01 02
Joan Jonas, Glass Puzzle (still detail), 1973. Video. Running time: 17.5 minutes. Camera by Babette Mangolte. Joan Jonas, Glass Puzzle (still), 1973. Video. Running time: 17.5 minutes. Camera by Babette Mangolte.
Joan Jonas, Glass Puzzle (still detail), 1973. Video. Running time: 17.5 minutes. Camera by Babette Mangolte.
x
Joan Jonas, Glass Puzzle (still), 1973. Video. Running time: 17.5 minutes. Camera by Babette Mangolte.
x

Point of Contact: The Camera and the Body

July 14, 2016–from 6:00 to 7:30 pm

Opening Reception:

Film Screening

Thursday, July 14, 2016 from 6:00 to 7:30 pm
Free and Open to the Public
 


Point of Contact: The Camera and the Body is a program of short films and videos highlighting the convergence of dance, performance, and moving image art during the 1960s and 70s. Representing artists commonly associated with the realm of performance art (Joan Jonas, Carolee Schneemann) along with those from the field of experimental filmmaking (Ed Emshwiller, Marjorie Keller, Gunvor Nelson), the works offer a variety of perspectives on the body, gender, intimacy, sexuality, and the notion of spectatorship. Organized by Philadelphia-based film curator Jesse Pires, Point of Contact is inspired by Ally, FWM’s current exhibition of art and dance by Janine Antoni, Anna Halprin, and Stephen Petronio.
 
This program will feature:
Carolee Schneemann, Meat Joy, 1964-2010. 16mm transferred to video. Running time: 10.5 minutes.
Joan Jonas, Glass Puzzle, 1973. Video. Running time: 17.5 minutes.
Gunvor Nelson, Take Off, 1972. 16mm. Running time: 10 minutes.
Ed Emshwiller, Film with Three Dancers, 1970. 16mm. Running time: 20 minutes.
Marjorie Keller, She/Va, 1973. 16mm. Running time: 3 minutes.
 
Note: Films in this program may contain mature content.

Curator Bio

Jesse Pires is the Program Curator at International House Philadelphia whose recent work concerns the convergence of the gallery space and the cinema space. At International House, Pires has organized numerous film screenings including Free to Love: The Cinema of the Sexual Revolution (2014)—a month-long series exploring commercial and underground films associated with sexual liberation in the 1960s and 70s—and Pop Cinema: Art + Film in the US and UK (2011), co-curated with William Kaizen. He has served as a delegate at the 2010 Experimental Media Congress in Toronto and the 2012 Experimental Cinema Congress in Berlin. Pires has curated programs for such venues as the Institute of Contemporary Art at the University of Pennsylvania, Slought Foundation, Vox Populi Gallery, Light Industry, and Union Docs.

Major support for Ally has been provided by The Pew Center for Arts & Heritage. Initial support for this project was provided by Creative Capital. Additional funding comes from the National Endowment for the Arts, The Shipley-Miller Foundation, and the Board of Directors and Members of The Fabric Workshop and Museum. 

The Pew Center for Arts & Heritage            Creative Capital             National Endowment for the Arts