The first 2003 Focal Point presentation was made by the screenwriter and director Michael Almereyda, who has worked on a range of independent, commercial and experimental films for the past fifteen years.
Toshiaki Ozawa has worked as a lighting designer, camera operator and director of photography on features, music videos and experimental films. Feature projects include I Shot Andy Warhol, Two Bits, Philadelphia, 12 Monkeys, Buffalo 66, Happiness, and American Psycho. His most recent feature credits include additional photography on Personal Velocity and Director of Photography on On Line. He recently completed cinematography on Vincent Gallo's film The Brown Bunny. He has also created music videos and experimental projects for Isaac Julien, Mario Sorrenti, Paul Dektor, James Sommerville, Ted Demme, Veruschka, and Trollback. At Eyebeam, Mr. Ozawa screened a variety of work from throughout his career, and spoke about directing photography in a variety of contexts.
Crewdson's photographs are highly narrative, referencing film and theatrical productions by constructing elaborately staged events. In his early career, he built and photographed miniature dioramas, and his recent work is an actual-size expansion of this method. A single photograph might employ the work of an entire team of helpers and up to one month to produce.
Mike Figgis career in feature films and documentaries began in experimental theater and music. Early on he formed his own theater company, The Mike Figgis Group, and began creating multi-media productions, which included extensive use of film. Figgis film work includes the critically acclaimed Leaving Las Vegas (for which he was nominated for Academy Awards for both Best Director and Best Adapted Screenplay), and the visually groundbreaking split-screen Timecode.
Focal Point Lecture: Christian Marclay, July 28, 2004 Christian Marclay is a visual artist and musician whose practice explores the relations between sound and image within the visual and new media arts. By using records as his “musical instruments,” creating posters of blank sheet music, producing soundless records and exhibiting an endless array of abstract ways to align “the visual” with sound, Marclay shifts our expectation of what we should be looking at and listening to. The talk will take place at 7:00pm at Eyebeam, 540 W. 21st Street, between 10th and 11th Avenues, and is free to the public with a suggested donation.
Paul Chan, an artist and musician whose work explores the intersection between visual art and sound, will screen and discuss recent work as part of the Focal Point Lecture Series from Eyebeam’s Moving Image Studios.
Given the primary use of digital media in the advertising and entertainment industries, what are the creative possibilities and problems of using these tools for artmaking today? Artist Paul Pfeiffer attempts to answer this and other questions in a presentation of video, photography and sculpture from the last seven years, with an emphasis on recent works from 2004-05. Works to be screened include excerpts from Empire, Desiderata, Pier and Ocean, Orpheus Descending, and The Long Count.
Please join us as artist Michael Snow screens and discusses past projects including photographic works, holographic works and installations that use moving images. Snow will play and discuss The Last LP CD which was issued in 1987 as a vinyl album and reissued in 1994 as a CD, and the 2003 DVD WVLNT. Wavelength For Those Who Don't Have the Time. Originally 45 minutes. Now 15!
Sound media artist Stephen Vitiello will screen and discuss recent work, including Light Reading(s): Visual Mix (2003) currently on view as part of the exhibition What Sound Does A Color Make?. Vitiello's collaborations with visual artists and architecturally based sound installations explore the physicality of sound and its potential to define the form and atmosphere of a spatial environment.
“Time-based painter” Jeremy Blake will screen and discuss recent work on Tuesday, October 11th at Eyebeam as part of the Focal Point Lecture Series. Work presented will include Sodium Fox (2005), among other pieces featured in his October show at Feigen Contemporary. Blake’s films collage together abstract and representational images, bringing together painting and animation into looped semi-narratives.