The Wexner Center for The Arts' Picture Lock celebrates the center's history by bringing back previously featured filmmakers to present their new projects along with rare screenings from an extensive archive. Spanning a diverse mix of styles, genres, and subject matter, the films featured here are a testament to the center’s mission to support the production of new work and, by extension, independent film.
(Lewis Klahr, 2002–15) Visiting Filmmaker
Friday, April 7th, 7:00 PM
Lewis Klahr, a recipient of the Wexner Center’s Artist Residency Award in media arts, returns to the Wex as a visiting filmmaker for Picture Lock. Klahr’s animated work, Sixty Six, seemingly brings to life images from mid-20th-century advertisements, comic books and American pop culture to tell stark narratives about characters with a melancholic streak. Sixty Six is made up of 12 separate chapters that travel through pop landscapes of 1966 Los Angeles (with overtones of Greek mythology). Narratives appear and submerge as you’re sent into a reverie on time, history, storytelling, and much more. “Lethe,” the work’s melodramatic final chapter set to Mahler, was produced with the center’s support. (90 mins., DCP)
This Woman's Work:
Ericka Beckman, Cecilia Dougherty, and Jennifer Reeder
Saturday, April 8th, 12:30 PM
Hiatus, Ericka Beckman’s phantasmagoric, analogue exploration of virtual reality (1999, 30 mins., 16mm transferred to video); Gone, Cecilia Dougherty’s split-screen recreation of the PBS docudrama An American Family, here starring artists Laurie Weeks and Amy Sillman and featuring music by Le Tigre and Mike Iveson (2001, 36 mins., video); and the Ohio premiere of Artist Residency Award recipient Jennifer Reeder’s 2016 film Crystal Lake (19 mins., HD video). (program approx. 85 mins.)
The Modern Jungle
(Charles Fairbanks and Saul Kak, 2016) Visiting Filmmaker
Saturday, April 8th, 2:30 PM
(Evan Meaney and Amy Szczepanski, 2015) Visiting Filmmaker
Saturday, April 8th, 5:00 PM
Part software demo, part documentary, Big_Sleep™ explores the human desire to collect and to archive—and the problems inherent in those urges. Presented as a computer screencast, the film dives into a labyrinth of layered information that spans technical process, cultural history, and personal stories. Material from the life and work of fearless newsreel cinematographer William Birch (1918–2011) is woven throughout, offering a compelling argument for the importance of access in the present and an acceptance of the fact that nothing lasts forever.
Before the screening, Evan Meaney will give a tutorial of his and Amy Szczepanski’s Big_Sleep™ Media Encoder, a software program that paradoxically preserves digital elements by putting them into permanent cold storage—archived files won’t decay but they may never be opened or viewed again. (program approx. 35 mins., video)
The Illinois Parables
(Deborah Stratman, 2016), Visiting Filmmaker
Saturday, April 8th, 7:00 PM
Made with the support of a 2006–7 Wexner Center Artist Residency Award, Deborah Stratman’s newest film uses the history and landscape of the state of Illinois to explore such varied topics as faith, violence, technology, exodus, freedom, and resistance. Stratman’s film masterfully combines archival and observational footage, historical reenactment, and a richly layered soundscape to offer a timely consideration of how ideologies and national identity are shaped over the architectonic structure of 11 vignettes. The Illinois Parables premiered at the 2016 Sundance Film Festival and received the Stan Brakhage Film at Wit’s End award at the 54th Ann Arbor Film Festival. (60 mins., 16mm)
A festival pass includes admission to all Picture Lock talks and screenings: $15 members, students, seniors / $20 general public.
For more event details, visit: http://wexarts.org/film-video/series/picture-lock-2017