Avant Garde Influences Mainstream Movies! 49th NYFF Forums Welcomes Jon Gartenberg as Guest Speaker

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AVANT GARDE INFLUENCES MAINSTREAM MOVIES!

VENUE: FILM CENTER AMPHITHEATER

CATEGORIES: NYFF

Presented by New York Women in Film and Television. Organized by Terry Lawler, Executive Directorand NYWIFT Board Members Anne Hubbell and Eileen Newman.

For generations experimental filmmakers have been developing new cinematic techniques that haveredefined cinema. This panel of filmmakers, curators and educators looks at how the experiments andground-breaking new filmmaking by the avant garde have influenced and been adopted by mainstreamcinema.

Speakers include Ina Archer, Independent Media Artist; Sara Driver, director and producer, whose newlyrestored film, You Are Not I, is playing at the New York Film Festival; Roberta Friedman, independent producer and post production supervisor; Jon Gartenberg, independent curator and President, Gartenberg  Media; and MM Serra, Executive Director, Filmmakers Coop. The panel will be moderated by Drake Stutesman, Editor, Framework: The Journal of Cinema and Media.

SERIES: NYFF FORUMS

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    SHOWTIMES

     Thu Oct. 6: 7:00 pm - AMP 

Open Event  

Couldn't make it to the forum? Check out our archived livestream video below.

Watch 

live streaming video

 from 

filmlinc

 at livestream.com

Jon Gartenberg, New York Women in Film & Television (NYWIFT) & Tribeca Film Festival (TFF) on YouTube

 

 

                                                                                                                                          Tribeca Film Festival Programmer Jon Gartenberg partners with the Women's Film Preservation Fund of New York Women in Film & Television. Dating from 1950 to 1984, these 11 short films contain experimental narratives, personal documentaries, and abstract animation from the likes of Mary Ellen Bute, Storm de Hirsch, Faith Hubley, and Marie Menken, as well as contemporary voices of living female artists. Asserting the contributions of women filmmakers in the canon of the American experimental avant-garde, this program also celebrates 15 years of direct financial support for preservation of historically under-recognized films by women through the Women's Film Preservation Fund of New York Women in Film & Television.

Featured in the program: Pastorale (1950, dir. Mary Ellen Bute), Divination (1964, dir. Storm de Hirsch), Windy Day (1967, dir. Faith Hubley), Zenscapes (1969, dir. Marie Menken), Anything You Want to Be (1971, dir. Liane Brandon), Homage to Magritte (1974, dir. Anita Thacher), Michigan Avenue (1973, dir. Bette Gordon), Coney (1975, dir. Caroline Ahlfors Mouris, Frank Mouris), Desire Pie (1976, dir. Lisa Crafts), Remains to be Seen (1983, dir. Jane Aaron), and Bent Time (1984, dir. Barbara Hammer). Special thanks to Academy Film Archive, Anthology Film Archives, Emily Hubley, The Museum of Modern Art Department of Film, Cecile Starr, and the individual filmmakers for their participation. 

Tribeca Talks: Join us for a conversation with an eclectic group of women filmmakers who helped shape avant-garde cinema. Panelists to include: directors Liane Brandon, Lisa Crafts, Barbara Hammer, Jane Aaron, Bette Gordon, as well as Bute films curator/collector Cecile Starr, animator Emily Hubley, and Tribeca's experimental film programmer Jon Gartenberg. Moderated by Drake Stutesman, Co-Chair of The Women's Film Preservation Fund and editor of Framework: The Journal of Cinema and Media.

Learn more about the directors in ths program
Read more about the films and filmmakers in this program: 
Jane Aaron http://www.janeaaron.com
Liane Brandon http://www.newday.com/filmmakers/Liane_Brandon.html 
Mary Ellen Bute http://www.centerforvisualmusic.org/Bute.htm 
Lisa Crafts http://www.lisacrafts.com/ 
Bette Gordon http://www.handsomeharrythemovie.com/
Barbara Hammer http://www.barbarahammer.com 
Emily Hubley http://www.emilyhubley.com
Anita Thacher http://www.anitathacher.com

The Wall Street Journal Spotlights Jon Gartenberg's Tribeca Film Festival (TFF) Programming

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NY CULTURE  |  MARCH 12, 2011

Tale of Two Festivals: Tribeca vs. SXSW

By STEVE DOLLAR  [Excerpt]

Austin, Texas

Tribeca devotes half its roster to works by less-known filmmakers, with a wide spectrum of international titles that haven't been a significant part of SXSW's mission. But it also boasts high-wattage star power, with a healthy portion of its schedule devoted to marquee names and genre entertainments. "They really filled a void in New York," said Bill Morrison, a New York avant-garde filmmaker who will premiere "The Miners' Hymns," his first feature-length film at Tribeca, after four previous visits with short efforts. "They had a lot of corporate sponsorship and were able to make it a destination festival in a hurry."

Underneath the gloss, the festival has long championed experimental work like Mr. Morrison's, through one of its programmers, Jon Gartenberg. "If you can find someone like that in any festival, it's a great boon to bringing in different types of work," says Mr. Morrison.

Mr. Morrison, an East Village resident whose investigations into the nature of cinema have shown world-wide, also is happy to avoid JFK airport. When his movie premieres next month, "I can just ride my bike."                                                                                                                                     

The Miners' Hymn

Bill Morrison's THE MINERS' HYMNS (2011)  -  Miners’ Gala Day, Durham, 1963 

 Read the entire WSJ article by following this link:  http://online.wsj.com/article/SB10001424052748703597804576194702429879220.html

Experimental Film Programs at Tribeca Film Festival, April 20 – May 1, 2011

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Experimental Film Programs at Tribeca Film Festival, April 20 – May 1, 2011

Jon Gartenberg has programmed experimental and avant-garde films for the Tribeca Film Festival since 2003.   This year’s four programs consist of two new features, by Marie Losier and Bill Morrison, and two shorts programs, "Impressions of Memory" and special program celebrating the preservation work of the Women’s Film Preservation Fund of New York Women in Film & Television (NYWIFT).                              

The Ballad of Genesis and Lady Jaye

[BALLA] 

Viewpoints

Feature Documentary,

2011, 70 min 

Directed by: Marie Losier 

Filmmaker and TFF alum Marie Losier, who has created engaging short films on avant-garde artists like George Kuchar and Guy Maddin, makes her feature documentary debut with a mesmerizing and deeply romantic love story between pioneering musician and performance artist Genesis P-Orridge and soul mate Lady Jaye. Breaking new ground in its depiction of gender identity,

 Ballad

 chronicles the physical and spiritual merging of two beings into one.

Read More

Public Screenings

Mon, Apr 25, 7:00PM

AMC Loews Village 7 - 2

Wed, Apr 27, 9:00PM

SVA Theater 2 Beatrice

Thu, Apr 28, 3:00PM

Clearview Cinemas Chelsea 7

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The Miners' Hymns

[MINER] 

Viewpoints

Feature Documentary

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2011, 52 min 

Directed by: Bill Morrison

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Experimental filmmaker and frequent TFF alum Bill Morrison combines newly shot aerial scenes that he filmed himself with historic found-footage images of the mining communities of Northeast England that he culled from the British national archives. Morrison creates a moving and formally elegant tribute to this vanished era of working-class life, enriched by an original score by avant-garde Icelandic composer Jóhann Jóhannsson.

Read More

Public Screenings

Fri, Apr 22, 7:00PM

Clearview Cinemas Chelsea 5

Mon, Apr 25, 7:30PM

Clearview Cinemas Chelsea 9

Thu, Apr 28, 12:45PM

Clearview Cinemas Chelsea 8

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Shorts: Impressions of Memory

[SIMPR] 

Short Film Program

Program

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2011, 69 min  

These talented artists address, in both thematically and stylistically distinct ways, the manner in which images evoke memory. This is achieved through the use of text, the presence of previously filmed "found" footage, a scenic train ride bleeding into digital pixels, single frame printing devices, evocations of 9/11, a tribute to a deceased filmmaker, peripheral vision, recall of sleep via animation, seascape imagery folding back on itself in time, and bittersweet remembrances of now-extinct Kodachrome film stock.Read More

Public Screenings

Thu, Apr 21, 7:30PM

Clearview Cinemas Chelsea 9

Sun, Apr 24, 10:30PM

Clearview Cinemas Chelsea 9

Fri, Apr 29, 2:30PM

Clearview Cinemas Chelsea 4

Sun, May 01, 11:00AM

Tribeca Cinemas Theater 1

Independent Women: 15 Years Of NYWIFT-Funded Film Preservation

[NYWIF]

Tribeca Talks

Program

,

2011, 84 min 

Dating from 1950 to 1984, these 11 short films contain experimental narratives, personal documentaries, and abstract animation from the likes of Mary Ellen Bute, Storm de Hirsch, Faith Hubley, and Marie Menken, as well as contemporary voices of living female artists. Asserting the contributions of women filmmakers in the canon of the American experimental avant-garde, this program also celebrates 15 years of direct financial support for preservation of historically under-recognized films by women through the Women's Film Preservation Fund of New York Women in Film & Television. 

Special thanks to Academy Film Archive, Anthology Film Archives, Emily Hubley, The Museum of Modern Art Department of Film, Cecile Starr, and the individual filmmakers for their participation. 

Tribeca Talks: Join us for a conversation with an eclectic group of women filmmakers who helped shape avant-garde cinema. Panelists to include: directors Liane Brandon, Lisa Crafts,Barbara HammerJane AaronBette GordonCaroline Mouris, as well as Bute films curator/collector Cecile Starr, animator Emily Hubley, and Tribeca's experimental film programmer Jon Gartenberg. Moderated by Drake Stutesman, Co-Chair of The Women's Film Preservation Fund and editor of Framework: The Journal of Cinema and Media.Read More

Public Screenings

Sat, Apr 30, 7:00PM

SVA Theater 1 Silas

Jon Gartenberg as Guest Panelist for the 15th International Saguenay Short Film Festival

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Saguenay

THE DISTRIBUTION OF SHORT FILMS

My films shown everywhere

Saturday march 12th > 10 h 30 à 12 h > Café Cambio

The distribution of short films

As a much-expected rendezvous which gathers buyers and programming officers from Europe and the United States around a same table, this workshop provides directors with the necessary tools for making their films travel around. It is an unparalleled opportunity to have an access to professionals who reveal their trade’s inner workings. A privileged encounter which allows you to ask questions and establish first contacts.

Discussion leader

Maxence Bradley acts as independent producer and consultant for various firms. He notably participated in the production and distribution of the film Next Floor by Denis Villeneuve and presently works as executive producer for Pedro Pires and Robert Lepage’s next feature film, inspired from the theatre play Lipsynch.

Panellists

Christophe Taudière – Programming counselor to France Télévisions and responsible of "Histoires Courtes" on France 2

Augusti Argelich Girones – Buyer and programmer, TV3 televisio de Catalunya, Spain

Jon Gartenberg – Experimental films programmer, Tribeca Film Festival, USA

Todd Luoto – Short films programmer, Sundance Festival, USA

Florence Keller – Buyer, Régie TV Cable - Agence du court métrage, France

Laurent Guerrier – Buying responsible and international selection comitee member, Clermont-Ferrand’s international short film festival, France

indieWIRE Profiles Tribeca Film Festival Programmers

Indiewire a

Toolkit I Meet the Tribeca Film Festival Programmers (In Their Own Words)

by Brian Brooks (December 8, 2010)    [

Excerpt

]

Among the many festivals indieWIRE covers yearly, April’s Tribeca Film Festival is one of the most anticipated and largest. As part of iW‘s ongoing series profiling film festival programmers in the iW Toolkit, the thoughts and advice of the Tribeca Film Festival‘s programmers take the spotlight below. Born out of the 9/11 attacks early last decade, Robert De Niro, Jane Rosenthal and Craig Hatkoff created a film event in part to help revitalize the neighboring Ground Zero neighborhood of TriBeCA. Since its 2002 launch, TFF has grown to say the least (...)                                                               

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                    Tribeca Film Festival co-founders Rober De Niro and Jane Rosenthal at the                    festival's awards ceremony last Spring. Photo by Brian Brooks/indieWIRE.

Tribeca Film Festival programmer profiles:

Jon Gartenberg, Experimental Film Programmer

Gartenberg on the approach Tribeca takes…

In each edition of the Tribeca Film Festival, the experimental works are included in all the various festival sections. Our approach is different from other festivals, where avant-garde films are segregated into their own area, and therefore tend to be marginalized.

This distinct approach at Tribeca enables our general audience to become engaged with these formally cutting edge and more personal kinds of films. Moreover, the experimental films compete for awards on an equal playing field against other kinds of movies.  Two experimental films have won major prizes at Tribeca:  Jennifer Reeves’ “The Time We Killed” (best New York narrative, TFF ’04) and Steve Bilich’s “Native New Yorker” (best documentary short, TFF ’06).

And on the evolving nature of the festival, and experimental films…

The shift in the economics of film distribution away from the model of theatrical releases, advances, and extensive print and advertising campaigns is in the process of producing some significant transformations in the ways that film companies, boutique distributors, and even film festivals operate.  For a number of film festivals, this currently involves outreach via digital distribution means to a public residing in more remote locations than the festivals brick-and-mortar screening locales.

Experimental films and videos historically have been shown to limited audiences in an array of nonprofit and alternative spaces.  These include museums, universities, libraries, galleries, microcinemas, lofts, storefronts, clubs, independent theaters, and informal gatherings of filmmakers showing new works to each other.  Their films have been self-distributed, primarily through nonprofit filmmaker cooperatives.

With the advent of digital technology, experimental filmmakers have been in the vanguard to avail themselves of the digital distribution methods, immediately recognizing the vastly wider audience that is available to see their works. As younger generations have shaped their digital universe with a “sampling” mindset, they are more predisposed to comprehend the non-linear narrative approach of many experimental films.  I think this means that younger generations of moving image viewers are intuitively receptive to the fractured narratives so present in many avant-garde films.                                                                                                                                  

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THE FRAGILE EMULSION Curated by Jon Gartenberg at UnionDocs on Sunday, December 5th at 7:30

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UNIONDOCS • 322 UNION AVE •BROOKLYN, NY 11211 

Decasia

Decasia by Bill Morrison

The Fragile Emulsion curated by Jon Gartenberg

Sunday, December 5th at 7:30pm $9 suggested donation.

Jon Gartenberg in attendance for discussion.

One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death. 

Purchase Tickets

Program Runtime 73 minutes.

DECASIA
by Bill Morrison                                                                     USA, 2002, 13 minutes (excerpt), digital projection

In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.

SANCTUSby Barbara Hammer                                                           USA, 1990, 18 minutes, 16mm

In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.

HER FRAGRANT EMULSIONby Lewis Klahr                                USA, 1987, 11 minutes, 16mm      

In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr

HALL OF MIRRORSby Warren Sonbert                                           USA, 1966, 8 minutes, 16mm

Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.

WARRENby Jeff Scher                                                                       USA, 1995, 3 minutes, 16mm

Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.

WHIPLASHby Warren Sonbert (restoration editor: Jeff Scher)                 USA, 1995/7, 20 minutes, 16mm

Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.

Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.

In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.

Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.                          

Presented with

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24th Leeds International Film Festival Program Celebrates The Films of Warren Sonbert

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Warren Sonbert (1947 - 1955) 

Director               Warren Sonbert

Country                USA

Running Time:      60 mins

Sun 21st Nov, 2010 - 16:00 @ East Street Arts (ESA) - £5.00 / £4.00

A celebration of just a small part of the superb oeuvre of Warren Sonbert, one of the seminal figures of American wondermental film and rarely shown in the UK. He started making films in 1966 and was given a retrospective before he was 20! His early films feature denizens of the Warhol scene, with his late works culminating in astonishing symphonic montages, both silent and sound, uniting universal human gestures into singular works of moving image artistry. A prolific theorist and critic as well as filmmaker, his films display a deep love and understanding of cinema. The programme, curated by Jon Gartenberg, is entitled ‘Silent Rhythms / Sound Symphonies II’ and includes the films ‘The Cup and the Lip’ (1986, colour, silent) and ‘Short Fuse’ (1992, colour & b/w, sound), both on 16mm.

Read more: http://www.leedsfilm.com/film/warren-sonbert-1947-1995/#ixzz15xneKLQd

“Warren Sonbert: Friendly Witness and Other Films” in Atlanta Celebrates Photography Film Series

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ACP FILM SERIESEYEDRUM

Warren Sonbert: Friendly Witness and Other Films

Atlanta Celebrates Photography and Film Love         present three nights of films by this crucial figure             of the American avant-garde.  

A "friendly witness," Warren Sonbert (1947-1995) holds a unique place in American independent film. On one hand he shows the distinct influence of Hitchcock and the Hollywood melodramas of Douglas Sirk, and on the other he was a rigorous avant-gardist. Sonbert's films have been the subject of retrospectives at the Guggenheim Museum and other institutions, but remain available only in 16mm prints and are too rarely screened.

Film Screening: Tue, Oct 26, 7pm - 9pm                                                                     

PROGRAM ONE - Juxtaposing early and late works, tonight's program (one of three) explores the maturation of Sonbert's style as well as his masterful use of music. His early trilogy of short films, set to exuberant rock and roll and documenting the seedy glamour of the 60s New York art world, established Sonbert's notoriety while he was still a teenage film student at NYU. Twenty years later, Sonbert returned to the music soundtrack in his masterpiece Friendly Witness - an intricate and deeply moving mosaic of people and places around the globe.

Film Screening: Thu, Oct 28, 7pm - 9pm                                                               

PROGRAM TWO - Sonbert's later filmmaking combines his precise but unconventional eye for color, composition, and shot content with his intricate and highly personal editing technique. 

Tonight's program presents Sonbert's magnum opus in this style (and his longest film), Carriage Trade.

Film Screening:  Fri, Nov 19, 7pm - 9pm                                                               

PROGRAM THREE - Program three explores Sonbert's career-long fascination with coupling - the dynamics of communication, romance, and desire. Honor and Obey, made at the peak of Sonbert's late period, and The Bad and the Beautiful, a restored 1960s film set to an effective popular music soundtrack. Also screened are films by two of Sonbert's influences, Stan Brakhage and Marie Menken.

Presented by ACP, Film Love and Eyedrum. Curated and hosted by Andy Ditzler for Frequent Small Meals.  Film Love was voted Best Film Series in Atlanta by the critics of Creative Loafing in 2006.

Free Admission

EYEDRUM290 Martin Luther King Jr. Dr,  Suite 8                                                                         Atlanta, GA 30312  [map: Google Maps]                                                                                                             p: (404) 522-0655                                                                                                                                               web: http://www.eyedrum.org

International Tour of Films by Warren Sonbert Previewing in Paris on September 15

Light Cone


     On the evening of September 15, 2010, two programs of films by Warren Sonbert will be featured in public projections at Cinema Action Christine (4 rue Christine, 75006 Paris, Métro St-Michel, price: 6€).  The programs will be introduced by curator Jon Gartenberg, and are held as part Light Cone’s Preview Show, an annual event gathering experimental film programmers from around the world.  The two programs, which span Sonbert’s entire artistic career, announce the launch of an international tour of his films by Light Cone, the exclusive European distributor of his films.

     Warren Sonbert was one of the seminal figures of American experimental cinema.  He began making films in 1966 while a student at New York University.  Sonbert built upon his early experiments with camera movement, lighting, and framing to subsequently create brilliantly edited masterworks that encompass not only his New York milieu, but also the larger sphere of global activity.  Sonbert’s passionate interest in film, music, experimental poetry, and travel is reflected in his films; he lived a completely engaged life, and the images culled from that life formed the raw material of his artistic expression.  His late works culminated in symphonic montages (both silent and sound) that unite universal human gestures into singular works of moving image artistry.

     Following Warren’s untimely death in 1995, a project was undertaken under the auspices of the Estate Project for Artists with AIDS, in conjunction with curator Jon Gartenberg, to restore his final film, WHIPLASH, to public view as well as to preserve his entire extant body of work.  A complete set of preservation negatives of Sonbert’s films are now housed at the Academy Film Archives in Los Angeles. 
Sonbert retrospectives have subsequently taken place at the Guggenheim Museum (1999), the San Francisco Museum of Modern Art (2000), the Centre Pompidou (2002), the Austrian Filmmuseum (2005), Anthology Film Archives (2006), and the Harvard Film Archive (2008).

     Prints of Sonbert’s films are now available for European distribution exclusively from Light Cone.  Light Cone, in collaboration with Gartenberg Media Enterprises, will present a new tour of Warren Sonbert’s films throughout European cinematheques, festivals, and other cultural institutions beginning in the fall of 2010.


For more information visit: www.lightcone.org

Or contact us at:  info@gartenbergmedia.com


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