- When
- Sat., Sept. 21, 2024, 2–5 p.m.
- Where
- Art Theater
- Tickets
-
$10 ($8 for students and Carnegie Museums of Pittsburgh Members)
$64 Season Pass ($48 for students and Carnegie Museums of Pittsburgh Members)
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This program brings together 14 short films and time-based works spanning nearly a century to explore the legacy of formalist interventions in sports-media imagery. This program is co-curated with filmmaker, writer, and curator Brett Kashmere.
Introduction by Dr. Samantha N. Sheppard, cinema and media studies scholar, professor, and author of Sporting Blackness: Race, Embodiment, and Critical Muscle Memory on Screen (2020) and the forthcoming The Basketball Film: A Cultural and Transmedia History.
Program:
- Object Conversation*†
(Paul Glabicki, 1985, 10 min.) - Pferd und Reiter Springen über ein Hindernis (Horse and Rider Jumping Over an Obstacle)
(Ottomar Anschütz, 1888, 30 sec.) - Combat de Boxe
(Charles Dekeukeleire, 1927, 7:30 min.) - TV Ping Pong
(Ivan Ladislav Galeta, 1988, 2 min.) - Golf
(Raphael Montañez Ortiz, 1957, 1:30 min.) - Water Pulu 1869 1896
(Ivan Ladislav Galeta, 1988, 9 min.) - Spacy
(Takashi Ito, 1980–1981, 10 min.) - O.T.
(Markus Scherer, 2013, 4 min.) - Olympiad
(Lillian Schwartz, 1971, 3 min.) - Lake Placid ‘80
(Nam June Paik, 1980, 4 min.) - Super-8 Girl Games
(Ashley Hans Scheirl and Ursula Pürrer, 1985, 3 min.) - Bubka
(Karen Luong, 2018, 1 min.) - Football
(Ana Hušman, 2011, 15 min.) - The Breaking Madden Super Bowl: The Conclusion
(Jon Bois, 2015, 5 min.) - Kiss
(Tintin Cooper, 2015, 10 sec.)
Run time: One hour and 5 min.
* Looped in the Art Theater prior to screening
† Part of Carnegie Museum of Art’s collection
Notes from guest film programmer, Astria Suparak
Spanning nearly a century of production, the artists in this program devise formalist interventions into sports-media imagery and engage in a diversity of approaches: in-camera techniques like multiple exposure, video synthesis, optical printing, rapid editing, physical manipulations of the film strip like puncturing and scratching, and a variety of animation including drawn, stop-motion, computer, GIF, and machinima.
Some trailblazing films of note: a 1927 cinematic poem about boxing by Charles Dekeukeleire using negative image, a technique rare for the period; a 1957 golf film with holes ritualistically punched into the film stock by destructivist Raphael Montañez Ortiz, making presence out of absence and a visual pun on the game; a 1971 film with computer-generated imagery by groundbreaking media artist Lillian Schwartz; video pioneer Nam June Paik’s commission for the National Fine Arts Committee of the 1980 Olympic Winter Games; a 1981 masterpiece of stop motion by Takashi Ito creating a recursive rollercoaster journey through a gymnasium from still photographs; and a “Copernican twist in the structure and perception” of a water polo match, with the ball becoming the static center of the 1988 film by Ivan Ladislav Galeta (Le Collectif Jeune Cinéma).