Janine Antoni is among the artists featured in “!Women Art Revolution”
Lynn Hershman Leeson is the quintessential Renaissance woman. Her artwork is held in numerous collections at galleries across the globe. Her work in new media earned her the Digital Art Museum in Berlin’s 2010 d.velop digital art award, the most distinguished honor for lifetime achievement in the field of new media. Leeson’s films have screened at many of the world’s most renowned film festivals, and she has been a Sundance Screenwriter Lab Fellow and recipient of the Alfred P. Sloan Prize for writing and directing the 2002 film “Teknolust.” Her latest effort, “!Women Art Revolution,” premiered at the 2010 Toronto International Film Festival and is screening at the 2011 Sundance Film Festival. It is a collection of 40 years’ worth of interviews with those who pioneered the feminist art movement. Here, she writes for Moving Pictures about how she came to make the film.
Lynn Hershman Leeson is the quintessential Renaissance woman. Her artwork is held in numerous collections at galleries across the globe. Her work in new media earned her the Digital Art Museum in Berlin’s 2010 d.velop digital art award, the most distinguished honor for lifetime achievement in the field of new media. Leeson’s films have screened at many of the world’s most renowned film festivals, and she has been a Sundance Screenwriter Lab Fellow and recipient of the Alfred P. Sloan Prize for writing and directing the 2002 film “Teknolust.” Her latest effort, “!Women Art Revolution,” premiered at the 2010 Toronto International Film Festival and is screening at the 2011 Sundance Film Festival. It is a collection of 40 years’ worth of interviews with those who pioneered the feminist art movement. Here, she writes for Moving Pictures about how she came to make the film.
- 6/1/2011
- by admin
- Moving Pictures Magazine
Janine Antoni is among the artists featured in “!Women Art Revolution”
Lynn Hershman Leeson is the quintessential Renaissance woman. Her artwork is held in numerous collections at galleries across the globe. Her work in new media earned her the Digital Art Museum in Berlin’s 2010 d.velop digital art award, the most distinguished honor for lifetime achievement in the field of new media. Leeson’s films have screened at many of the world’s most renowned film festivals, and she has been a Sundance Screenwriter Lab Fellow and recipient of the Alfred P. Sloan Prize for writing and directing the 2002 film “Teknolust.” Her latest effort, “!Women Art Revolution,” premiered at the 2010 Toronto International Film Festival and is screening at the 2011 Sundance Film Festival. It is a collection of 40 years’ worth of interviews with those who pioneered the feminist art movement. Here, she writes for Moving Pictures about how she came to make the film.
Lynn Hershman Leeson is the quintessential Renaissance woman. Her artwork is held in numerous collections at galleries across the globe. Her work in new media earned her the Digital Art Museum in Berlin’s 2010 d.velop digital art award, the most distinguished honor for lifetime achievement in the field of new media. Leeson’s films have screened at many of the world’s most renowned film festivals, and she has been a Sundance Screenwriter Lab Fellow and recipient of the Alfred P. Sloan Prize for writing and directing the 2002 film “Teknolust.” Her latest effort, “!Women Art Revolution,” premiered at the 2010 Toronto International Film Festival and is screening at the 2011 Sundance Film Festival. It is a collection of 40 years’ worth of interviews with those who pioneered the feminist art movement. Here, she writes for Moving Pictures about how she came to make the film.
- 6/1/2011
- by admin
- Moving Pictures Network
.When the definitive book on media arts is written, San Francisco artist Lynn Hershman Leeson deserves a long chapter... San Francisco Chronicle
Lynn Hershman Leeson.s new film !Women Art Revolution will screen at the upcoming Sundance Film Festival. In addition to the screening Sundance will feature an installation titled Rawwar. Rawwar is a live participatory environment that allows users to .bring light. to lost or invisible histories of women in art with virtual flashlight controllers accessing an interactive community-curated archive.
!Women Art Revolution was recently acquired by Zeitgeist Films for North American distribution after premiering at the 2010 Toronto International Film Festival to critical acclaim. Zeitgeist Co-President Nancy Gerstman notes, .There is so much about the history of the Feminist Art Movement that has been unacknowledged up to now and Lynn Hershman Leeson has done a great service in enriching our understanding of the pioneering heroines from the `70s until today.
Lynn Hershman Leeson.s new film !Women Art Revolution will screen at the upcoming Sundance Film Festival. In addition to the screening Sundance will feature an installation titled Rawwar. Rawwar is a live participatory environment that allows users to .bring light. to lost or invisible histories of women in art with virtual flashlight controllers accessing an interactive community-curated archive.
!Women Art Revolution was recently acquired by Zeitgeist Films for North American distribution after premiering at the 2010 Toronto International Film Festival to critical acclaim. Zeitgeist Co-President Nancy Gerstman notes, .There is so much about the history of the Feminist Art Movement that has been unacknowledged up to now and Lynn Hershman Leeson has done a great service in enriching our understanding of the pioneering heroines from the `70s until today.
- 12/30/2010
- by Melissa Howland
- WeAreMovieGeeks.com
You've already seen Dustin's ranking of the five best Super Bowl commercials from last night. Notice that none of them are movie previews? That's because the trailers shown during the big game both sucked and were for the most part old. And they were for films you really couldn't give two burning, post-Super Bowl Sunday shits about, like The Last Airbender and, umm, The Back-Up Plan. Since when do football fans like J.Lo rom-coms about sperm-donor pregnancy?
What Hollywood needs to do, besides saving any money it's thinking about spending on movies like The Back-Up Plan and advertising of such movie, is go outside the box in their Super Bowl spots. If you're going to spend the $3 million for the time, spend a lil more and get Russell Crowe and his Merry Men to do a non-clip preview for Robin Hood in which they're playing football against Prince John and his army.
What Hollywood needs to do, besides saving any money it's thinking about spending on movies like The Back-Up Plan and advertising of such movie, is go outside the box in their Super Bowl spots. If you're going to spend the $3 million for the time, spend a lil more and get Russell Crowe and his Merry Men to do a non-clip preview for Robin Hood in which they're playing football against Prince John and his army.
- 2/8/2010
- by Christopher Campbell
But first... The Lovely Bones trailer with intro by Peter Jackson. Are you counting down the days? Have you read the novel?
Does this make you more or less confident in regards to its Oscar and/or box office potential?
links...
Cinematical Hugh Jackman to make a circus musical on P.T. Barnum. Anne Hathaway and Mika sought out for contributions? You don't say...
Only Good Movies picks 25 must see military themed pictures -- nice variety of genres represented here.
Av Club weighs in on the probably crappy GI Joe: The Rise of Cobra's decision to skip the usual screenings for critics. Nevertheless some critics in the fanboy community have seen it / like it. I wonder what will happen to film criticism in the long run now that the critical community is going to be even less diverse than it already was. Doesn't it seem like most people writing about...
Does this make you more or less confident in regards to its Oscar and/or box office potential?
links...
Cinematical Hugh Jackman to make a circus musical on P.T. Barnum. Anne Hathaway and Mika sought out for contributions? You don't say...
Only Good Movies picks 25 must see military themed pictures -- nice variety of genres represented here.
Av Club weighs in on the probably crappy GI Joe: The Rise of Cobra's decision to skip the usual screenings for critics. Nevertheless some critics in the fanboy community have seen it / like it. I wonder what will happen to film criticism in the long run now that the critical community is going to be even less diverse than it already was. Doesn't it seem like most people writing about...
- 8/5/2009
- by NATHANIEL R
- FilmExperience
- The San Francisco Film Critics’ Circle voted pretty much in agreeance with every other critic societies in major U.S cities the the exception of their pick for Best Film which went to Andrew Dominik’s The Assassination of Jesse James by the Coward Robert Ford a picture that Warner Bros didn't even bother promoting the feature film in my neck of the woods. Casey Affleck who had been getting mentions for his perf in Gone Baby Gone was acknowledged her for supporting actor in his man who shot Jesse James performance. Tamara Jenkins continues to get votes for her original screenplay with “The Savages” and the critics from local Bay Area publications awarded two distinct prizes, the The Marlon Riggs prize -- named after the late gay African-American filmmaker to honor “courage and innovation” by a Bay Area artist -- was bestowed upon Lynn Hershman-Leeson. Her latest feature,
- 12/11/2007
- IONCINEMA.com
- The 2007 AFI Fest ended with the screening of Love in the Time of Cholera and the announcement of this year's winners with the politically correct choice of Munyurangabo, an uneven drama set in Rwanda by a Korean-American director was a surprise given the strong line up this year. The tie between Operation Filmmaker and Afghan Muscles was justified, both were evocative and timely, dealing with an Iraqi film student and the other about Afghan body builders. Winners pictured above are: From left to Right: Jenny Lund (Munyurangabo), Nash Edgerton (Spider), Lauren Greenfield (Kids + Money), Jeffrey Schwarz (Spine Tingler! The William Castle Story), Andreas Mol Dalsgaard (Afghan Muscles), Micheal Addis (Heckler). The line up was one of the strongest in years including many films from Cannes (4 Months, 3 Weeks and 2 Days, The Diving Bell and the Butterfly, Persepolis, Silent Light, Jellyfish, Caramel, Secret Sunshine and others) and Berlin (Irina Palm, The
- 11/13/2007
- IONCINEMA.com
Strange Culture
Sundance Film Festival
PARK CITY -- You don't have to be paranoid for "Strange Culture" to scare the hell out of you. The film revolves around the ongoing legal case of the U.S. government v. Steve Kurtz, quite possibly the grossest judicial overreaching in the post-Sept. 11 world. If this isn't the grossest instance, then heaven protect anyone who wants to think and speak freely in this country.
Despite coverage in major newspapers and TV shows, the Kurtz case still has not received the media spotlight it deserves. Perhaps Lynn Hershman-Leeson's electrifying and alarming film will change this. Like last year's festival entry, "An Inconvenient Truth", the film needs a distributor that understands the solid business and political reasons for releasing the film.
Even before the tragedy of May 11, 2004, Kurtz's own work operated below the radar. A long-haired associate professor of art at SUNY Buffalo and founding member of the theater troupe Critical Art Ensemble, Kurtz was then working on an exhibition for the Massachusetts Museum of Contemporary Art that confronted the hot-button topic of genetically modified food. When his wife, Hope, died early that morning in her sleep of heart failure, Kurtz's called 911.
The paramedics grew suspicious of the professor's art supplies, which often consisted of petri dishes containing bacteria ordered over the Internet. The FBI was called in, and soon agents in hazmat suits were rifling through his house. They impounded books, computers and even his wife's body. He immediately was branded a "bioterrorist" and arrested.
Two and a half years later, the case still is pending in federal court. Because his lawyer advised him not to talk about certain aspects of the case, Hershman-Leeson has chosen to explore the situation in an experimental approach. Actors -- notably Thomas Jay Ryan as Steve and Tilda Swinton as Hope -- dramatize certain scenes. News footage, comic book drawings and talking-head interviews with colleagues and fellow artists fill in other gaps.
What emerges is a conspiracy, all right -- a conspiracy in the Justice Department with two clear agendas. In an effort to manufacture a crime where there is no obvious one, prosecutors have charged Kurtz and his longtime collaborator, Robert Ferrell, with federal mail and wire fraud. By using civil law to bring criminal charges, the Justice Department is attempting to expand its powers over U.S. citizens. The other agenda is to silence the scientific and artistic community in the debate over genetically modified foods. The government and agribusiness have a huge investment in GMF, so they do not appreciate people like Kurtz raising questions about Frankenfoods.
The most telling staged scene has one of Kurtz's colleagues (Josh Kornbluth) present a petition on his behalf to his students. This provokes a heart-wrenching debate by the young people about the wisdom of signing such a document. How might linking their names with Kurtz's restrict future job opportunities and their freedom of movement in and out of a country where a president asserts the right to label anyone he chooses as a terrorist?
With disarming directness and intriguing indirectness, Hershman-Leeson has made a document -- though not quite a documentary -- that speaks volumes about where free expression stands today in the U.S. in its ceaseless combat with the forces of repression.
STRANGE CULTURE
L5 Prods.
Credits:
Screenwriter-director-editor: Lynn Hershman-Leeson
Producers: Lynn Hershman-Leeson, Lise Swenson, Steven Beer
Executive producers: Melina Jampolis, Jessie Fuller
Director of photography: Hiro Narita
Music: The Residents
Co-producers: Loren Smith, Barbara Tomber
Cast:
Tilda Swinton, Thomas Jay Ryan, Peter Coyote, Josh Kornbluth, Steve Kurtz
Running time -- 75 minutes
No MPAA rating...
PARK CITY -- You don't have to be paranoid for "Strange Culture" to scare the hell out of you. The film revolves around the ongoing legal case of the U.S. government v. Steve Kurtz, quite possibly the grossest judicial overreaching in the post-Sept. 11 world. If this isn't the grossest instance, then heaven protect anyone who wants to think and speak freely in this country.
Despite coverage in major newspapers and TV shows, the Kurtz case still has not received the media spotlight it deserves. Perhaps Lynn Hershman-Leeson's electrifying and alarming film will change this. Like last year's festival entry, "An Inconvenient Truth", the film needs a distributor that understands the solid business and political reasons for releasing the film.
Even before the tragedy of May 11, 2004, Kurtz's own work operated below the radar. A long-haired associate professor of art at SUNY Buffalo and founding member of the theater troupe Critical Art Ensemble, Kurtz was then working on an exhibition for the Massachusetts Museum of Contemporary Art that confronted the hot-button topic of genetically modified food. When his wife, Hope, died early that morning in her sleep of heart failure, Kurtz's called 911.
The paramedics grew suspicious of the professor's art supplies, which often consisted of petri dishes containing bacteria ordered over the Internet. The FBI was called in, and soon agents in hazmat suits were rifling through his house. They impounded books, computers and even his wife's body. He immediately was branded a "bioterrorist" and arrested.
Two and a half years later, the case still is pending in federal court. Because his lawyer advised him not to talk about certain aspects of the case, Hershman-Leeson has chosen to explore the situation in an experimental approach. Actors -- notably Thomas Jay Ryan as Steve and Tilda Swinton as Hope -- dramatize certain scenes. News footage, comic book drawings and talking-head interviews with colleagues and fellow artists fill in other gaps.
What emerges is a conspiracy, all right -- a conspiracy in the Justice Department with two clear agendas. In an effort to manufacture a crime where there is no obvious one, prosecutors have charged Kurtz and his longtime collaborator, Robert Ferrell, with federal mail and wire fraud. By using civil law to bring criminal charges, the Justice Department is attempting to expand its powers over U.S. citizens. The other agenda is to silence the scientific and artistic community in the debate over genetically modified foods. The government and agribusiness have a huge investment in GMF, so they do not appreciate people like Kurtz raising questions about Frankenfoods.
The most telling staged scene has one of Kurtz's colleagues (Josh Kornbluth) present a petition on his behalf to his students. This provokes a heart-wrenching debate by the young people about the wisdom of signing such a document. How might linking their names with Kurtz's restrict future job opportunities and their freedom of movement in and out of a country where a president asserts the right to label anyone he chooses as a terrorist?
With disarming directness and intriguing indirectness, Hershman-Leeson has made a document -- though not quite a documentary -- that speaks volumes about where free expression stands today in the U.S. in its ceaseless combat with the forces of repression.
STRANGE CULTURE
L5 Prods.
Credits:
Screenwriter-director-editor: Lynn Hershman-Leeson
Producers: Lynn Hershman-Leeson, Lise Swenson, Steven Beer
Executive producers: Melina Jampolis, Jessie Fuller
Director of photography: Hiro Narita
Music: The Residents
Co-producers: Loren Smith, Barbara Tomber
Cast:
Tilda Swinton, Thomas Jay Ryan, Peter Coyote, Josh Kornbluth, Steve Kurtz
Running time -- 75 minutes
No MPAA rating...
- 1/22/2007
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.