=jghamX0or7AAwl11Nnbm94Z_EuOm6B1NwPZw3TVti3bzcYIDoORbjA==> Please join LAND for the final open house and closing reception for *On the Verge of an Image: Considering Marjorie Keller *at the historic Gamble House in Pasadena. In addition, LAND and Los Angeles Filmforum will present a screening of six of Keller's films in their original 8mm or 16mm format, entitled *Intimate Observer: Home-Movie Family Portrayals by Marjorie Keller, *curated by Steve Anker, CalArts Film/Video Faculty and Co-Curator of Film at REDCAT. *Saturday, December 10 * 4 - 6pm Exhibition Open House 4 - 7pm Closing Reception 7 - 8:30pm Film Screening *On the Verge of an Image: Considering Marjorie Keller* Exhibition Open House & Closing Reception will be held at The Gamble House University of Southern California, School of Architecture 4 Westmoreland Place Pasadena, CA 91103 *Intimate Observer: Home-Movie Family Portrayals by Marjorie Keller *film screening will be held at Neighborhood Unitarian Universalist Church 301 N Orange Grove Blvd Pasadena, CA 91103 (next door to the Gamble House) *On the Verge of an Image: Considering Marjorie Keller *is a group exhibition centered on the themes present in the work of under-recognized avant-garde filmmaker Marjorie Keller, co-curated by Los Angeles-based artists Alika Cooper and Anna Mayer. The exhibition will explore links between motifs and strategies emerging from Keller's films. Participating artists include renowned international practitioners from Keller's generation, as well as younger artists, along with a selection of Keller's work. Participating artists include Chantal Akerman, Shiva Aliabadi, Vanessa Beecroft, Ashley Carter, Alika Cooper, Cheryl Donegan, VALIE EXPORT, Naomi Fisher, Nan Goldin, Trulee Grace Hall, Donna Huanca, Kartemquin Films, Marjorie Keller, Josh Mannis, Anna Mayer, Paul Pescador, Vincent Ramos, Carolee Schneemann, and Jennifer West. "In her brief life, Marjorie Keller made nearly thirty films in her own distinctive cinematic voice. From her earliest efforts in the late 1960s, Marjorie was attracted to film's potential to portray the complexity of private events and personal relationships, mostly in response to family life. Her gestural and vivid camerawork, along with an intricate approach to poetic editing, created a body of work that is unsurpassed in its intimacy and its conveyance of subtle feelings and complex responses to her personal interactions. Marjorie's subjects included her old family house, young women friends, childhood fantasy figures, lovers, siblings, teenage girls, her parents, and her husband. Issues sprang naturally from sharing her life with the people and places she knew, and their range is astonishing: childbirth, sexuality, memory, the cultural roles women, political activism, the sensuality of daily objects, urban survival, rural pleasures and the values of classical tradition. While deeply influential on both feminist art and the culture of personal experimental filmmaking, Marjorie's work exists beyond categorization or reductive explanation. It is alive with multiple, often-contradictory meanings and remains a personal experience. More than half of Marjorie Keller's films were made with Regular 8mm or Super-8mm equipment, and these 'small-gauge' home-movie mediums provided an immediacy and fragility that were perfectly suited to her interests. While Marjorie made more ambitious, 16mm poetic film-essays later (*Daughters of Chaos*, *The Answering Furrow*, *Herein*), she returned to the relative simplicity of 8mm throughout her career. Tonight we will see several Regular-8mm or Super-8mm films by Marjorie Keller as they were originally intended, as 8mm or 16mm prints (blown-up from 8mm camera material). Several are exceedingly rare, but this special Gamble House show is an occasion in which all aspects of her filmmaking should be celebrated. In addition, a few of her 16mm films that extended her interest in intimate expression into 16mm film will also be shown." - Steve Anker CalArts School of Film/Video Faculty Co-Curator, Film at REDCAT "Marjorie Keller (1950-1994) wrote: 'The current art of the film deranges its predecessors.' It is in the work of women filmmakers of the avant-garde that the old forms are seen as if through an anamorphic lens. Her films honor and challenge the traditions that she assumed when she learned filmmaking from Saul Levine, Sidney Peterson, and Stan Brakhage. Keller consistently explored the political implications of daily living and personal pleasures in her more than twenty films." - Canyon Cinema Catalogue *PROGRAM* *She/va* (1973, 3 minutes, Regular 8mm, Color, Silent) "A young dancer re-choreographed through film editing. This film was originally made in standard 8mm, from a home movie." - Marjorie Keller *By 2's and 3's: Women* (1976, 7 minutes, Regular 8mm, Color, Silent) "This film puts together a perspective on the unhappy experience of traveling in cars - an activity aimless and unmemorable. The splicer makes a new trip of the footage, limited not to the represented geography but to the after-effect on the mind and heart of the first trip." - Marjorie Keller *Part IV: Green Hill* (1972, 3 minutes, Regular 8mm on 16mm, Color, Silent) "Fleeting 8mm views of the Rhode Island coast reach beyond the home movie towards deeper mysteries of light and presence. With window-framed shots, intimate shadows and a few sly self-portraits, Marjorie Keller gestures towards a subjectivity of the light touch." - Filmmakers' Cooperative Catalogue *Misconception* (1973-77, 42 minutes, Super-8mm on 16mm, Color, Sound) "*Misconception* is a film structured on juxtapositions: indoors/outdoors; redecoration/destruction; exercises/actual birth; male opinion/female opinion; preparation/pain. Its montage structure of both image and sound balances *Misconception* on the precarious moment, like birth, between these counter-posed positions: conception/misconception, point/counterpoint." - Anne Friedberg "*Misconception* is composed of six parts that together chronicle the experience of one woman and her husband during the course of her natural childbirth. The film communicates the precision and care with which it has been assembled. (The) structure lends the film a pacing rhythm that has less to do with traditional cinema-verité documentary or film journalism than with the pacing and rhythm of poetry." - B. Ruby Rich *Ancient Parts* and *Foreign Parts* (1979, 16mm, 6 minutes, Color, Silent) "The first two in a series of in-camera edited films. *Ancient Parts* portrays the symbolic differentiation and mock conquest of a boy and his mother." "... I watched the boy play Narcissus and Oedipus in three minutes. The small camera, the fact that we had all lived together for so long (during the shooting of *Misconception*), the rich golden grain of the film all provide the privilege of intimacy. *Foreign Parts* portrays the poetics of family life in an unfamiliar context. *Foreign Parts* is a single camera roll. Many people go home to foreign parts: a few familiar faces in a strange landscape. In such circumstances the ordinary is the most precious, given a slight shift of being in its new context. All we can glean from the experiences are a few new memories built on old images. Using a camera at such times is refined work; raw intuition works better than careful planning." - Marjorie Keller *Fallen World, The* (1983, 9 minutes, 16mm, Color/B&W, Sound) "An elegy for a Newfoundland dog named Melville and a portrait of his owner." - Marjorie Keller This program is being co-presented with *Los Angeles Filmforum* under the generous supervision of LA Filmforum Artistic Director Adam Hyman. Los Angeles Filmforum is the city's longest-running organization dedicated to weekly screenings of experimental film, documentaries, video art, and experimental animation. http://www.lafilmforum.org/ <http://r20.rs6.net/tn.jsp?f=0011eRqnZjygMBF4gTCeIUqv2KGhxrZD3UO7vmJIQVNSoydMqKofqb-CLKj24G-_RKvyOrPrHqq0x3CH969au3dETve1D6tbZYUMEQDCmPezXGgVucm9JcEOKxFrzk8Iq_gHB19LyZF1WvWle5-DmJFPKYt5B0K64EbS9UD3lorvQKj809xId5QKg==&c=6LxDmNhlIQvxSIqVmiGbDC9OMJ0-iaK_qRxDKhHgvUBG1sqfvHakkQ==&ch=jghamX0or7AAwl11Nnbm94Z_EuOm6B1NwPZw3TVti3bzcYIDoORbjA==> *Steve Anker* is the Co-Curator of the Film/Video series at REDCAT ("Film at REDCAT") www.redcat.org <http://r20.rs6.net/tn.jsp?f=0011eRqnZjygMBF4gTCeIUqv2KGhxrZD3UO7vmJIQVNSoydMqKofqb-CFVOhBBeYTDvQk6sWjJ1flxZjTmpXu2nYIKyEBXnGZo6cbdYW_aVQLSTSmow-wBo_ZaD3l2Rkx60cA4DkdiZ9WcLYStUdkUzbx4IMMNVp-mIVHrR5NFGLms=&c=6LxDmNhlIQvxSIqVmiGbDC9OMJ0-iaK_qRxDKhHgvUBG1sqfvHakkQ==&ch=jghamX0or7AAwl11Nnbm94Z_EuOm6B1NwPZw3TVti3bzcYIDoORbjA==>. The former Dean of the School of Film/Video at the California Institute of the Arts www.calarts.edu <http://r20.rs6.net/tn.jsp?f=0011eRqnZjygMBF4gTCeIUqv2KGhxrZD3UO7vmJIQVNSoydMqKofqb-CDTRihc3ZKM7lbLQgC2vlXuh_FfpSJLvMLPuP389wTnt25wesgtMI-QgvFxo49VCsf-ofLDYAEkK8q59DjBznWS3HviK9vsV4G1xcc-vtRhd8I1Q6mGeywM=&c=6LxDmNhlIQvxSIqVmiGbDC9OMJ0-iaK_qRxDKhHgvUBG1sqfvHakkQ==&ch=jghamX0or7AAwl11Nnbm94Z_EuOm6B1NwPZw3TVti3bzcYIDoORbjA==>, he has also served as director of the San Francisco Cinematheque and as artistic director of the Foundation for Art in Cinema. He holds an MFA in Filmmaking and Film History from Columbia University and served for many years as professor of film at the San Francisco Art Institute. 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