2019 Avant-Garde Masters Grants

Animation Mona Lisa

(ca.1955–1959), series of colorful portraits caricatured through proto-psychedelic distortions by Weegee (Arthur Fellig) (Anthology Film Archives).

Assorted Scenes and Kaleidoscope

(ca.1955–1959), film portraits of various New Yorkers rendered through kaleidoscopic animation effects by Weegee (Arthur Fellig) (Anthology Film Archives).

Autre fois, j’ai aimé une femme (Once I Loved a Woman)

(1966), fragmentary experimental film by Edward Owens, dedicated to Gregory Markopoulos (Chicago Film Society).

BOAC and Assorted Scenes

(ca.1955–1959), series of abstract Kodachrome New York cityscapes by Weegee (Arthur Fellig) (Anthology Film Archives).

Cocktail Party

(ca.1946–1950), documentation by photographer Arthur Fellig (aka Weegee) of a ribald party celebrating the release of his second photobook, Weegee’s People, featuring the only known footage of author Joe Gould (Anthology Film Archives).

The Idiot Box

(ca.1966), “satirical study of television” by Weegee (Arthur Fellig), using distortions of photographs shot off his television set (Anthology Film Archives).

Interupted Solitude/Soledad Interrumpida

(1975), Ed Emshwiller’s multi-screen, mirror-projected accompaniment to Spanish composer Luis de Pablo’s Soledad Interrumpida (California Institute of the Arts).

Notes of an Early Fall

(1976), landmark montage by Saul Levine, portraying his return home to New Haven (CT) with a new sound camera (The Flaherty).

Private Imaginings and Narrative Facts

(1968), Edward Owens’s lyrical montage exploration of the lives of his mother Mildred and her social circle (Chicago Film Society).

Remembrance: A Portrait Study

(1967), Edward Owens’s avant-garde home movie of his mother Mildred at home with her friends (Chicago Film Society).

Tomorrow’s Promise

(1967), psychosexual exploration of “vacantness,” visualized through a series of flickering portraits by Edward Owens (Chicago Film Society).