Artists' Television Access


OpenScreening: Virtual Edition

ATA’s first virtual Open Screening is beaming from our computers to yours this Thursday November 5th at 7pm PST! Open Screening is the only monthly open submissions screening in the Bay Area that showcases a diverse pool of up and coming, as well as established filmmakers. So sit back, relax, tune in, drop out, and pop in for some fresh locally made films.

Livestream link:


Presented by Other Cinema

On Thursday November 5th, ATA Gallery’s Other Cinema pop ups on car-free Valencia street with the second of its Plague-Time Play-Time screenings. On tap is a feature-length 16mm program of musical films, mostly from the 60s and 70s, curated around the theme…. Dancing in the Streets

The archival material, spliced together in a non-stop compilation, is guaranteed to warm the hearts of even the most discouraged pandemic survivor. And, despite the masks, the party’sfun will be especially out in force because of the defeat of Donald Trump just 36 hours earlier!!

Free champagne and other frothy beverages will start flowing at the 6:30 PM reception, and will continue throughout the 7:00-8:30 program. A space will be provided for bicycle and scooter parking. Among the rock n’ rolling reels will be performances by the Jackson Five, Ray Charles, the Pretenders, Spike Jones, the Grateful Dead, the Animals, and Josie and the Pussycats, and many othersuperstars, the whole to be hosted by none other than… Liberace!

Suzie McMurtry: Revisiting Settling

revisiting settling
video documentation of:

Clothestile I
photographic transfer & dye on canvas 48″ x 72″

Me in the Park 1933
graphite, dye, collage & oil on canvas 36″ x 60″
Orange Palm Hearts
photographic transfer & dye on canvas 36” x 48”

for Artists’ Television Access
© Suzie McMurtry 2020
This series of three canvases includes depictions of my grandmother in San Francisco in 1933, e-commerce style images of clothing I made or altered, and photographs of palm trees in front of my current home in the East Bay. In this video, footage from around the area is projected onto these
paintings. The dye used here is not plant-derived, but the impetus for this particular rumination on family history, memory, ecology, and settlement in California was one invasive tree, whose
leaves produce a bright orange dye.

In the 1950s my grandmother planted a Eucalyptus cinerea, or Silver Dollar Gum, for this purpose. This single act, done almost exactly a century after a similar species was first turned loose in the Bay Area by colonizers who somehow thought it would make good lumber, feels different: isolated. Since she first told me that this tree near her driveway had a unique use, I have been harvesting leaves every few months to dye wool.

The revelation of the orange dye-producing tree coincided with our unearthing of a family loom from the basement about 50 yards away. Although the present pandemic has slowed my ability to weave on
that loom in my grandparents’ living space, this extracting, dyeing, projecting and processing of photographs has been a way of asking: what should be done with the physical products of our ancestors’ decisions? These things are not static nor disconnected from larger systems, though they may feel that way to the individual. I’m reminded of this at least every few months when I harvest leaves for another dye bath; the spot on the trunk I’ve taken from has always at least doubled in new growth.

Curator’s note: For the show’s duration, McMurtry will seek narratives from the public which engage the show’s themes. To participate, please complete the form here.

artist bio:
As an artist and designer, Suzie McMurtry wants to contribute to a future functional circular economy. Her work aims to investigate the desire to create, collect and discard objects while acknowledging the very real need to simply stop. As we build communities that are oriented away from capitalistic individualism, where does self-expression through clothing, artmaking, or collected objects fit in? Can we covet without greed? Collect without hoarding? These questions are what interest her now.

Originally from the San Francisco Bay peninsula, McMurtry graduated from Colorado College with a BA in Studio Art, where she focused on weaving, sculpture, and printmaking. She currently lives in the East Bay (unceded Muwekma Ohlone territory) where she has worked as a teacher, seamster,
photographer, and logistics coordinator in sustainable fashion. She will attend Central Saint Martins in October 2020, to pursue a Master’s degree in Material Futures.

SF Cinematheque presents:

August 21–September 30

presented by San Francisco Cinematheque
curated by Steve Polta 
press inquiries:  [email protected]
download press release here

CROSSROADS 2020 is the eleventh manifestation of Cinematheque annual film festival, presented online FREE to the public. CROSSROADS 2020 features 85 works of film and video by 71 artists representing 22 countries and territories presented in 9 curated programs. Get the thrill of the festival experience by joining us for a series of scheduled livestreams August 21–29. Can’t make it? Don’t have the time? All programs available on a view-when-desired basis August 30–September 30.


Ever Westward:
Remembering Bruce Baillie
I am bloodless /
I am the cosmos
take this as some
kind of signal
all those things you
used to feel
the rocks crumbletheories of obliscence / erasing the gridwhat do you get when
you fall in love?
unknown subjectsas long as there is breath

CROSSROADS 2020 program 1
Livestream premiere: Friday, August 21 7pm PST
Ever Westward: Remembering Bruce Baillie

SCREENING: Valentin De Las Sierras (1968); Roslyn Romance (Is It Really True?) (1974); Tung (1966); All My Life (1966); Castro Street (1966); To Parsifal (1963)


CROSSROADS 2020 program 2
Livestream premiere: Saturday, August 22 7pm PST
I am bloodless / I am the cosmos

SCREENING: Camera Sick (2019) by Jeremy Moss (US); It Matters What (2019) by Francisca Duran (Chile/Canada); Fire Fly EYE (2020) by Kerry Laitala (US); noonwraith blues (2019) by Kamila Kuc (United Kingdom/Poland); Demoiselle (2017) by Eeva Siivonen (Finland/Canada); Dusty Wave (2017) by Eeva Siivonen (Finland/Canada); Fragment (1986-1988) by Laura J. Padgett (Germany/US); La notte salva (2019) by Giuseppe Boccassini (Italy/Germany); Locus Suspectus (2019) by J.M. Martínez (US)


CROSSROADS 2020 program 3
Livestream premiere: Sunday, August 23 7pm PST
take this as some kind of signal

SCREENING: Wasteland No. 2: Hardy, Hearty (2019) by Jodie Mack (US); cada vuelta que da una cosa enrollada alrededor de otra (2019) by Bruno Varela (Mexico); Neon Cortex (2019) by Bruno Varela (Mexico); Tear Gas (2019) by Colectivo los ingrávidos (Mexico); Angular Momentum (2019) by Michael Betancourt (US); Sacred Geometry (2018) by Anna Cecilia Seaward (US/Hungary); Meridian (2019) by Calum Walter (US); Starry Starry (2017) by Youngzoo Im (South Korea); It Was Summer When (2019) by Gloria Chung (US)


CROSSROADS 2020 program 4
Livestream premiere: Monday, August 24 7pm PST
all those things you used to feel

SCREENING: Westinghouse One (2019) by Kevin Jerome Everson (US); mockingbird (2020) by Kevin Jerome Everson (US); Die Nacht (2017-2019) by Wenhua Shi (China/US); liminal poem (2019) by Susan DeLeo (US); Luminous Variations in the City Skies (2019) by Giuseppe Spina (Italy); Sympathetic Bodies (2018) by Margaret Rorison (US); Traces (2020) by Carleen Maur (US); where i don’t meet you (2019) by Charlotte Clermont (Canada); Plants Are Like People (2018) by Charlotte Clermont (Canada); Story of the Dreaming Water, Chapter One (2018) by Brittany Gravely (US); The Tower (2019) by Silvestar Kolbas (Croatia); Interbeing (2018) by Martina Hoogland Ivanow (Sweden); My Favorite Object (2019) by Meredith Moore (US)


CROSSROADS 2020 program 5
Livestream premiere: Tuesday, August 25 7pm PST
the rocks crumble 

SCREENING: Hel City (2019) by Gregorio Méndez (Spain); Fantasy of Being in Exile (2019-2020) by Hua Xi Zi (China/US); dream less (2020) by Charlotte Clermont (Canada); Apertures (a brighter darkness) (2019) by Karissa Hahn (US); Einige Orte Dazwischen (A Few Spaces In Between) (2016) by Laura J. Padgett (Germany/US); No Archive Can Restore You (2020) by Onyeka Igwe (United Kingdom); Solitaire (2017) by Laura J. Padgett (Germany/US); Ghosts of our Fallen (2019) by Kit Young (US); tulips are my father’s favourite flower (2018) by Nisha Platzer (Canada); Itinerary of Surfaces (2020) by Carl Elsaesser (US); Distancing (2019) by Miko Revereza (Philippines/US)


CROSSROADS 2020 program 6
Livestream premiere: Wednesday, August 26 7pm PST
theories of obliscence / erasing the grid

SCREENING: Let’s Take a Walk (2018) by Moira Lacowicz (Brazil); Through a Field (2019) by Faith Arazi (US) and Madeleine Mori (US); A Winter Song (2019) by Jon Behrens (US); Specialized Technique (2018) by Onyeka Igwe (United Kingdom); The Losing Battle (2019) by Jean Sousa (US); Signal 8 (2019) by Simon Liu (Hong Kong/United Kingdom); Bathers (2019) by Douglas Urbank (US); to forget (2019) by Lydia Nsiah (Austria); Jeevithaye Mayawa / ජීවිතයේ මායාව / Imitation of Life (2020) by Rajee Samarasinghe (Sri Lanka/US)


CROSSROADS 2020 program 7
Livestream premiere: Thursday, August 27 7pm PST
what do you get when you fall in love?

SCREENING: A Patch of Green (2004-2005) by Luther Price (US); Universal Leader (2020) by Orit Ben-Shitrit (US/Israel); Thorax (2019) by Siegfried A. Fruhauf (Austria); Curious Fantasies (2019) by Jesse McLean (US); International Face (2019) by Natalie Tsui (US); Global Industries (2018) by Phillip Andrew Lewis (US); Billy (2019) by Zachary Epcar (US); Horsey (2018) by Frédéric Moffet (Canada/US); Eastern State (2019) by Talena Sanders (US)


CROSSROADS 2020 program 8
Livestream premiere: Friday, August 28 7pm PST
unknown subjects

SCREENING: Interior (2019) by Zack Parrinella (US); //\///\////\ (2019) by Phillip Andrew Lewis (US) & Michael Robinson (US); Fabricated in the Actual Arctic (After Nanook) (2018) by Matthew Lax (US); Rio Grande Sun (2020) by Courtney Fellion (US) & Linda Scobie (US); Eviction, Demolition (2019) by Karissa Hahn (US); Amuletos (2019) by Colectivo los ingrávidos (Mexico); Mas Paritaria Menos Yuta (2018) by Moira Lacowicz (Brazil/Argentina) & Leonardo Zito (Argentina); We Love Me (2017) by Naween Noppakun (Thailand)


CROSSROADS 2020 program 9
Livestream premiere: Saturday, August 29 7pm PST
as long as there is breath

SCREENING: Girl is Presence (2020) by Lynne Sachs (US) and Anne Lesley Selcer (US); Lore (2019) by Sky Hopinka (Ho-Chunk/Pechanga); Oh My Homeland (2019) by Stephanie Barber (US); As Long As There Is Breath (2020) by Emily Chao (US); Amusement Ride (2019) by Tomonari Nishikawa (Japan/US); All My Life (1966) by Bruce Baillie (US); Fallen Arches (2018) by Simon Liu (Hong Kong/United Kingdom); We Carry With Us Our Mother (2019) by Olivia Ciummo (US); Corriente (Stream) (2019) by Diana Sánchez Maciel; Feast (2019) by Mike Hoolboom (Canada); Vever (for Barbara) (2019) by Deborah Stratman (US)

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