Saturday, August 5th, 2017
7:30pm (doors 7:00pm)
16 Sherman Street, San Francisco
“In the spirit of the Salon and with my own allegiance to the fragmented film and negligible image, I’ll be screening an assembly of outtakes from my recent film rolls alongside my film from 2012 that was structured as fictional outtakes – the real thing next to its approximation.
Film critic Michael Sicinski brought this story to my attention in his review of my film Palms: Michael Snow was asked what the relationship was between two parts of his film and he answered “a splice.” Relationships by contiguity, resonances, and the connection that becomes the thing itself. Not to suggest the films I’ve chosen fromCanyon’s collection are provisional – they sing! – but I believe the form is at its brightest when you can’t quite pin down what holds things together, even when you know its just a splice.” -Mary Helena Clark
A Salon with Mary Helena Clark
All works presented in 16mm.
Breathing, by Robert Breer (1963, 5 min, B&W)
Standard Time, by Michael Snow (1968, 8 min, color)
Letters, by Dorothy Wiley (1972, 11 min, color)
Solidarity, by Joyce Wieland (1973, 11 min, color)
Tziporah, by Abraham Ravett (2008, 7 min, color)
Orpheus (outtakes), by Mary Helena Clark (2012, 6 min, B&W)
outtakes from Mary Helena Clark’s recent film rolls
Mary Helena Clark is an artist working in film, video, and installation. Her work uses the language of collage, often bringing together disparate subjects and styles that suggest an exterior logic or code, to explore dissociative states through cinema. Working with quotation, the materiality of film, and incongruous sound/image relationships, Clark’s recent work explores shifting subjectivities and the limits of the embodied camera. Her films, such as After Writing (2008), And the sun flowers (2009), Sound Over Water (2009), By foot-candle light (2011), The Plant (2012), Orpheus (outtakes) (2012) and The Dragon is the Frame (2014), have been screened at International Film Festival Rotterdam, New York Film Festival, Toronto International Film Festival, Wexner Center for the Arts (Columbus), Vox Populi (Philadelphia), Anthology Film Archives (New York), Museum of Contemporary Photography (Chicago), National Gallery of Art (Washington DC), and the Brooklyn Academy of Music, among others.
Canyon Cinema is thankful for the long term support of the George Lucas Family Foundation. Dedicated project funding for Canyon Cinema 50 has been generously provided by the Andy Warhol Foundation for the Visual Arts, National Endowment for the Arts, Owsley Brown III Foundation, Phyllis C. Wattis Foundation and The Fleishhacker Foundation.