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UID:20260415T231111CEST-7771IuFMEs@http://www2.movingimage.us
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DESCRIPTION:\n	Phil Solomon\, who died this April\, was one of the most bel
 oved American avant-garde filmmakers. A student of Ken Jacobs at SUNY Bing
 hmaton\, and colleague of Stan Brakhage at the University of Colorado in B
 oulder\, Solomon forged his own unique image alchemy\, manipulating existi
 ng and original footage to create evocative\, beautiful\, and dreamlike wo
 rks that reveal subterranean depths in their exquisite imagery. Generous\,
  soft-spoken\, equally serious and humorous\, Solomon will be greatly miss
 ed. His work\, miniaturist yet masterful\, lives on\, along with his legac
 y as an artist and teacher. This memorial screening will include 16mm prin
 ts of four of his greatest films (including a collaboration with Stan Brak
 hage). The program will include remarks by some of Solomon’s friends and c
 olleagues. Thanks to Canyon Cinema\, source of the 16mm prints.—David Schw
 artz\, Curator-at-Large \n\n\n	Films to be screened: \n\n\n	The Secret Gar
 den&nbsp\;(1988\, 23 mins.) “The Secret Garden is one of Solomon's most ex
 quisite films. As with Leslie Thornton and Lewis Klahr\, there is the shad
 ow of a story here\, one which deals with the passage from innocence and e
 xperience and invokes equally terror and ecstasy.” (Tom Gunning) \n\n\n	Th
 e Exquisite Hour&nbsp\;(1989-1994\, 14 mins.) Partly a lullaby for the dyi
 ng\, partly a lament at the dusk of cinema. Based on the song by Reynaldo 
 Hahn and Paul Verlaine. (from Canyon Cinema catalog) \n	\n	\n	Remains to B
 e Seen&nbsp\;(1989-1994\, 17 mins.) “In the melancholic Remains to Be Seen
 \, dedicated to the memory of Solomon's mother\, the scratchy rhythm of a 
 respirator intones menace. The film\, optically crisscrossed with tiny egg
 shell cracks\, often seems on the verge of shattering. The passage from li
 fe into death is chartered by fugitive images: pans of an operating room\,
  an old home movie of a picnic\, a bicyclist in vague outline against burn
 t orange and blue .... Solomon measures emotions with images that seem sto
 len from a family album of collective memory.' (Manohla Dargis\, The Villa
 ge Voice) \n	\n	\n	Seasons…&nbsp\;(2002\, 15 mins. Silent) “Stan Brakhage'
 s frame-by-frame hand carvings and etchings directly into the film emulsio
 n\, sometimes photographically combined with paint\, are illuminated by So
 lomon's optical printing\; this footage was then edited by Solomon into a 
 four part 'seasonal cycle.' Seasons… is inspired by the colors and texture
 s found in the woodcuts of Hokusai and Hiroshige\, and the playful sense o
 f forms dancing in space from the film works of Robert Breer and Len Lye.”
  (Canyon Cinema) \n	\n	\n	Tickets: $15 ($11 seniors and students / $9 yout
 h (ages 3–17) / free for children under 3 and Museum members at the Film L
 over and Kids Premium levels and above). Order tickets online.(Members may
  contact members@movingimage.us with questions regarding online reservatio
 ns.) \n	\n	\n	Ticket purchase includes same-day admission to the Museum (s
 ee gallery hours). View the Museum’s ticketing policy here. For more infor
 mation on membership and to join online\, visit our membership page. \n	\n
DTSTART:20190519T163000
DTEND:20190519T180000
LOCATION:Museum of the Moving Image - Bartos Screening Room
SUMMARY:Phil Solomon Memorial Screening
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