Artists' Television Access

Blog

  • OTHER CINEMA: SISPIX3; OPTRON3


    RENWICK+SCOBIE+WAXY TOMB+PLU+

    ALL-WOMEN::AUDIO-VISUAL!!.. a Live A/V expo of expanded-cinema work from local, regional, and international artists. Vanessa Renwick coasts down fromPortland to premiere Cold Holy Water, a lyrical paean to orca whale maternity, with original score by Marisa Anderson…as well as to share her earlier Mighty Tacoma. Linda Scobie conjures up her own real-time electronic track as she advances through her suite of sewn(!) 35mmslides, On the Mend. Waxy Tomb also proffers a premiere–her Shatter Pattern, a digital-process piece on graphic forms found in nature. The kino-klatch is krowned with UK-based Vicki (PLU) Bennett’s The Mirror, her new long-form compendium of cinematic spaces, architectures, and gestures. PLUS Soda_Jerk, Lillian Schwartz, and Lynne Sachs/Chris Marker’s Three Cheers for the Whale.*$9.99 

  • Selby Cole: Eye Contact

    Opening Reception: March 12th, 6-9PM

    Eye Contact is an installation by Selby Cole at ATA Window Gallery. Dozens of eye contact flashcards will be interspersed throughout the window space, attached to the walls, hanging from the ceiling, making eye contact with unsuspecting onlookers and passersby.


    The eye contact flashcards are 3” x 5” index cards with a different set of eyes on every card. The cards have an off-beat sense of what it is to learn something. There is no “correct” answer -a sense of knowing cannot be qualified. They are inspired by the gaze and the glance, and the gap between looking and knowing. The flashcards alter what it usually means to look at a photograph because in this case, the cards look back!  

  • Left Eye Cinema: Finally Got the News

    $7-$10

    Join the San Francisco Democratic Socialists of America and Left Lens for Finally Got the News,  a documentary look at radical black unionism in Detroit and the rise of the League of Revolutionary Black Workers. 

    Beaten down under increased demands from the bosses but emboldened by the growing unrest in politics and society, autoworkers in the late 60s were beginning to rebel through work slowdowns and wildcat actions. But while this new militancy cut across racial lines, capital’s response did not. Punishment fell overwhelmingly on black workers, and the all-white leadership of the United Auto Workers did little to stop it. Against that backdrop, a group of black Marxists at the Dodge automotive plant formed what would eventually become the League of Revolutionary Black Workers. Professing an explicitly anti-capitalist revolutionary creed, the members LRBW fought for economic and racial justice, against the auto industry, and against their own union.


    Finally Got the News is a portrait of these workers and their struggle. Using montage, footage from labor actions, and the words of the LRBW members themselves, the film explores the unique (and uniquely exploited) role of black labor in building American industry, and the ways this racist legacy complicates facile narratives of working class solidarity. This story of racism, bureaucratic betrayal, and militant unionism still has important lessons for the leftists and union members today. We’ll conclude the film with a discussion with special guests from the local labor movement.