The Hustler @ the Charles Theatre

This week the Charles presents an archival print of THE HUSTLER starring Paul Newman and Jackie Gleason.



Showtimes:
Saturday, November 7 at Noon
Monday, November 9 at 7 PM
Thursday, November 12 at 9 PM

1961 Robert Rossen. Paul Newman, Jackie Gleason, Piper Laurie, George C. Scott, Murray Hamilton, Myron McCormick, Michael Constantine, Stefan Gierasch, Jake LaMotta (bartender), Art Smith (uncredited). 134 m. bw. Cinemascope.


Robert Rossen's 1961 feature is a somber morality play postulating as existential hero a pool hustler perfecting his craft (Paul Newman at his best). It makes wonderful use of its seedy locations (memorably filmed in black-and-white 'Scope by Eugen Shuftan, who won an Oscar for his work) and its first-rate secondary cast (Piper Laurie, Jackie Gleason, George C. Scott, Myron McCormick, and Murray Hamilton). Adapted by Rossen and Sidney Carroll from a Walter Tevis novel, this picture is so much better than Martin Scorsese's belated sequel The Color of Money that they don't even belong in the same category. A postnoir melodrama with metaphysical trimmings, it does remarkable things with mood and pacing, and the two matches with Gleason as Minnesota Fats are indelible. (Jonathan Rosenbaum)



watch trailer

The Pendulum, The Pit, and Hope opens @ Metro Gallery

The Pendulum, The Pit, and Hope
New work from Natasha Tylea
Opening Reception: November 7, 2009 at 8pm
November 7th through November 29th
Metro Gallery


This work strives to find the most overlooked or ordinarily mundane
subjects and locate the corner where it all gets weird. To witness the
irk in life. Little explorations in the moment between a grim reality
and a possibly great reality, the space between despair and
enlightenment. There is a comfort there, as these sensations are the
sustenance of life, but there is also the spook of fate in our bones.
The photographs conjure this sensation while giving new light to the
spook. There is always a sense of hope in all these mixed emotions, if
one resists the whitewashing methods of this America and the dumbing,
numbing, narrowing down of letting fear live here. The photographs are
carefully conceived in seconds. The work is often composed entirely of
painterly moods from hues, stark instances, quaint folks or insect
perspectives. The camera for Natasha, lives in this hope and that
spook, and channels it by hand.

Group Salon @ Gallery 788

Gallery 788 in Pigtown will host a group salon opening November 5th from 6 - 10 pm

Photos from the opening of Knit Wit @ Nudashank

For more information on Nudashank exhibits and events, visit www.nudashank.com

Matthew Barney Film Screenings @ Shriver Hall

The Center for Art, Design & Visual Culture at UMBC presents:


Matthew Barney Film Screenings
7 pm - Thurs, Oct. 29
Shriver Hall, JHU
FREE

Films:
Cremaster 4, 1994

Cremaster 4, was Barney's first film in a series of five called Cremaster Cycle. Biologically, the cremaster is a muscle that raises and lowers the testicles. Barney uses the descension of the cremaster muscle as a symbol for the onset of male gender (which appears about nine weeks after a fetus is conceived). The five films progress from a state of undifferentiated gender (a fully ascended cremaster muscle, represented by floating Goodyear Blimps and other symbols), through the organism's struggle to resist gender definition, to the inevitable point where maleness can no longer be denied (complete descension of the cremaster and release of the testes).


Drawing Restraint 10, 2005

The Drawing Restraint series is a project Barney began while an undergraduate at Yale. The central theme of the series is the relationship between self-imposed resistance and creativity. Barney's theory is that encumbrance can be used to strengthen an artists output, much as resistance is used by athletes to build muscle. Drawing Restraint 10 is a video re-staging Drawing Restraint 6, which was never documented. In this video, Barney jumps on a trampoline which has been set at an angle, attempting to draw two linked field emblems on the ceiling.

Lettering & Type Book Launch Party @ MICA

Maryland Institute College of Art, Baltimore
Falvey Hall in the Brown Center
Thursday, October 29
6:30–8:30 PM.

Reception, book signing, and collaborative alphabet from 6:30 to 7:30. Fan Letter from 7:30 to 8:30. This event is free and open to the public.

The highlight of the evening will be Fan Letter: 26 Artists and Designers Present Their Favorite Letter or Typographic Character, featuring designers, artists, and musicians (including many contributors to Lettering & Type) giving a two-minute ode to an alphabet letter or typographic character. These may range from multimedia presentations, performances, videos, stories, poems, animations, songs, stand-up comedy, rants, short plays, demonstrations, Gregorian chants, etc—however they choose to depict their letter.

Prior to Fan Letter, there will be a reception with authors Bruce Willen and Nolen Strals, as they help kick off a participatory Exquisite Corpse Alphabet and sign copies of Lettering & Type: Creating Letters and Designing Typefaces.

Artists, designers, illustrators, and musicians participating in Fan Letter:
Ken Barber & Ben Kiel—Delaware, House Industries (H); Kim Bost and Ted McGrath—New York (T); Andrew Byrom—Los Angeles (N); Jennifer Daniel—New York, New York Times (D); John Downer—Iowa City (J); Shaun Flynn—Baltimore (W); Brockett Horne—Baltimore, MICA (¶); Gary Kachadourian—Baltimore (P); Justin Thomas Kay—New York (&); John Langdon—Philadelphia (X); Eric Leshinsky—Baltimore (*); Ian Lynam—Japan (B); Joe Macleod—Baltimore, City Paper (U); Kelley McIntyre—Baltimore (G); Abbott Miller—Baltimore, Pentagram (A); Adam Okrasinski—New York (K); Kevin O’Neill and Karisa Senavatis—New York, Will Work For Good (C); Jennifer Cole Phillips—Baltimore, MICA (S); Robby Rackleff—Baltimore, Blue Leader (M); Theresa Segreti—Baltimore (O); Whitney Sherman—Baltimore (F); Kevin Sherry—Baltimore, Squidfire (Z); Justin Sirois—Baltimore, Narrow House Recordings (Y); Scott Sugiuchi—Baltimore, Exit10 (Q); Tore Terrasi—Boston (I); Sara Tomko—Baltimore (E); Carlos Vigil—Baltimore (R).

Art & Addiction @ the BMA

Sunday, November 1, 3-4 pm
BMA Meyerhoff Auditorium | FREE

Artists, performers, and medical experts explore the connection between art and addiction, and how art has the power to shed light on addiction and recovery. Featuring guest speaker Dr. Jack E. Henningfield, Director, Innovators Combating Substance Abuse Awards program. A reception follows at 4 pm. For more information, call Art on Purpose at 410-243-4750.

Children's Halloween Matinee @ Charles Theatre

On Saturday, October 31st at noon the Charles will host a special children's matinee of ABBOTT AND COSTELLO MEET FRANKENSTEIN. Children will be admitted free. Adults $6.

ABBOTT AND COSTELLO MEET FRANKENSTEIN will screen again on Monday, November 2 and Thursday, November 5. (No free admission for children on Monday and Thursday)

ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948 Charles Barton) Bud Abbott, Lou Costello, Lon Chaney Jr., Bela Lugosi, Glenn Strange, Lenore Aubert, Jane Randolph. 83m. bw. Archival 35 mm film print. Not Rated.

The comedy duo's finest onscreen hour comes in the shape of this wonderful horror spoof which also unites all of Universal's scariest horror heroes under the same cinematic roof. Here, the pair are at the mercy of Dracula, Frankenstein and the werewolf, after the neck-chomper (Lugosi) hatches a plan to resurrect the long-dead bolt-head with Abbott's brain. This works so well not only because of the tight comic control which builds to a hysterical finale (all the monsters on the loose), but because Lugosi and Chaney as the werewolf play the entire thing as straight as can be, leaving the truly wacky antics to Abbott And Costello. (Channel 4)

Amarcord @ Charles Theatre

This week's revival: A new technicolor print of Federico Fellini's AMARCORD.


SHOWTIMES
Saturday, October 24 at Noon
Monday, October 26 at 7 PM
Thursday, October 29 at 9PM

1973 Federico Fellini. Pupella Maggio, Armando Brancia, Magali Noël, Bruno Zanin, Ciccio Ingrassia.123m. In Italian and Greek with English subtitles. Technicolor.


"If ever there was a movie made entirely out of nostalgia and joy, by a filmmaker at the heedless height of his powers, that movie is Federico Fellini's AMARCORD. The title means "I remember" in the dialect of Rimini, the seaside town of his youth, but these are memories of memories, transformed by affection and fantasy and much improved in the telling. Here he gathers the legends of his youth, where all of the characters are at once larger and smaller than life -- flamboyant players on their own stages.

At the center is an overgrown young adolescent, the son of a large, loud family, who is dizzied by the life churning all around him -- the girls he idealizes, the tarts he lusts for, the rituals of the village year, the practical jokes he likes to play, the meals that always end in drama, the church's thrilling opportunities for sin and redemption, and the vaudeville of Italy itself -- the transient glories of grand hotels and great ocean liners, the play-acting of Mussolini's fascist costume party."
-Roger Ebert

Magic Eye presents: Survey the Landscape tonight @ Load of Fun

Survey of the Landscape is the first of a series of screenings focused on the landscape film The conversation begins with Larry Gottheim's meditative "Fog Line" and continues with Deborah Stratman's "From Hettie To Nancy," a fascinating work that blends documentary and experimental film.

Sunday, October 18 at 8pm.
$5
Lof/t


Larry Gottheim's "Fog Line" (1970)
“One stares, one stares, and the fog begins to lift, the exquisite image reveals itself. The three patchy trees, the landscape lines, the tension lines, the moving ghost animals, the moving emulsion swirls, all impress themselves on consciousness, are consciousness. Still, rigid lines attempt to contain the amorphous elusive moving fog. Line nature competes with fog nature, but all is harmony, bathed in gorgeous paleness.” - Larry Gottheim
From the late-1960s series "single-shot" films to the dense sound/image constructs of the mid-1970s and after, his cinema is the cinema of presence, of observation, and of deep conscious engagement. While addressing genres of landscape, diary and assemblage filmmaking, Gottheim's work properly stands alone in its intensive investigations of the direct, sensual experience in collision with complex structure of repetition, anticipation and memory. (REDCAT)



Deborah Stratman's "From Hetty to Nancy" (1997)
"The stoic beauty of the Icelandic landscape forms a backdrop for a series of witty and caustic letters written at the turn of the century by a woman named Hetty as she treks with her companion Masie, four school girls and their school marm. The film juxtaposes Hetty's ironic cataloguing of the petty social interactions as they endure discomfort and boredom with historic accounts of catastrophes that reveal the Icelandic people subject to the awesome forces of nature." - Deborah Stratman
Deborah Stratman is a Chicago-based artist and filmmaker interested in landscapes and systems. Her films, rather than telling stories, pose a series of problems - and through their at times ambiguous nature, allow for a complicated reading of the questions being asked. Many of her films point to the relationship between physical enviroments and the very human struggles for power, ownership, mastery and control that are played out on the land. (pythagorasfilm.com)