Emily + Andy’s Film Club
Tuesday, September 11, 2012 - 6:30pm – 8:00pm
Free and Open to the Public
Seating is limited; please arrive early to guarantee a spot.
GIRL GANGS! QUEER POETICS + POLITICS! TRANSGRESSIVE DANCE ACTS OF DOCUFANTASY!
About the Program
Whether collaborating in the realms of music, video, and dance, or exploring political lineaments of Love (as “strategy, medium, site, and scene”), New York and Stockholm-based artist Emily Roysdon makes work that thrives in the place between struggle and improvisation. Central in the current groundswell of art that uses queer vocabularies and tactics to reinvigorate discussions of a contemporary queer and feminist community, Roysdon’s work deftly highlights the many contradictory lineages of (inter)national queer politics and abstraction.
“Queer Poetics + Politics”
Emily + Andy + Kara
Cecilia Barriga ,The Meeting of Two Queens
Isaac Julien, Looking for Langston
Todd Haynes, Dottie Gets Spanked
About The Meeting of Two Queens: “In this witty, luminous tape Greta Garbo and Marlene Dietrich star in the roles of their lives—cast as lovers by Chilean video artist Barriga. Queen Christina meets the Scarlet Empress; Anna Karenina and Blonde Venus transcend tragedy. This beguiling tape links the queens of the silver screen through motifs such as the cigarette and a circuitry of meaningful gazes and gestures. Clips from their signature roles are remounted in silent film style vignettes to tell a burgeoning tale of desire and destiny." (Women Make Movies)
About Looking For Langston: Ostensibly a film about Langston Hughes, Isaac Julien’s black and white short film is a imagistic and multilayered representation of black male desire in the Harlem Renaissance, and an argument for the potency of poetry.
About Dottie Gets Spanked: “A similar sense of an oppressive, regimented society cruelly bearing down on a sensitive individual infused Mr. Haynes's films Superstar: The Karen Carpenter Story and Poison. But in Dottie Gets Spanked, that feeling is more acute and the directorial hand more secure. The most daring sections of the film are its dream sequences, in which the director tries to go beyond surrealistic symbolism and evoke actual dreams." (Stephen Holden, New York Times)
Kara Carmack is a PhD student in the Department of Art and Art History at The University of Texas at Austin. Her work focuses on Manhattan public access shows in the 1970s and 1980s and explores the tensions they raise between the public and the private, the mainstream and the marginal, and the semi-public and the semi-private.