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DESCRIPTION:For the second part in this series of monthly guest curated sc
 reenings held in conjunction with the exhibition The Renegades: American A
 vant-Garde Film\, 1960–1973\, Minneapolis-based visual artist Cameron Ga
 iner selected a program of short films by his mentor\, Stan Brakhage.\nBra
 khage is one of the most important and prolific figures in American avant-
 garde film\, with a career that spanned five decades and includes more tha
 n 350 films. While his early works explored psychological themes and conce
 pts borrowed from the Surrealists nonlinear narratives\, Brakhage’s film
 s soon became more metaphysical and shifted by the late 1950s and 1960s to
 ward a more personal and romantic form. Breaking completely away from a li
 near narrative\, his work often employed gestural camera movements\, multi
 ple layers of imagery\, and physical manipulation of the material's surfac
 e. Similar to many experimental filmmakers of this period\, Brakhage suppo
 rted himself by teaching. From 1981 until his death in 2003\, he taught cl
 asses and hosted salons on art and filmmaking at the University of Colorad
 o at Boulder. \nGainer initially sought Brakhage as an instructor by enrol
 ling at UC Boulder\, only to find the legendary filmmaker on an extended m
 edical leave. During this time\, however\, Brakhage continued to engage wi
 th students by hosting salon-style screenings called First Person Cinema. 
 Gainer attended these events with great interest\, building a friendship w
 ith Brakhage that included a mentorship exchange and studio visits. Though
  Gainer eventually changed his major to fine arts with an emphasis in scul
 pture\, Brakhage’s influence is evident in his practice and alluded to i
 n works such as the video piece Luna del Mar (2011)\, on view in the exhib
 ition Midnight Party.   \n\nFor this program\, Gainer selected five short 
 films from the Walker’s Ruben/Bentson Collection made between 1959 and 1
 970 that trace Brakhage’s shift away from psychodrama and toward a more 
 abstract\, personal form. The screening features all new prints purchased 
 with generous support from the Bentson Foundation.   \n\nProgram length 55
  minutes.       \n\nWindow Water Baby Moving*\nQuick shots of loving hands
  on a pregnant stomach\, joyful eyes\, smiles\, and the silhouette of an e
 xpecting woman give way to a raw\, graphic\, and visually stunning documen
 t of Brakhage’s first child being born. 1959\, 16mm\, 13 minutes.\nSexua
 l Meditation: Motel #1*\nPart of the Sexual Meditation series\, this film 
 is a rhythmic and abstract exploration of light\, hand-painted textures\, 
 and the possibilities of two nudes in a room. 1970\, 16mm\, 6 minutes. \nS
 exual Meditation: Room with a View\nThis “sequel” to Sexual Meditation
 : Motel #1 is a playful film of three nudes in a room that incorporates su
 ch techniques as jump cuts\, double exposures\, and hand-painting.\n1970\,
  16mm\, 4 minutes.\nSongs 1–7*\nFrom a larger series of 31 short silent 
 films\, Songs 1–7 capture scenes from Brakhage’s life using his intens
 e first-person perspective. 1966\, 16mm\, 28 minutes.\nMothlight\nOne of B
 rakhage’s best-known films\, Mothlight was created without the use of a 
 camera by simply pressing moth wings\, leaves\, and other organic objects 
 between two strips of Mylar tape and then rephotographing it by running it
  through an optical printer. 1963\, 16mm\, 4 minutes.    \n\n\n* Denotes t
 itles donated to the Walker’s Ruben/Bentson Film and Video Study Collect
 ion by Sally Dixon. \n
LOCATION:Cinema\n
SUMMARY:A Renegade’s Vision: An Evening of Stan Brakhage Films 
URL:http://www.walkerart.org/calendar/2012/renegades-vision-evening-stan-b
 rakhage-films
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