About

Kat works within the photochemical arts, particularly 16mm film, expanding its material potential into performance, photography, and sculpture. Her films address themes of decay and eroticism, both in their subjects and in the hand-processing techniques she uses to create her images. Katherine received a BA from Bard College, where she majored in Film and Electronic Arts, and an MFA from NYU in Studio Art. She has taught at NYU and workshops at Bard College, amongst other institutions. Her work has been shown in a variety of venues and galleries. Recently, she has performed or shown work at The Knitting Factory, Anthology Film Archives, Millennium Film Workshop, Microscope Gallery, The Knockdown Center, Museum of the Moving Image of Queens, NY, and The Pompidou Center in Paris. She is represented by Microscope Gallery, and her films are available for rent from The Film-Makers' Cooperative in New York City.

is a Brooklyn-born, Port-au-Prince-raised, and Harvard-educated writer, pornographer, and filmmaker, whose work has screened from Berlin, to Mexico City, to Port-au-Prince. cherry is the host, curator, and creator of CineSymposia—a radical film screening series and installation piece at Anthology Film Archives—and Ace of Shade—a regularly-sold-out monthly comedy show at New York City’s Duplex Cabaret Theatre. cherry is co-leader emeritus of the North Brooklyn chapter of Filmshop—a nonprofit collective of independent filmmakers. In addition to the above, cherry's work has been supported, presented, and distributed by institutions including The New York Foundation for the Arts, The Millennium Film Workshop, The New York Times, and The Film-Makers' Cooperative—on whose board cherry currently serves.

born in 1957, is a filmmaker and multimedia artist based in New York. He has been creating work since the 1980s, collaborating with Jack Waters, examining gentrification, fighting against AIDS, and working to cultivate collaborative spaces.

is a dealer in modern and contemporary art and an art advisor to private and institutional art collectors. He is also an art writer and exhibition organizer. Prior to opening his own art advisory firm in 1988, Mr. Deitch was a Vice-President of Citibank, where he spent nine years developing and managing the bank’s art advisory and art finance businesses.

is an artist, experimental filmmaker, mediamystic, maverick curator, sound collage, photographer, expanded cinema, performance, writer and poet, nomadic teacher, and private investigator—initiating, exhibiting, and curating at a multitude of ephemeral spaces and long-lasting venues, from micro-cinemas and storefronts to galleries and museums.

His work includes intimate collaborations with Aline Mare (Erotic Psyche), Jeanne Liotta (Mediamystics), the Alchemical Theatre, Circle X, and kinoSonik., as well as intense research with Jeanne Liotta on the films of Joseph Cornell. He has created dozens of ‘zines, posters, soundtracks, unique artist’s books, and film performances in the unfixed universe of ephemeral cinema.

is an American composer. One of the highest profile composers writing “classical” music today, he is often said to be one of the most influential musicians of the late 20th century. Beyond his operas, symphonies, and compositions, Glass has had a long-standing interest in the “mating of sound and vision.” He has collaborated with numerous artists and film-makers, writing music for experimental theater and for Academy Award-winning motion pictures.

is Assistant Professor of English in Film and Media Studies at Amherst College. His research focuses on histories and theories of experimental cinema, with an emphasis on the postwar American avant-garde. Essays of his have appeared in such publications as Alternative Projections: Experimental Film in Los Angeles, 1945-1980 (John Libbey, 2015); The Global Sixties in Sound and Vision: Media, Counterculture, Revolt (Palgrave Macmillan, 2014); and the online journals Flow and World Records (forthcoming 2020). Since 2009, he has pursued curating as a manifestation of research, as well as a mode of cultural production. Film and video programs that he has curated or compiled have screened at venues such as Anthology Film Archives, Microscope Gallery, Balagan, University of Toronto, Magic Lantern Cinema, Le Petit Versailles, A.P.E. Gallery, and Pacific Film Archive. In 2019, he co-curated, with Toby Lee, an event series on world-making and documentary media produced in conjunction with World Records journal, with events occurring at UnionDocs: Center for Documentary Art and the Hagop Kevorkian Center for Near Eastern Studies. He also makes films, working on 16mm. His short film, Rock Roll (2015), screened at such venues as Ann Arbor Film Festival, Light Field, Onion City Film and Video Festival, and A Good Night's Sleep. His dual-projection film, Circumambulations (2018), co-created with Andrew Ranville, has screened at Microscope Gallery, Lausanne Underground Film and Music Festival, Revolutions Per Minute Festival, and the Film-Makers' Cooperative. He serves as an editor of Millennium Film Journal and a member of the International Advisory Committee for Archive/Counter-Archive.

is a founder and director of Light Industry, a venue for film and electronic art in Brooklyn, New York. His writing has appeared in Artforum, The Believer, Bookforum, Cinema Scope, frieze, Little Joe, Mousse, Rhizome, Triple Canopy, Village Voice, and elsewhere. His book From Sun Tzu to Xbox: War and Video Games was published in 2006; his current project is a critical history of contemporary experimental cinema in America. Honors include a Creative Capital | Warhol Foundation Arts Writers Grant (2009).

From 1995 to 2005, Halter programmed and oversaw the New York Underground Film Festival, and he has curated screenings and exhibitions at Artists Space, BAM, the Flaherty Film Seminar, ICA London, Museum of Modern Art, New Museum, PARTICIPANT INC., and Tate Modern, as well as the cinema for Greater New York 2010 at MoMA PS1 and the film and video program for the 2012 Whitney Biennial.

James Hansen (he/they) is an Assistant Professor of Art History at Alfred University (NYSCC). He is the founder and curator of the Light Matter Film Festival, an annual showcase dedicated to experimental film and media art. His writing has appeared in Afterimage, The Brooklyn Rail, Cléo, Filmmaker Magazine, Jump Cut, Millennium Film Journal, The Women Film Pioneers Project, among others.

is an experimental filmmaker and the founder and president of MIX: the New York Lesbian and Gay Experimental Film/Video Festival. Under the auspices of the Estate Project for Artists with AIDS, he created the Royal S. Marks AIDS Activist Video Collection at the New York Public Library. He coordinates the ACT UP Oral History Project, funded by the Ford Foundation and by grants from the Gesso Foundation, the Gill Foundation, the Jessie Smith Noyes Foundation, and the Phil Zwickler Memorial & Charitable Trust. The project is a collection of interviews with surviving members of the AIDS Coalition to Unleash Power.

are both artists. Florance is a painter and collaborator with Ken, who has been making avant-garde films since the mid-1950s. Ken is the director of Tom, Tom, The Piper’s Son (1969, USA), and Star Spangled to Death (2004, USA), a nearly seven-hour film consisting largely of found footage.

lives and works in Brooklyn, New York. She is the founder of Alfreda's Cinema, a bi-monthly film series at The Metrograph. Alfreda’s Cinema screens arthouse films that tell Black/POC stories, films that resonate the richness and culture of our history with depth and love, our dynamics, our shapes, and our colors.

is the estate of Jonas Mekas, Lithuanian-American filmmaker, poet, and artist who has been called "the godfather of American avant-garde cinema" on many occasions. His work has been exhibited in museums and at festivals worldwide.

Sebastian is a cinematographer and actor, known for Jonas in the Jungle (2013), Notes on an American Film Director at Work (2008) and Belladonna (1989). 

is a New York-based filmmaker and artist, best known for his experimental collage film Decasia (2002). He is a member of Ridge Theater and the founder of Hypnotic Pictures. He attended Reed College from 1983-1985, and graduated from Cooper Union School of Art in 1989.

is an experimental filmmaker, curator, and scholar based in NY. Narine-Singh's areas of interest include found materials and explorations of addiction and recovery in mass media. Narine-Singh is currently working on several projects and articles, and their films have screened internationally at venues such as Microscope Gallery, UltraCinema, The New School, and The Trinidad and Tobago Film Festival. He has presented at NYU Cinema Studies, and curated screenings at The Film-Makers' Cooperative and Maysles Cinema.

Lynne Sachs makes films, installations, performances, and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics, and layered sound design. Strongly committed to a dialogue between cinematic theory and practice, she searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with every new project.  Between 1994 and 2006, she produced five essay films that took her to Vietnam, Bosnia, Israel, Italy, and Germany — sites affected by international war – where she looked at the space between a community’s collective memory and her own subjective perceptions.

Recently, after 25 years of making experimental documentaries, Sachs learned something that turned her filmmaking upside down. While working on Your Day is My Night (2013) in NYC’s Chinatown, she realized that her subjects were performing for the camera rather than revealing something completely candid about their lives. The process of recording guaranteed that some aspect of the project would be artificial. This moved Sachs toward a new type of filmmaking — she invited her subjects to become her collaborators — to work with her to make the film about their lives.  This new way of “working with reality” has inspired Sachs to present Your Day is My Night (2013) as well as Every Fold Matters (2016) as live film performances in alternative venues around New York City, including homeless shelters, labor union headquarters, and laundromats, as well as small, non-commercial theaters. In 2017, she completed her newest experimental documentary, Tip of My Tongue, which was supported by a Guggenheim Fellowship in the Creative Arts and premiered as the closing night film in the Museum of Modern Art’s Documentary Fortnight.

Sachs has made over 25 films. Her work has screened at the New York Film Festival, the Sundance Film Festival, and Toronto’s Images Festival, amongst others. They have also been exhibited at the Museum of Modern Art, the Whitney, Walker Art Center, Wexner Center for the Arts, and other venues nationally and internationally. The Buenos Aires International Festival of Independent Cinema, Festival International Nuevo Cine in Havana and the China Women’s Film Festival have all presented retrospectives of Sachs’ films.

Since 2006, Sachs has collaborated with her partner, filmmaker Mark Street, in a series of playful, mixed-media performances called “The XY Chromosome Project”. Lynne holds an MFA in Film from the San Francisco Art Institute, an MA in Cinema from San Francisco State University, and a BA in History from Brown University. She has taught at New York University, Princeton, Hunter College, The New School, and the University of California, Berkeley.
www.lynnesachs.com

Joel Schlemowitz is an experimental filmmaker based in Brooklyn who works with 16mm film, shadowplay, magic lanterns, and stereographic media. He is the author of Experimental Filmmaking and the Motion Picture Camera: An Introductory Guide for Artists and Filmmakers (Focal Press/Routledge). His first feature film, 78rpm, is an experimental documentary about the gramophone. His short works have been shown at the Ann Arbor Film Festival, New York Film Festival, and Tribeca Film Festival and have received awards from the Chicago Underground Film Festival, The Dallas Video Festival, and elsewhere. Shows of installation artworks include Anthology Film Archives, Images Film Festival, and Microscope Gallery. He teaches experimental filmmaking at The New School, and was Resident Film Programmer and Arcane Media Specialist at the Morbid Anatomy Museum.

is an independent film programmer. He is currently a Curator-at-large at Museum of the Moving Image, where he was Chief Curator for many years. In 2018, he received a Career Achievement Award from the New York Film Critics Circle for his tenure at MoMI. Among the many programs of experimental cinema that he curated there are: Films That Tell Time: A Ken Jacobs Retrospective; Serene Intensity: The Films of Ernie Gehr; The Art of Vision: A Stan Brakhage Retrospective; Visions of New York; and Independent America: New Film, 1978-1988. He also founded the festival First Look, the Museum’s annual showcase for innovative cinema from around the world. David has taught cinema studies at Purchase College and New York University. He is the editor of the book David Cronenberg: Interviews. He programs film at venues including the Cinema Arts Centre (Huntington, New York), the Quad Cinema (Manhattan), and the Emelin Theatre (Mamaroneck, New York). He recently was programmer and manager of the Paris Theater in Manhattan, helping Netflix to reopen the legendary arthouse cinema.

has, with his partner Peter Cramer, created works in video, film, performance, and visual art since 1984. As co-director of Abc No Rio, he and his colleagues perpetuated an aesthetic of raw, spontaneous eclecticism that greatly influenced the arts, contemporary to the period of the '80s. He co-curated, with Leslie Lowe, the Naked Eye Cinema, a primary venue for women and LGBTQ+ media artists. A founding contributing writer to NYC Gay City News, Waters’ articles have appeared in many other publications. He was Assistant Professor of Video at Hampshire College from 2001–2004.

is an author and film/videomaker who has created innovative and award-winning works since the 1970s. His 16 MILLIMETER EARRINGS was a ground-breaking interpretation of the performance piece by Meredith Monk. Withers's work has been distributed internationally, and is with the Film-Makers' Coop in New York and Collectif Jeune Cinema in Paris. While still active in so-called "experimental" film, his recent work has explored surrealist narrative genres, text-based film, lyrical documentary, and music video. He works out of New York City and Staatsburg, New York. In the 1980s and 1990s, Withers directed the New York Expo of Short Film & Video, a 40-year-old international festival of independent shorts.