HomeEntertainment & MusicMovieDana Duff: Quick Movies and Digital Works

Dana Duff: Quick Movies and Digital Works


Program curated by Steve Anker

Dana Berman Duff has lengthy been an important pressure in Los Angeles’ media arts. Astonishing in her versatility, Duff strikes fluidly between Tremendous-8mm and 16mm movie, video, multi-channel set up, images, drawing and sculpture. Whatever the medium, Duff’s work is infused along with her refined wit, tactile delight and deeply reflective conceptual construction. Tonight’s program contains picks from the Catalogue Sequence, wherein fantasy tableaux and objects from the pages of a designer furnishings knock-off catalogue are reworked into contemplations on the management and promoting of want. Duff’s artwork is in collections of The Museum of Fashionable Artwork and New Museum of Up to date Artwork, and her movies have proven within the Toronto, Rotterdam, Edinburgh and different worldwide movie festivals.
Los Angeles premieres

In-Individual: Dana Duff and Steve Anker

“This black-and-white silent triumph makes express each [Duff’s] and our personal dilemma of consumerism: the take away at which we place ourselves when favoring affordability over authenticity.”
— Harriet Warman, Sight and Sound

“All of the extra hallucinatory for his or her normal languor and fragmented intensive gaze, these movies handle to concurrently disorient and act as beacons of embedded reminiscence.”
— Deborah de Boer, Antimatter Movie Pageant

The Program
A POTENTIALITY (2020, 16:25, 16mm and digital)
A POTENTIALITY is a brief, structured movie about looming totalitarianism that provides the weather of time and sound to a graphic art work by Susan Silton and joins the entrance pages of the 1933 New York Instances with a mythic opera composed in a Nazi focus camp in 1944. The newspaper has native stories blended with the more and more disturbing accounts of occasions overseas, which have an uncanny echo in our present information. A POTENTIALITY makes an in depth comparability of printing dots and movie grain which break aside the weather of language that help that means. (D.D.)

The Catalogue Sequence (picks)
The Catalogue Sequence is a collection of 16mm black-and-white movies and movies; every takes one quantity of an 11-volume retail furnishings catalogue as its topic.
Catalogue (2014, 7:03, 16mm on digital)   
Catalogue is a silent 16mm black-and-white movie that considers the time it takes to have a look at fascinating objects, on this case, the objects on the market in a mainstream furnishings catalogue. {The catalogue} presents de-saturated pictures of staged rooms shot and printed to resemble units for film-noir period films, hypothetically rising their desirability. In these pictures the designer furnishings knock-offs are indistinguishable from the unique items. The movie gazes at web page after web page of objects, every one beautiful and exquisitely photographed, minding the time it takes for the rise of want and its dissolution. (D.D.)

Catalogue Vol. 4 (2016, 4:30, digital)
Catalogue Vol. 4 takes the RH “Lighting” catalogue as its topic and makes use of a pulse of digital sound and lightweight to signify every fixture, shot within the order that they had been discovered within the authentic catalogue. The intervals of black had been derived by a matter of style: gadgets that the filmmaker discovered much less interesting had been excised from the sequence. (D.D.)

Catalogue Vol. 6 (2016, 11:28, 16mm on digital)
Catalogue Vol.6 was shot with audio clips from a horror film that point out the phrases “home” or specific rooms, or “upstairs” and so forth. taking part in within the studio so that every shot acquired a random diegetic “soundtrack”. Then the movie clips had been organized as a “tour” by the rooms of a home: lobby, front room, eating room, kitchen, research, toilet, and ending with the bed room. (D.D.)

Catalogue Vol. 3 (2017, 2:43, digital and CGI)
Catalogue Vol.3 was made utilizing the RH “Small Areas” quantity of the 2014 catalogue with an Arne Jacobsen Sequence 7 chair as protagonist. It is a computer-generated rendering of the unique chair, which was the inspiration for the knock-off model within the RH catalogue. The Sequence 7 is arguably the second most profitable object on this planet, after the ever-present white plastic molded chair. The Sequence 7 has been knocked off so many furnishings producers that I think about, on the finish of world, these chairs will probably be popping as much as the floor all around the planet. (D.D.)

Catalogue Vol. 10 (2017, 6:00, digital and 16mm)
A dystopia of transferring textual content and transferring picture; Modernist chairs, Georges Perec’s Issues: A Novel of the Sixties and underwater images utilizing 16mm, GoPro, and DSLR. (D.D.)

The Home Is Empty (2020, 9:50, iPhone, Tremendous 8, and 16mm)
The Home is Empty is an environmental catastrophe movie that portrays, to the ovations of a billion cicadas, a cockroach, a lady, and a dramatic encounter in a closet—from the roach’s perspective. Impressed by The Ardour In accordance with G.H. (1964) by Clarice Lispector. The home is “performed” like an instrument by A.J. McClenon.

Complete: 58 minutes

The Filmmaker: Dana Duff
Dana Berman Duff was named a Cultural Trailblazer by the Los Angeles Division of Cultural Affairs in 2020. In 2019, she mounted a big multi-channel video set up titled “What Does She See When She Shuts Her Eyes” (in collaboration with the late Sabina Ott) at Side Ratio in Chicago and at Alchemy Shifting Picture Pageant in Scotland. Her movie A POTENTIALITY was awarded an Alice Man Particular Point out on the 2020 FIDMarseille Movie Pageant. Her works in small format movie and video have been screened within the Toronto, Rotterdam, Edinburgh, Moscow, and forty different movie festivals. Her artwork works are included the collections of The Museum of Fashionable Artwork and New Museum of Up to date Artwork, in addition to quite a lot of personal collections. Duff taught artwork and movie at NYU, Bennington, Cranbrook, UCLA, Artwork Middle Pasadena, and for a few years at Otis School in Los Angeles the place she was the founding director of Sculpture/New Genres.

The Curator: Steve Anker
Steve Anker, Dean of CalArts’ College of Movie/Video from Fall 2002 by Spring 2014, started screenings as Program Director for the Boston Movie/Video Basis (1977-1980), was Inventive Director of the San Francisco Cinematheque (1982-2002), and started and co-curated, with Bérénice Reynaud, Movie At REDCAT (Los Angeles) from 2003 till his retirement in 2020. Anker curated movie packages for the Museum of Fashionable Artwork, Pacific Movie Archive, UCLA Movie and Tv Archive, London Worldwide Movie Pageant, the Austrian Cultural Ministry, Los Angeles County Museum of Artwork, Sharjah Artwork Biennial and Ann Arbor Movie Pageant. Anker has taught at Massachusetts School of Artwork, San Francisco Artwork Institute, Bard School, and San Francisco State College in addition to at CalArts.

The Jack H. Skirball Sequence is organized by Bérénice Reynaud and Eduardo Thomas and funded partly by the Ostrovsky Household Fund.

REDCAT is CalArts’ downtown heart for modern arts, a multidisciplinary hub for modern visible, performing and media arts within the Performing Arts Middle for Los Angeles County in downtown Los Angeles. By way of performances, exhibitions, screenings, and literary occasions, REDCAT introduces various audiences, college students, and artists to essentially the most influential developments in tradition from around the globe and provides artists within the area the inventive help they should obtain nationwide and worldwide recognition. REDCAT extends the custom of the California Institute of the Arts by encouraging experimentation, discovery, and energetic civic discourse. To be taught extra or subscribe to our weekly e-newsletter, please go to redcat.org.

The Crew of Movie at REDCAT
Bérénice Reynaud, Eduardo Thomas, Jeffrey Higgins
Movie at REDCAT | Roy and Edna Disney CalArts, Theater, 631 W. 2ND Road,
Los Angeles, CA 90012


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