Tag Archives: Hammer Museum

CARMEN ARGOTE — FILM PREMIERE AND EDITION LAUNCH

The Hammer Museum and Clockshop present the livestream premiere of Carmen Argote’s new short film LAST LIGHT, followed by a Q & A with the artist and the museum’s associate curator Erin Christovale.

Shot during the first wave of the pandemic, LAST LIGHT is a meditation on walking and memory in Los Angeles. Argote describes her walking habit as synonymous with thinking, a way of taking in and digesting the conditions of her environment. Through walking, the artist “deconstructs and reconstructs my ideas, thoughts, and self.” Combining video and still images of an evacuated city with an intimate voice-over, the narrator reflects on feelings of vulnerability and betrayal, and draws on childhood memories to make sense of a city transformed. Over the course of the piece, day moves to night as the artist traces a path from demolition and sickness to envisioning a different world.*

Also this week, the artist will launch her limited edition print BLOAT—a LACE edition guided by artist and printmaker Eric Gero—and join a conversation with LACE chief curator and director of programming Daniela Lieja Quintanar.

See links below for details.

CARMEN ARGOTE—LAST LIGHT*

Tuesday, July 21.

6 pm on the West Coast; 9 pm East Coast.

CARMEN ARGOTE—LACE EDITION LAUNCH and CONVERSATION

Wednesday, July 22.

7 pm on the West Coast; 10 pm East Coast.

Carmen Argote, Last Light (2020), images courtesy and © the artist.

SUSAN SONTAG — FROM THE ARCHIVE

We felt that this was very exciting. That this film could be something very new. But we couldn’t judge. Because the script didn’t say so much.Agneta Ekmanner, actor in Duet for Cannibals*

On Friday, two UCLA institutions—the Film and Television Archive and the Library Special Collections—will screen the 2K restoration of Susan Sontag’s directorial debut DUET FOR CANNIBALS and present a selection of the Susan Sontag Papers.

DUET FOR CANNIBALS

Friday, February 7, at 7:30 pm.

Billy Wilder Theater—Hammer Museum

10899 Wilshire Boulevard, Los Angeles.

*Agneta Ekmanner, author’s interview in Benjamin Moser, Sontag: Her Life and Work (New York: Ecco, 2019), 313.

See “Benjamin Moser’s Pulitzer Prize for Biography is a Travesty,” by Nádia Gotlib, Lisa Paddock, Carl Rollyson, and Magdalena Edwards.

From top: Susan Sontag, photograph by Jill Krementz, 1974; Sontag, Duet for Cannibals (1969) (4). Images courtesy and © Jill Krementz, the filmmakers, actors, producers, stills photographers, and Metrograph Pictures.

PAUL McCARTHY IN CONVERSATION

For the opening weekend of PAUL McCARTHY—HEAD SPACE, DRAWINGS 1963–2019, the artist joins Hammer co-curators Aram Moshayedi and Connie Butler for a conversation about his practice.

PAUL McCARTHY, ARAM MOSHAYEDI, and CONNIE BUTLER IN CONVERSATION

Sunday, February 2, at 2 pm.

Hammer Museum

10899 Wilshire Boulevard, Los Angeles.

Paul McCarthy, Head Space, Drawings 1963–2019, Hammer Museum, February 2–May 10, 2020, from top: Wooden Structure Up Against the Wall, Pour a Bucket of Paint, 1972, graphite on paper; Cooking Show, 2001, charcoal, graphite, and oil stick on paper; Indian Mummy (detail), 1965, ink on newsprint, five parts; Void (Cube), 1978, marker and tape on newsprint; Dead H Crooked Leg Maze, 1979, ink and graphite on paper; Dopwhite, WS, 2009, oil stick, charcoal, and collage on paper; Self-Portrait, 1963, ink on paper. Images courtesy and © the artist, private collectors, and Hauser & Wirth.

SHIRLEY CLARKE — THE COOL WORLD

I know a lot about alienation… I think all women filmmakers are aware of it. It was the subject of a lot of the conversations I had with Maya Deren. We agreed that we were always going to present a united front to the world…

I would not have been able to make THE COOL WORLD had I not been living with Carl Lee at that time. It took Carl three months of going up to Harlem all the time, gathering kids, and bringing them down for us to interview… The “good” kids in school weren’t giving us believable readings… I finally persuaded Carl to try to get to the gangs, [and] it was very exciting because the “real” kids started improvising the script we had written right back to us.Shirley Clarke

As part of the UCLA Film and Television Archive series American Neorealism, Part One—1948–1984, Clarke’s THE COOL WORLD will screen at the Billy Wilder Theater, Hammer Museum this weekend on a double bill with Michael Roemer’s Nothing But a Man.

Frederick Wiseman produced THE COOL WORLD, and the jazz score is by Mal Waldron, with Dizzy Gillespie on the soundtrack.

THE COOL WORLD

Saturday, January 18, at 7:30 pm.

Billy Wilder Theater—Hammer Museum

10899 Wilshire Boulevard, Los Angeles.

Shirley Clarke, The Cool World (1964). Film stills and (above) photographs of Clarke on set and with composer Mal Waldron. Images courtesy the filmmaker’s estate, the actors, the producers, and the distributors.

BLACK ORPHEUS

As part part of LA Opera’s Eurydice Found program celebrating the world premiere of Matthew Aucoin and Sarah Ruhl’s opera Eurydice, the Hammer Museum will screen BLACK ORPHEUS, Marcel Camus’ bossa nova take on the myth. (The film’s score is by Antônio Carlos Jobim and Luis Bonfá.)

BLACK ORPHEUS

Wednesday, January 15, at 7:30 pm.

Hammer Museum—Billy Wilder Theater

10899 Wilshire Boulevard.

Marcel Camus, Black Orpheus (1959), from top; Marpessa Dawn as Eurydice and Breno Mello as Orpheus; French poster; Dawn; Black Orpheus carnaval do Brasil scene. Images courtesy and © the actors, photographers, producers.