FRIENDLY WITNESS (US, 1989, Warren Sonbert)

FRIENDLY WITNESS (US, 1989, Warren Sonbert)

Curator Jon Gartenberg writes: “In FRIENDLY WITNESS, Sonbert returned, after 20 years, to sound. In the first section of the film, he deftly edits a swirling montage of images — suggestive of loves gained and love lost — to the tunes of four rock songs. “At times the words of the songs seem to relate directly to the images we see... at other times words and images seem to be working almost at cross-purposes or relating only ironically. Similarly, at times the image rhythm and music rhythm appear to dance together, while at others they go their separate ways.” (Fred Camper).”

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THE CUP AND THE LIP (US, 1986, Warren Sonbert)

THE CUP AND THE LIP (US, 1986, Warren Sonbert)

“Sonbert’s most recent film refines the premises of his work over the past 15-odd years. His bravura-acrobatic camera and editing style of the ‘70s pale next to the seemingly effortless spectacle he produces today... The film is so dense it’s impossible to apprehend it at a single viewing… It is Sonbert’s darkest work.” —Amy Taubin, Village Voice

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HONOR AND OBEY (US, 1988, Warren Sonbert)

HONOR AND OBEY (US, 1988, Warren Sonbert)

In Warren Sonbert's HONOR AND OBEY, soldiers march in formation, a tiger stalks through the snow, religious processions wind through the streets, and palm trees wave in a tropical breeze. As brightly colored images of authority figures blend into scenes of cocktail parties, this 21-minute silent film flows along with the grace of a musical score built on complex tensions hidden among notes.

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CARRIAGE TRADE (US, 1973, Warren Sonbert)

CARRIAGE TRADE (US, 1973, Warren Sonbert)

Warren Sonbert considered CARRIAGE TRADE (1973) his “magnum opus.” In this film, Sonbert interweaves footage taken from his journeys throughout Europe, Africa, Asia, and the United States, together with shots he removed from the camera originals of a number of his earlier films.

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THE TENTH LEGION (US, 1967, Warren Sonbert)

THE TENTH LEGION (US, 1967, Warren Sonbert)

In THE TENTH LEGION, Sonbert presents his college age friends at work and play, wandering the streets of NYC, lounging, shopping, and posing for the camera. The film stylistically exemplifies Sonbert’s masterful use of a constantly moving hand-held camera as it trails the teenage protagonists in choreographed fashion, and of chiaroscuro lighting effects in interior scenes.

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THE BAD AND THE BEAUTIFUL (US, 1967, Warren Sonbert)

THE BAD AND THE BEAUTIFUL (US, 1967, Warren Sonbert)

One of the most profound themes coursing through Sonbert’s work is that of love between couples in all its pitfalls and perfect moments. To express this theme, Sonbert employed diverse cinematic strategies. These include in-camera editing (in THE BAD AND THE BEAUTIFUL,1967), twin-screen effects (in two “lost” films -- CONNECTION and TED AND JESSICA -- also both from 1967), and montage sequences (beginning with TUXEDO THEATRE, 1969).

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Warren Sonbert Collection

Warren Sonbert Collection

Warren Sonbert (1947-1995) was one of the seminal figures working in American experimental film. He started making films in 1966 while a student at New York University, and before he was 20 years old, his first career retrospective drew the attention of the film critic for the commercial trade journal Variety, who wrote that “Probably not since Andy Warhol’s The Chelsea Girls had its first showing at the Cinematheque... almost a year and a half ago has an ‘underground’ film event caused as much curiosity and interest in N.Y.’s non-under- ground world as did four days of showings of the complete films of Warren Sonbert at the Cinematheque’s new location on Wooster St.”

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AMPHETAMINE (US, 1966, Warren Sonbert and Wendy Appel)

AMPHETAMINE (US, 1966, Warren Sonbert and Wendy Appel)

“Sonbert began making films in 1966, as a student at New York University's film school in New York. In his first films, he uniquely captured the spirit of his generation, and was inspired both by his university milieu and by the denizens of the Warhol art scene. In both provocative and playful fashion, AMPHETAMINE depicts young men shooting amphetamines and making love in the era of sex, drugs and rock and roll.” - Jon Gartenberg

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WHERE DID OUR LOVE GO? (US, 1966, Warren Sonbert)

WHERE DID OUR LOVE GO? (US, 1966, Warren Sonbert)

WHERE DID OUR LOVE GO? is an homage to the artistic and social milieu of New York City in the 1960s, as portrayed by the youthful protagonists in the film. Sonbert chronicles his friends and colleagues at the Janis and Castelli galleries, MOMA, Warhol’s Factory, the Bleecker Street Cinema, a rock concert, shopping, dancing, partying, and simply hanging out.

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HALL OF MIRRORS (US, 1966, Warren Sonbert)

HALL OF MIRRORS (US, 1966, Warren Sonbert)

“This film is an outgrowth of one of Sonbert's film classes at NYU, in which he was given outtakes from a Hollywood film photographed by Hal Mohr to re-edit into a narrative sequence. Adding to this found footage, Sonbert filmed Warhol's superstars Rene Ricard and Gerard Malanga in more private and reflective moments.” - Jon Gartenberg

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The Projection Beam to the Digital Stream, From the Museum to the Internet

The Projection Beam to the Digital Stream, From the Museum to the Internet

Former, long-time curators in video and film at the Museum of Modern Art, Barbara London and GME President Jon Gartenberg discuss their journeys from the 1970s aspects of institutionalized media collection and exhibition, festival programming and the long road of transitions in media formats.

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