Media Arts Program
 


Friday, October 29, 2004

Co-sponsored/co-presented by:
The University at Buffalo's Department of Media Study, The Central New York Programmers Group and The Experimental Television Center.

PHIL SOLOMON

Presented at:
Squeaky Wheel

PHIL SOLOMON
PHIL SOLOMON
PHIL SOLOMON





Friday October 29 at 8 p.m.
Phil Solomon in person at Squeaky Wheel
$6 general, $5 students/seniors, $4 members.

Co-sponsored by the Central New York Programmers Group and the Experimental Television Center.

Phil Solomon teaches film aesthetics and film production at the University of Colorado at Boulder. Since arriving in Boulder in 1991 he produced, among other films, several collaborations with colleague Stan Brakhage, including ELEMENTARY PHRASES (1994), CONCRESCENCE (1996) and SEASONS... (2000-01). He is currently working on a feature length series of short films entitled THE TWILIGHT PSALMS, a cinematic poem to the 20th century.

Program (80 minutes total):
REMAINS TO BE SEEN, 1989 (revised 1994)
Using chemical and optical treatments to coat the film with a limpid membrane of swimming crystals, coagulating into silver recall, then dissolving somewhere between the Operating Theatre, The Waterfall, and the Great Plains.

THE EXQUISITE HOUR, 1989 (revised 1994)
Partly a lullaby for the dying, partly a lament at the dusk of cinema. Based on the song by Reynaldo Hahn and Paul Verlaine.

THE SNOWMAN, 1995
A meditation on memory, burial and decay…a belated kaddish for my father.

SEASONS..., 2002 (by Phil Solomon and Stan Brakhage)
Brakhage's extraordinary hand carvings into the film emulsion illuminated and textured by Solomon's lighting, inspired by the woodcuts of Hiroshige. A subset of Brakhage's larger umbrella work entitled "...".

PSALM III: NIGHT OF THE MEEK, 2002
A highly personal interpretation of the Jewish legend of The Golem, a moving painting, and a uniquely treated experimental film with a photochemically charged, dynamic surface.

 
 
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Laylah Ali
Paintings and Drawings


Laylah Ali's work explores power dynamics and interpersonal conflict through compositions that position culturally, racially and sexually ambiguous figures in precarious, loaded, and unexpectedly humorous situations. Ali uses concise—even minimal—imagery that is specific in rendering and intent. While there are narratives in Ali's work, they are stories whose open spaces often give them the atmosphere of fables.