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DTSTART;TZID=America/New_York:20251114T193000
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DTSTAMP:20260513T081733
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SUMMARY:A/V Club Presents
DESCRIPTION:Come enjoy the work being made by the A/V Club! From documentary to music video to animation\, the variety of work created by this talented and prolific group will be on full display in this free screening. It’s also a great way to meet the artists and filmmakers that have been attending the meetings and to see if A/V Club is something you might want to be a part of yourself! \n  \nArtists included in the screening: \nRebecca Fasanello \nTony Nash \nLisa Czapla \nEli Jarra \nAmanda Besl \nMichael Chernoff \nLukia Costello \n  \n  \n  \n 
URL:https://squeaky.org/event/a-v-club-presents/
LOCATION:Journey’s End Refugee Services\, 2495 Main Street\, Suite #530\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2025/11/There-Was-still_9-Amanda-Besl.jpg
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DTSTART;TZID=America/New_York:20240507T190000
DTEND;TZID=America/New_York:20240507T210000
DTSTAMP:20260513T081733
CREATED:20251230T191539Z
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SUMMARY:Rushes: Films and actions by Jason Livingston
DESCRIPTION:Tuesday\, May 7\, 7 pm ET\n@ Journey’s End Refugee Services (2495 Main St #530\, Buffalo\, NY 14214) and online\nFree or suggested donation\nTickets available below\nSqueaky Wheel presents an evening of films\, actions\, and conversation with artist Jason Livingston. This evening of films showcases Livingston’s long-standing work on the climate crises and protest movements through visual and linguistic play. Featuring his celebrated film Ancient Sunshine (2020)\, the screening features work made by the filmmaker from 2012 to the present day. This event is organized on the occasion of his exhibition with Phoebe A. Cohen\, In the Sun’s Absence. The artist will be present to deliver an artist talk ahead of the screening\, and the exhibition will be open after the screening at Squeaky Wheel. \nFor in-person attendees: JERS is located on the fifth floor of Tri-Main Center; head left after you exit the elevator. Please note that you cannot enter Tri-Main Center after 7:30 pm. \nFor online attendees: Upon check-out\, you will receive an email titled “Your Squeaky Wheel Film & Media Art Center order has been received!”. A private link will be included in that email; the event will be available at the link at the start date and time. You will have access to the event for 24 hours; Squeaky Wheel members receive 72 hour access. Not a member yet? Sign up here. Please note that the artist talk will not be available online. \n            Program (click to expand)                        \nTotal program time approximately 65 minutes. \nIntroduction and artist talk by Jason Livingston \n#RUSHES/URL\n11:52 min\, silent\, 16mm on digital video\, 2015 \nAn in-camera 16mm edit of the 1st anniversary/birthday/funeral of OWS in New York City\, as seen from an embedded role in the Jellyfish Brigade\, an ad hoc affinity group formed to participate in the day’s event. Bold impact fonts compliment and countervail the images toward a warm antagonism. \n“Experimental filmmakers with no obligation to spoon feed the public fared better in documenting Occupy in a manner that proved more meditative and avoided reducing the movement to a list of talking points. Jason Livingston’s short film\, #Rushes\, provides an alternative to what the filmmaker himself labels “populist agitprop.” The two versions of the film deploy contrasting reflexive strategies designed to challenge standard representations of dissent and on-the-spot reportage of street activism. Offering a glimpse of a festive protest cum celebration commemorating the first anniversary of Occupy Wall Street in 2012\, Livingston juxtaposes the culture-jamming antics of the Jellyfish Brigade with familiar scenes of police intimidation and use of force. Demonstrators dressed in whimsical costumes holding signs such as “No Fossil Fuels…Frack Wall Street\, Not Water” highlight the march’s blend of earnestness and carnivalesque glee; the differences in tone are reinforced by\, on the one hand\, the satirist Reverend Billy’s comic spiel and\, on the other\, the unironic politicking of perennial presidential candidate Jill Stein and Cheri Honkala\, her 2012 vice-presidential candidate. \nForsaking digital for 16mm with in-camera edits\, the initial version of #Rushes was projected silently to live audiences. Refusing to bombard the audience with riot porn clichés\, talking heads\, voice over—or even the ambient sounds of a demonstration—Livingston instead solicited a running commentary from the audience at various screenings and encourage a participatory ethic and aesthetic. His decision to shoot in 16mm and move away from the more au courant DSLR aesthetic evolved from his revulsion towards consumerist pressure to abandon “technologies deemed obsolescent.” \nAlthough Livingston’s regarded his stripped-down aesthetic—and his promotion of audience participation—as “Occupy poetics\,” a screening at Union Docs in Brooklyn convinced him to launch an extended auto-critique of his own neo-Brechtian assumptions concerning “active spectatorship.” Despite the fact that #Rushes inspired some impassioned responses from audiences (particularly a frenetic screening at Squeaky Wheel in Buffalo which Livingston loved because it engendered a “lot of talking” over the silent images)\, he feared “that by encouraging ‘participation’ (i.e. talking) without sufficient direction on my part\, I was inadvertently disavowing my role as the maker (not that it’s much power in the end…)\, and actually promoting a very\, very vague participatory democracy that felt all too much like upper management’s penchant for doodlepolls\, or asking workers for ‘input’.” \nLivingston’s ambivalence towards his own attempt to emulate Occupy-style egalitarianism one microcinema at a time convinced him to accompany the film with narration\, later transformed into a series of memes embedded in a second version of the film\, that undercuts the celebration of a participatory ethos with what he terms a “warm antagonism.” Warm antagonism might be defined as playful self-laceration\, almost a parody of the type of self-criticism that was once de rigueur among authoritarian leftists. In the self-détourned version of #Rushes\, Livingston proclaims:: “Against participation\, not because participation denies the primary role of the artist in any given work and thus projects an anti-hierarchical fantasy…but because participation itself is a bureaucratic imagination.” While there’s a tongue-in-cheek aspect to Livingston’s self-indictment\, the cadences of his manifesto also undermine the pieties of “active spectatorship” and the hallowed entity known as the “emancipated spectator.” In certain respects\, the alternative film world’s penchant for participatory events might constitute a farcical equivalent of the pseudo-participation that anarchists discerned as integral components of Yugoslavian experiments in self-management. From another perspective\, the film’s dialogue with its audience\, and with itself\, is close to the kind of “auto-ethnography” that David Graeber proposes as a riposte to the vanguardist sensibility.” – Richard Porton\, author of Film and the Anarchist Imagination\, 2nd edition \n7.24.14\n4.5 mins\, silent\, 16mm film on digital video\, 2014 \nDemonstration in support of Gaza and against Operation Protective Edge on July 24\, 2014 in Ithaca\, NY. \nShale Raga\n4.5 min\, sound\, digital video\, 2015 \nSet to an excerpt of Don Cherry’s Malkauns from his border-erasing 1975 album\, Brown Rice\, Shale Raga extracts a mining industry in-house video to put pressure on carbon-based capitalist sorcery\, in this case EcoShale technology\, which is patented by Alberta-based Red Leaf Resources\, Inc. and promises to “revolutionize” oil shale production in the Book Cliffs of eastern Utah by accelerating geological time. The video is a counter-spell to ward off venture capital’s appetite for ancient life forms baked into rock. \nACID REIGN\n4.5 min\, sound\, digital video\, 2012 \nCombining archival/found footage\, treated images and diaristic Hi-8 video\, ACID REIGN explores the ongoing battle between human beings’ technologies of control and other life forms. In this case\, animals re-inhabit a post-human urban landscape. \nAncient Sunshine\n19.5 mins\, sound\, 16mm film on digital video\, 2021 \nA fossil cast in plastic\, an artificial plateau\, classic cars running on the fumes of the nation. Ancient Sunshine marks a path through fossil fuel extraction and climate defense in the American West. The film proposes solidarity against the violence by which “earth” becomes “resource.” \nUtah Tar Sands Resistance has been fighting experimental mining in the Tavaputs Plateau for almost a decade\, setting up camp every summer in sight of heavy equipment and construction crews. The film asks\, how might the concept of horizontalism be applied to the physical horizon\, its decimation\, and to capital’s propensity for vertical extrication? Ancient Sunshine interweaves the endless remaking of the Western landscape with labor history\, reflections on anarchist organization\, and interspecies economies. \nAncient Sunshine consists of interviews with the Utah Tar Sands Resistance primary organizers and other Utah land protectors\, and sets their voices in and against an industrialized landscape. The film presents an array of voices\, drawing attention to the role of resistance and kinship during times of threat and extinction. \nToward a poetic solidarity\, toward a formal politics. \n            \nBiography of the artist\nJason Livingston is a media artist\, filmmaker\, and educator. His award-winning films have been widely exhibited at festivals and museums\, including the National Gallery of Art in Washington\, D.C.\, the International Film Festival Rotterdam\, and Media City in Canada. He is currently researching histories of extractive cinema and abolitionist re-imaginings of our shared world as a Presidential Fellow in the Department of Media Study\, University at Buffalo. \nBanner image: A still from Jason Livingston’s film #Rushes/URL (2012). Two policemen on scoooters on a sunny day in New York City. On top and on the bottom of the image are superimposed words like a mid-2000s meme in Impact font: “AGAINST THE ACTIVATED SPECTATOR.”
URL:https://squeaky.org/event/rushes-films-and-actions-by-jason-livingston/
LOCATION:Journey’s End Refugee Services\, 2495 Main Street\, Suite #530\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Hybrid,Screenings
ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/04/Livingston-Rushes-scaled.jpg
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DTSTART;TZID=America/New_York:20231205T190000
DTEND;TZID=America/New_York:20231205T210000
DTSTAMP:20260513T081733
CREATED:20251230T191538Z
LAST-MODIFIED:20251230T191538Z
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SUMMARY:Trinh T. Minh-ha’s Surname Viet Given Name Nam
DESCRIPTION:Tuesday\, December 5\, 2023\, 7 pm ET\n@ Journey’s End Refugee Services and online\nFree or suggested donation\nTickets available below\nAn essential work by one of the most influential filmmakers living today\, Surname Viet Given Name Nam (108 mins\, 1989) is presented as part of the series [Speaking in Foreign Language]. Vietnamese-born Trinh T. Minh-ha’s profoundly personal documentary explores the role of Vietnamese women historically and in contemporary society. Using dance\, printed texts\, folk poetry and the words and experiences of Vietnamese women in Vietnam—from both North and South—and the United States\, Trinh’s film challenges official culture with the voices of women. A theoretically and formally complex work\, Surname Viet Given Name Nam  explores the difficulty of translation\, and themes of dislocation and exile\, critiquing both traditional society and life since the war. Presented with an introduction by curator Ekrem Serdar. Special thank you to Women Make Movies. \nFor in-person attendees: JERS is located on the fifth floor of Tri-Main Center; head left after you exit the elevator. Please note that you cannot enter Tri-Main Center after 7:30 pm. \nFor online attendees: Upon check-out\, you will receive an email titled “Your Squeaky Wheel Film & Media Art Center order has been received!”. A private link will be included in that email; the event will be available at the link at the start date and time. You will have access to the event for 24 hours; Squeaky Wheel members receive 72 hour access. Not a member yet? Sign up here. \nBiography of the filmmaker\nTrinh T. Minh-ha is the recipient of numerous awards and grants (including the “Trailblazers” Award at MIPDOC\, Cannes; AFI National Independent Filmmaker Maya Deren Award\, fellowships from the Guggenheim Foundation\, the National Endowment of the Arts\, the Rockefeller Foundation\, the American Film Institute\, The Japan Foundation\, and the California Arts Council)\, her films have been given over fifty retrospectives in the US\, the UK\, Brazil\, Canada\, Italy\, Korea\, Spain\, the Netherlands\, Slovenia\, France\, Germany\, Switzerland\, Austria\, Japan\, India\, Taiwan\, Hong Kong\, Jerusalem\, and were exhibited at the international contemporary art exhibition Documenta 11 (2002) in Germany. They have shown widely in the States\, in Canada\, Senegal\, Australia\, and New Zealand\, as well as in Europe and Asia (including in Italy\, Belgium\, Spain\, Sweden\, Finland\, Japan\, India\, Taiwan\, Jerusalem\, Reassemblage was exhibited at The New York Film Festival (1983) and has toured the country with the Asian American Film Festival among other festivals. Naked Spaces received the Blue Ribbon Award for Best Experimental Feature at the American Int’l. Film Festival and the Golden Athena Award for Best Feature Documentary at the Athens International Film Festival in 1986; it toured nationally and internationally with the 1987 Biennial of the Whitney Museum of American Art. Surname Viet Given Name Nam has received the Merit Award from the Bombay International Film Festival\, the Film as Art Award from the Society for the Encouragement of Contemporary Art (SF Museum of Modern Art) and the Blue Ribbon Award at the American Film and Video Festival. Shoot for the Contents won the Jury’s Best Cinematography Award at the 1992 Sundance Film Festival and the Best Feature Documentary Award at the Athens International Film Festival\, and toured internationally with the 1993 Biennale of the Whitney Museum. A Tale of Love showed internationally in over twenty-four film festivals\, including Berlin and Toronto. The Fourth Dimension (Locarno\, Viennale\, Edinburg\, London) and Night Passage continue to exhibit widely (UK\, Austria\, Spain\, Japan\, Korea\, Shanghai). \nTrinh Minh-ha has traveled and lectured extensively—in the States\, as well as in Europe\, Asia\, Australia and New Zealand—on film\, art\, feminism\, and cultural politics. She taught at the National Conservatory of Music in Dakar\, Senegal (1977-80); at universities such as Cornell\, San Francisco State\, Smith\, and Harvard\, Ochanomizu (Tokyo)\, Ritsumeikan (Kyoto)\, Dongguk (Seoul); and is Professor of Gender & Women’s Studies and of Rhetoric at the University of California\, Berkeley. \nImage: A still from Trinh T. Minh-ha’s film\, Surname Viet Given Name Nam (1989). A mostly dark image\, with a barely lit woman with black hair looking to the left of the image.
URL:https://squeaky.org/event/trinh-t-minh-has-surname-viet-given-name-nam/
LOCATION:Journey’s End Refugee Services\, 2495 Main Street\, Suite #530\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Hybrid,Screenings
ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2023/09/SURNAM_HERO.jpg
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DTSTART;TZID=America/New_York:20230413T180000
DTEND;TZID=America/New_York:20230413T210000
DTSTAMP:20260513T081733
CREATED:20251230T191451Z
LAST-MODIFIED:20251230T191451Z
UID:10001093-1681408800-1681419600@squeaky.org
SUMMARY:Soon-rye Yim's 와이키키 브라더스 (Waikiki Brothers)\, with Molly Hyo Kim
DESCRIPTION:Thursday\, April 13\, 2023\, 6–9 pm\n@ Journey’s End Refugee Services (2495 Main Street\, Suite #530)\nFree or suggested donation\nPresented as the opening of the symposium Genre\, Gender and Language in Korean Film and Drama\, Soon-rye Yim’s 와이키키 브라더스 (Waikiki Brothers\, 109 min\, 2001) is about high school friends who form a band and struggle to find success\, relationships and happiness. The screening will be followed by a lecture by Molly Kim of Hanyang University about the film’s writer and director\, Soon-rye Yim. The lecture\, “Korean Cinema and The Single Woman: Korean Women Filmmakers through Yim Soon-rye\,” will be the opening keynote lecture of UB Asia Research Institute’s Korean studies symposium\, followed by a Q&A with Margaret Rhee\, assistant professor of Media Studies at SUNY Buffalo and The New School\, and Ekrem Serdar\, curator at Squeaky Wheel. Special thank you to Kathy Spillman and Journey’s End Refugee Services. \nMolly Hyo Kim is Adjunct Professor of the College of Humanities at Hanyang University. She earned a Ph.D. in Communications from the University of Illinois\, Urbana-Champaign\, an M.A. in Cinema Studies from New York University\, and a B.A. in Communication and Culture from Indiana University at Bloomington. She has published her works in Acta Koreana\, the Journal of Cultural Studies\, the International Journal of Korean History\, and more. \nMargaret Rhee is a poet\, scholar and new media artist. Rhee’s debut poetry collection\, “Love\, Robot\,” was published in 2017 and has been named a 2017 Best Book of Poetry by Entropy Magazine and awarded a 2018 Elgin Award by the Science Fiction Poetry Association and the 2019 Best Book Award in Poetry by the Asian American Studies Association. \nAs a new media artist\, her project The Kimchi Poetry Machine is exhibited at the Electronic Literature Review Volume III and included in the anthology Art as Social Practice: Technologies for Change(Routledge\, 2022). From 2008 – 2018\, with collaborators from the San Francisco Department of Public Health\, she co-lead the participatory project From the Center which focused on digital storytelling\, women of color\, and HIV/AIDS education in the San Francisco Jail. \nRhee is an assistant professor at The New School in the School of Media Studies. Prior to The New School\, Rhee held a faculty appointments at the University at Buffalo-SUNY\, Harvard\, and University of Oregon. Rhee earned her Ph.D. from the University of California\, Berkeley in ethnic studies with a Designated Emphasis in new media studies\, and her B.A. in Creative Writing/English from the University of Southern California. \nThis symposium Genre\, Gender and Language in Korean Film and Drama will feature scholars from the U.S\, Asia and Europe examining a wide range of topics in Korean film and television\, including sexuality\, LGBTQ representation\, translation\, violence\, and popular productions like Squid Game and Parasite. This event is sponsored by the UB Asia Research Institute\, Academy of Korean Studies\, and Squeaky Wheel. Cosponsors include the UB Departments of Media Study\, English\, Global Gender and Sexuality Studies\, Art\, and Linguistics\, UB Asian Studies Program\, Global Film Studies Minor Program\, and Gender Institute. \nImage: A still from Waikiki Brothers. Four young people looking off to the side of the camera lens on a sunny day.
URL:https://squeaky.org/event/soon-rye-yims-%ec%99%80%ec%9d%b4%ed%82%a4%ed%82%a4-%eb%b8%8c%eb%9d%bc%eb%8d%94%ec%8a%a4-waikiki-brothers-with-molly-hyo-kim/
LOCATION:Journey’s End Refugee Services\, 2495 Main Street\, Suite #530\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2023/04/waikiki-brothers.jpg
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DTSTART;TZID=America/New_York:20220503T190000
DTEND;TZID=America/New_York:20220503T210000
DTSTAMP:20260513T081733
CREATED:20251230T191436Z
LAST-MODIFIED:20251230T191436Z
UID:10001075-1651604400-1651611600@squeaky.org
SUMMARY:Crystal Z Campbell and Allan Jamieson
DESCRIPTION:Tuesday\, May 3\, 7 pm\nat Journeys End Refugee Services theater (5th floor of Tri-Main Building\, 2495 Main St #530\, Buffalo\, NY 14214)\nFree or suggested donation\nClick here to register\nAccess information: Proof of COVID-19 vaccination through a Vaccination card or NY Excelsior Pass will be required for entry. Masks will be required for the duration of the event. \nFeaturing three short films of legends that flow from Niagara Falls to Sweden\, Squeaky Wheel and Buffalo Arts Studio present an evening with filmmakers Crystal Z Campbell and Allan Jamieson. The three films bring to fore questions on how we imagine and relate to lands we inhabit\, from the settler-colonial mindset critiqued in Jamieson’s 1996 documentary Thunderbeings and the Maid of the Mist\, to the fugitivity of migrants in contemporary Sweden in Campbell’s VIEWFINDER. The hour long program will be followed by a Q&A with Campbell and Jamieson on their work and the shared themes between their films. \nThe program is presented as part of Crystal Z Campbell\, VIEWFINDER\, an immersive film installation at Buffalo Arts Studio that takes cues from Swedish folktales\, gestures\, and movements to explore belonging\, allyship\, and living monuments. If our bodies are archives\, what is the currency of place\, of movement\, of memory? \nProgram \nCrystal Z Campbell\, A Meditation on Nature in the Absence of an Eclipse\, 8:12 min\, 2016-2020  \nA Meditation on Nature in the Absence of an Eclipse is a poetic glimpse of how centuries of extraction\, racism\, pollution\, and commoditizing nature has altered our relationship to sacred land and resources. How has nature been historically shaped and imaged for pleasure\, status\, and control by many hands of invisible labor? Constellated and intersectional histories and source material include testimony from a Water Protector at Standing Rock protesting the Dakota Access Pipeline\, contaminated water in Flint Michigan\, original footage of Hierve el Agua near Oaxaca\, Mexico revered for its healing properties\, archival images of gardens and hands of artists who resided in Tulsa\, Oklahoma and children brushing their teeth––a reflection of the innocuous ways which contaminated water and resources shapes the lives of individuals completing banal\, daily\, routine tasks. \nCritical to the film is the intentional use of unlicensed footage\, bearing a brand across the center that detracts from what’s happening in the actual footage\, and becomes a viewfinder for how that footage is read or deemed important enough to view because there is a branded stamp of approval. Historically\, the watermark is used to connote ownership and authenticity. The film is a consideration of how documentary practice can be another form of resource extraction\, of which this filmmaker is implicated. Licensing fees are an example of the barriers to access\, ultimately deciding who will control critical narratives of environmental racism and discourse. Originally commissioned by Wave Hill Public Garden & Cultural Center\, the work was made in 2017 and reedited in 2020. – Crystal Z Campbell \nAllan Jamieson\, Thunderbeings and the Maid of the Mist\, 26 min\, 1996\n“This is a Seneca teaching story\, whose true meaning is one of sharing. The sharing of information with each other. The sharing of letting each other know when something is wrong.” – Allan Jamieson \nCharting both a moment in Western New York’s Native American activism and a rare document of a Seneca chief and elder\, Allan Jamieson’s 1996 film Thunderbeings and the Maid of the Mist takes on a racist educational video and retelling of the Haudenosaunee legend of the Maid of the Mist by the Maid of the Mist corporation\, which operates the famous Niagara Falls boat tours. Jamieson’s documentary showcases segments of the Maid of the Mist corporation’s video\, showcasing how it is informed by Western and colonial viewpoints\, followed by interviews with tourists on their thoughts on the legend. The film is especially notable for featuring an extended interview with the late Seneca Chief and elder Corbett Sundown\, who tells the original story of the Maid of the Mist as it was told to him by his grandparents\, and passed away after filming was completed. \nThe film was part of extended efforts by our region’s Native American communities to pressure the Maid of the Mist Corporation to change its false gallery exhibit and video. Initially resistant\, the Maid of the Mist Corporation eventually did so. \nThe documentary received support from the New York State Council of the Arts\, and was edited in Squeaky Wheel’s post-production studio in 1996. The film is presented here in a digital transfer from a 3/4 tape\, broadcast as part of Squeaky Wheel’s Axlegrease television show in 1997. Learn more about Axlegrease here. – Ekrem Serdar \nCrystal Z Campbell\, VIEWFINDER\, 18:26 min\, 2020 \nFilmed entirely in Swedish spa town\, VIEWFINDER takes cues from political gestures\, and decisive movements to explore belonging\, allyship\, and monuments. – Crystal Z Campbell \nBiographies of the artists \nAllan Jamieson is a Faithkeeper from the wolf clan of the Cayuga people\, one of the Six Nations. Coordinator of Neto\, a Native American managed non-profit organization. He brings a wealth of knowledge and research in his presentations. One of the founding members of Neto\, he is responsible for the overall management of the organization including meeting the goals\, coordinating activities and managing the budget. His experience includes extensive research on the WNY geographic area and oral history related to the WNY. Currently he is responsible for coordinating art exhibits and projects sponsored by Neto… and these activities include scheduling artist workshops\, hiring artists and curators\, scheduling exhibits and providing publicity for all events. His educational background includes a Bachelor of Arts from the State University of New York College at Buffalo and a Master of Arts from the University of Buffalo\, 1987. While a graduate student he developed and taught the currently offered course in Native American literature. In addition to his interest in art he recently completed training as a Alternative Dispute Resolution facilitator to work with families in crises. He has been an active member of the Native community in the Western New York region which includes the Buffalo and Niagara Falls areas for the past 20 years assisting area art institutions with Native American programming. \nCrystal Z Campbell (they/them) is currently a 2021–22 UB Center for Diversity Innovation Distinguished Visiting Scholar\, multidisciplinary artist\, experimental filmmaker\, and writer of Black\, Filipinx\, and Chinese descents. A 2021 Guggenheim Fellow in Fine Arts\, Campbell finds complexity in public secrets—fragments of information known by many but undertold or unspoken. Their archive-driven work in film/video\, performance\, installation\, sound\, painting\, and text\, has been exhibited at The Drawing Center\, Nest\, ICA-Philadelphia\, Bemis\, Studio Museum of Harlem\, SculptureCenter\, and SFMOMA\, and a forthcoming monographic screening at MOMA. Honors and awards include the Pollock-Krasner Award\, MAP Fund\, MacDowell\, Skowhegan\, Rijksakademie\, Whitney ISP\, Franklin Furnace\, Tulsa Artist Fellowship\, UNDO Fellowship\, and Flaherty Film Seminar. Campbell’s writing has been featured in World Literature Today\, Monday Journal\, GARAGE\, and Hyperallergic. Campbell\, a former Harvard Radcliffe Film Study Center & David & Roberta Logie Fellow\, was recently named a Creative Capital Awardee\, and is founder of the virtual programming platform archiveacts.com. \nThis program is supported by the Andy Warhol Foundation of the Visual Arts and presented in collaboration with Buffalo Arts Studio. Special thank you to Journey’s End Refugee Services. \nImage: Crystal Z Campbell\, A Meditation on Nature in the Absence of an Eclipse\, 8:12 min\, 2016-2020
URL:https://squeaky.org/event/crystal-z-campbell-and-allan-jamieson/
LOCATION:Journey’s End Refugee Services\, 2495 Main Street\, Suite #530\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2022/04/Screen-Shot-2022-04-25-at-4.05.04-PM-scaled.jpg
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