Author: Fara

  • THE BEAST IN HEAT- SPECIAL SCREENING

    The Beast In Heat is a horrifying melodrama of supernatural realism, set in modern-day San Francisco. The latest feature-length from local filmmaker, Anthony A. Russell documents the frustrations of a recently graduated fashion student as she struggles to adjust to a new city and fails to reconcile the disparity between herself and her new housemates. While delirium festers amidst her loneliness, she gradually becomes susceptible to the seductions of San Francisco’s most ruthless night stalker: a vorarephilic werewolf struggling with erectile dysfunction. As pent-up sexual rage swells, gruesome fetishes and sadistic ploys keep the beast at bay- but only until the next full moon!
    This special sneak preview will be accompanied by a short film from underground filmmaker, Mike Kuchar.
  • Small Press Traffic: Gordon, Russell

    MATTHEW GORDON

    Matthew Gordon is an artist and poet living in Oakland, California. He grew up in Gibsonia, Pennsylvania and received a BFA & BS from Penn State University (2003) and an MFA from California College of the Arts (2009). His work has been shown at [2nd floor projects], Right Window Gallery, Pulliam Deffenbaugh Gallery, Southern Exposure, Patricia Sweetow Gallery as well other venues locally and nationally. He is currently the manager of the digital printing facility at CCA and this experience has radically changed his work/writing, particularly in regard to issues such as seriality and reuse.

    CHRISTOPHER RUSSELL

    From 2001 to 2005 Christopher Russell edited, designed, produced, and distributed the “destroy–to–enjoy” literary art zine Bedwetter. He was the subject of a 2009 Hammer Museum Projects solo exhibition, and has exhibited his work internationally. Russell has published numerous books including, Sniper, a novel length artist book, Against the Grain, LACE Press, Budget Decadence, 2nd Cannons Publications, Landscape, Kolapsomal Press and Pattern Book, Insert Blanc Press. Additionally, he has written more than two-dozen articles about art in Los Angeles. Russell has received a Printed Matter Awards For Artists grant and has exhibited his work extensively and is represented by Mark Moore Gallery, Los Angeles. His work is in various public collections, including the Hammer Museum; Tokyo Metropolitan Museum of Photography; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, Los Angeles; Museum of Contemproary Art, San Diego; Museum of Fine Arts, Houston; Museum van Hedendaagse Kunst Antwerpen, the RISD Museum and Getty Research Institute. Russell received his BFA from California College of Arts and Crafts in San Francisco in 1998 and his MFA from Art Center College of Design, Pasadena, California, in 2004.

  • the word, my dear, is piecemeal: films on the visualization of text

    letters_notes_1Presented by SF cinematheque  in association with Litquake

    As part of Litquake 2013, San Francisco Cinematheque presents a screening of film/video works in which written text is visualized and plasticized, explored and displayed. Battering, caressing and seducing viewers/readers while exploring syntactical forms (including poetic lyric, introspective essay,, journal, harangue, laundry list, love letter and song), the seven film/video works on this program form a thumbnail catalog of the diverse expressive potentialities of language’s graphic notation displayed as light moving in time. Screening Jeanne Liotta’s Dark Enough (2011), a celestial contemplation, “a virtual proscenium stage for the poetry to play itself upon,” a collaboration with poet Lisa Gill; Stan Brakhage’s I… Dreaming (1988), a sound film visualizing the lyrics of Stephen Foster; Word Movie (1966) by Paul Sharits, a radically flickering, optical/conceptual sound/text conflation, a three-and-ahalf minute word; Stephanie Barber’s letters, notes (2000) a melancholy compendium of lost correspondence and found photography; David Gatten’s silent love letter How to Conduct a Love Affair (2007); Su Friedrich’s harrowing dream journal Gently Down the Stream, Jesse Malmed’s sound/image/data morass Supernym (2013) and a very rare screening of Michael Snow’s 1982 epic monolithic film/text essay So Is This, a direct confrontation/repudiation of the very notion of cinematic language itself. (Steve Polta)