Selected Video Works presents four videos by Mariah Garnett made between 2010 and 2014. These works represent the early cornerstones of her experimental documentary practice. In all four films, the relationship between subject and filmmaker is foregrounded, calling into question the power dynamics at play in representational art practices.
“Garbage, The City, And Death” uses a Fassbinder text to reframe a real-life relationship between long-lost siblings as a romantic rivalry. It was Garnett’s first attempt to mix theatricality with a real relationship between herself and her subject.
“Picaresques” takes its inspiration from Lieutenant Nun, the autobiography of a transgender conquistador at the turn of the 17th century as its inspiration and abruptly becomes a portrait of Garnett’s own friendship with a 9-year-old tomboy from Santa Monica. It is an attempt to look to the past and future for heroes of a similar gender to the artist’s own.
“Encounters I May or May Not Have Had with Peter Berlin” moves through phases of idolization, anxiety ending in a touchdown in reality in a conversation between the artist and Berlin himself. This is the first film in which Garnett used impersonation as a strategy for representing her subject.
Finally, “Full Burn” marks a shift in Garnett’s practice away from overtly queer themes to the geopolitical. It is a portrait of four U.S. war veterans who have continued to use their own physicality to earn a living, three as stunt men and one as a massage therapist. It is a meditation on masculine duty, trauma and re-enactment.
Mariah Garnett is an artist and filmmaker who lives and works in Los Angeles. She holds a B.A. in American civilization and an M.F.A. from California Institute of the Arts in film/video. In 2019 she was awarded a Guggenheim Fellowship in Film/Video for her feature film, Trouble, which premiered at the London Film Festival and was named one of the best documentaries of the year by Sight + Sound. Her work has screened and been exhibited internationally at venues including The New Museum, The Hammer Museum, Tate Belfast, REDCAT, SFMoMA and her exhibiting gallery, Commonwealth + Council. She is a MacDowell Fellow, and her work has been featured in Bomb, Artforum and Reverse Shot.
The Arts at Amherst Initiative’s Spring Soirée gives arts faculty and staff members a chance to socialize over drinks and food at the Bailey Brown House. As part of the Soirée, Emily Potter-Ndiaye, Dwight and Kirsten Poler & Andrew W. Mellon Head of Education and Curator of Academic Programs at the Mead Art Museum, and Bradford Garvey, Joseph E. and Grace W. Valentine Visiting Assistant Professor of Music at Amherst College, will give short presentations on their recent work. Food and drinks will be provided!
This event is open to all faculty and staff!
75 Dollar Bill was formed in 2012 in New York City by percussionist Rick Brown and guitarist Che Chen. Played on a deeply resonant plywood crate, Brown’s earthy, elemental rhythms are both the foundation and the foil for Chen’s ecstatic, modal guitar style. The duo’s electric, richly patterned music can shape-shift from joyful dance tunes to slowly changing trance minimalism, an uncategorizable hybrid which draws on the modal traditions of West Africa, India and the Middle East, early electric blues, Sun Ra’s space chords and the minimalist and No Wave histories of their hometown. While Brown and Chen are always at the band’s core, the duo frequently expands into other configurations live and on record, from trio to 25-piece marching band.
Join us for a lecture by Tom Welsh, director of performing arts at the Cleveland Museum of Art. Welsh's talk, "When Parallel Lines Intersect: Albert Ayler, Terry Riley," will highlight two of the signature developments in music during the 1960s: free jazz and minimalism. Though they arrived at very different results, their roots and impulses were similar in their search for the ecstatic. Welsh's talk will be a consideration of the motivations and impact of two major artists who emerged in the 1960s, Albert Ayler and Terry Riley.
Welsh was invited to campus by Associate Professor of Music Darryl Harper '90. This lecture is presented in conjunction with Harper's class "Jazz History After 1945: Experimentalism, Pluralism, and Traditionalism" and supported by the Arts at Amherst and the music department.
It is free and open to everyone!
Come and experience 30 patients’ journeys through dTMS treatment for major depressive disorder. This piece by Amherst student Christianna Mariano is part of an exploration of how we can use sound to interpret data in different ways. Owen Miur, Amherst alumnus and Medical Director of Brooklyn Minds, will be speaking about his cutting edge research with dTMS treatment, and Jake Meginsky, filmmaker, composer and visiting lecturer at Amherst College, will be performing.
UPDATE: From now until at least May 1, all Amherst College events are restricted to Amherst students, faculty, and staff (Amherst ID required).
The Amherst Symphony Orchestra (ASO) presents the fourth in its yearlong series of concerts devoted to the music of classical Russian Masters with a program of works by 20th-century modernist Igor Stravinsky.
The program will feature music from two of Stravinsky’s seminal ballet scores: the orchestral suite derived from Pulcinella, as well as the complete music to Petrushka. Mark Lane Swanson, music director, conducts, and Faith Wen ’20 is the featured pianist in Petrushka.
Both ballets feature Pulcinella, a stock character of 17th-century Neapolitan commedia dell’arte and comic puppet popular ever since throughout Europe (e.g., known as Punch in England, Petrushka in Russia). Pulcinella is in Stravinsky’s “neoclassical style” and is derived from pre-existing works by Italian Baroque composers, including Pergolesi. Petrushka is in Stravinsky’s fiery primitivist and radical rhythmic “signature” style, full of coloristic effects and exoticisms. In Pulcinella, our marionette hero loves elusive Pimpinella; in Petrushka, he competes with a Moor for the attentions of a ballerina. In both, he dies and is brought back to life by a magician.
Tickets are available at the door beginning at 7 p.m. Tickets are $10 for the general public; $5 for senior citizens, students with ID and children under 12; and free to Amherst and all Five College students with ID.
Seeking a break from the stressful work? Brighten your winter evening with Amherst Glee Club’s signature songs! Amherst Glee Club is one of the oldest college choirs in the United States. The concert features fun, chill tones of various themes and styles, some performed at Lincoln Center on January. Donuts and hot chocolate will be available.
This event is open to Amherst College students, faculty and staff (Amherst College ID required).
This event is open to current Amherst College students, faculty and staff (Amherst College ID required).
Join us for the opening reception of “A Universe of Terms” exhibition! Hosted in Frost Library’s Mezzanine Gallery and co-curated by Emilie Flamme ’20 and Professor Mona Oraby, “A Universe of Terms” is an exhibition that brings to life 14 terms central to the humanities and social sciences. Based on an online project by the same name for “The Immanent Frame,” a Social Science Research Council digital publication, this exhibition invites scholars, students and the broader public to reimagine learning together through sound, design and narrative. Food and drinks will be provided. Opening remarks and welcome will begin around 4:45.
Explore the Universe here: http://tif.ssrc.org/category/a-universe-of-terms/