Artists' Television Access

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  • EYE ENVIES MIND

    ATA staffATA staff show

  • “A Brief Conversation With My Psychotherapist” – Balitronica

    Opening Reception: August 20th – 8:30-10:30 PM
    https://www.facebook.com/events/1067640073290541/https://www.facebook.com/events/1067640073290541/
    Balitronica8
    Balitronica Gomez is a cyborg poet, performance artist and queer sex radical currently living in San Francisco. She was born and raised on the San Diego/Tijuana border where she was part of the punk and literary underground scene. She lived in Paris in a 17th century Dominican convent researching nun culture and expat literature. She holds an MFA in Poetry and Queer Theory from Mills College. As a photo-performance artist she has collaborated with several well-known photographers such as Manuel Vason, RJ Muna and Herachi Hache.

  • Long Shadows: Wong / Fox / Beydler

    Introduced by Al Wong, filmmaker, and Tanya Zimbardo, curator.
     same-differenceAl Wong, Same Difference, 1975, 16mm transferred to video, color, sound, 17.5 min., soundtrack: Terry Fox, courtesy the artist.
     “Same Difference (1975) was filmed in my kitchen window over an entire year. I had one person, Ursula Schneider, sitting there in a particular position so that while the sky and seasons are constantly changing, she appears to hardly be moving. Terry Fox made the soundtrack by looking out my kitchen window and drawing his violin bow over the edge of a large bowl that he had found on Market Street. It was beautiful.” –Al Wong
     Terry Fox, Lunedi, 1975, video, b&w, sound, 21:23 min., camera: Bill Viola, courtesy NIMK / LIMA
     “Alchemy plays a major role in Terry Fox’s work. His performances are mystical scientific experiments with various objects. Lunedi is one of these experiments.” –LIMA
     Beydler_VenicePier03smallGary Beydler, Venice Pier, 1976, 16mm, color, sound, 16 min., courtesy of Canyon Cinema
    “I wanted to make a film that was exactly one year in the making. I love the ocean, and I decided to shoot on the Venice Pier, which was about a quarter mile long. About every ten feet, there are divisions in the pier, which I decided to use as the shooting points. I made a drawing of the pier on vellum, marking out these divisions. I started shooting maybe in November or December, and shot it all the way through to the following year, finishing on the same date. I shot in all the different seasons, different times of day, filling in the blanks on the drawing I made of the pier. It was shot out of order: watching the film, you’re moving forward every so slowly, through different times, different seasons, different situations. Sometimes you get the feeling of movement, sometimes you don’t. No need for staging, I just shot things that were happening.” –Gary Beydler