Poetry

2010
Opal Essence

He sighs for strange and hidden cities whose walls are pink stone, inlaid with opals, ebony and silver, and for altars where the body is worshiped under the shrine of night.

2014
Perplexities, Mike Kuchar

...If a person can get "sick of living in the same old place," - then why not "sick of the same old skin" !?!  -- Mike Kuchar 

2006
A Poem for Summer

Dark, domestic tensions need the cleansing rays of a bright summer afternoon.

2007
Ephraim Asili "Points on a Space Age"

“A documentary about the Arkestra, but it's one whose presentation reflects the multilevel approach Sun Ra had to music and life in general. Jump cuts and split screens dot the visual stream with home movie footage from the Arkestra in Egypt during the '70s to the Arkestra of today led by Marshall Allen. Director Ephraim Asili wisely divides the 40 minutes into distinct chapters, illustrating each with band interviews, live footage, visuals of planets and NASA launches, and his voice quoting writings from Ra.

2014
RatNest

On the horizon, beyond their reach lies the shores of Poetry, and beneath their feet the chaos of Hell!

"Kuchar’s RatNest was similarly at play, as the programme’s title captures, albeit in the more claustrophobic surrounds of the avant-garde poetry scene. Full of anachronistic video work (screen peels, neon frames) and stagily amateurish performances, RatNest is unabashedly fun and funny, a rare quality in experimental cinema..."

Sophie Mayer, Bodies and Film: Experimenta 2015 at the London Film Festival, www.bfi.org.uk

2004
Romance

Nymphs and Satyrs are conjured back into activity when poetry is recited and fluffy clouds sail above the contemporary, domestic landscape.

2015
Saints and Sinners

...One does not tell the MUSE that INSPIRATION has been delivered to the wong address.

--Mike Kuchar

1982
Peter Schjeldahl: An Interview

Peter Schjeldahl (b.1942) began writing his “poetical criticism” for Tom Hess at ArtNews in the mid 1960s. He has since written for both popular and specialized publications including The New York Times, Art in America, and The Village Voice, among others. In this interview from 1982, Schjeldahl discusses the critic’s relationship to the artist, the audience, artwork, and the professional community of art critics. He also reads some of his own poetry.Currently, Schjeldahl writes for The New Yorker and various art journals.

2016
Sea is History

The Sea is History, made in the Dominican Republic and Haiti, is a free adaptation of the poem by Derek Walcott.

2011
Shayne's Rectangle

In Shayne's Rectangle, Dani Leventhal's moving and mysterious prayer for healing, a horse farm and a casual poolside dissection are the nodes between which a series of patiently taken sharp turns maneuver through moods both intimate and detached. The camera pursues, observes, offers, reflects, and is reflected. Things clear and things indistinct interact rhythmically, resonantly, producing a volatile and haunting visual prosody.

-- Jeremy Hoevenaar

1988
Daniel Reeves, Sombra y Sombra

An example of what Reeves terms “video poetics,” layered images of a deserted village in the Spanish countryside play counterpoint to poetry by Cesar Vallejo and Pablo Neruda. Using slick production techniques, Reeves marks the passing of time and human presence with a video transparency effect. What we see is a ghost of what was. Reeves’s precise editing makes for an extraordinarily fluid tape, as images seem to fly through the landscape, through past, present and future.

1990
Son of Border Crisis

In these seven short video performances directed by Isaac Artenstein, Gómez-Peña confronts Mexican-American culture clashes, stereotypes, and the Fourth World (immigrants). Speaking through a bullhorn or on the airwaves of mock-station Radio Latino FM, he broadcasts a message that will not be silenced.

2011
Stone Boy, The

He hears the whispers of gargoyles in a hall of heavy stone.

-- Mike Kuchar

2009
Swan Song

A pair of de-iced dove wings are on the floor next to his bed, states the poet who is deeply in love, and falling deeper, in this pictoral poem.

2012
The Name is not the Thing named, Deborah Stratman

In support of experiences that are essentially common, but to which language does not easily adhere, the video passes through places that are both themselves, and stand-ins for others. The title is taken from Aleister Crowley’s 1918 translation of the Tao Te Ching.

Camera, Edit, Sound Design: Deborah Stratman

Music: Eliane Radigue