https://elisabethsubrin.com Elisabeth Subrin Mon, 18 Oct 2021 17:48:03 +0000 https://elisabethsubrin.com en https://elisabethsubrin.com/Front-page Mon, 18 Oct 2021 16:34:47 +0000 Elisabeth Subrin https://elisabethsubrin.com/Front-page <img width="3741" height="2743" width_o="3741" height_o="2743" data-src="https://freight.cargo.site/t/original/i/2a6964177e3853989f098d76fe7e545f3c0d20a92e6f16d65f28446f3c31dd4f/Shulie-Looking-Back.jpg" data-mid="121946905" border="0" src="https://freight.cargo.site/w/1000/i/2a6964177e3853989f098d76fe7e545f3c0d20a92e6f16d65f28446f3c31dd4f/Shulie-Looking-Back.jpg" /> https://elisabethsubrin.com/Biography Mon, 18 Oct 2021 16:34:47 +0000 Elisabeth Subrin https://elisabethsubrin.com/Biography SHORT BIO: Elisabeth Subrin is a New York based award-winning director and artist. Her critically acclaimed films and video installations have been featured in numerous festivals and exhibitions internationally, including solo shows at The Museum of Modern Art, NY, Film Society of Lincoln Center and the Vienna Viennale. Subrin’s 2016 award-winning feature narrative, A Woman, A Part, had its world premiere in competition at The Rotterdam International Film Festival and traveled to festivals throughout Europe, US and Asia. It was released theatrically in 2017. Her 2022 award-winning short film, Maria Schneider, 1983, starring Manal Issa, Aissa Maiga and Isabel Sandoval, had its world premiere at the 2022 Cannes International Film Festival in Director’s Fortnight and North American premiere at The 60th New York Film Festival in 2022 and was awarded a 2023 César (French Oscars). &nbsp;A commissioned multi-channel video, sound and sculptural version,&nbsp;The Listening Takes,&nbsp;was on view at David Winton Bell Gallery through June 4th, 2023. She is currently developing her feature-length bio-pic about Maria Schneider. &nbsp; LONG BIO: Elisabeth Subrin is a New York-based filmmaker, writer and visual artist who creates works in film, video, photography, and installation. Her critically acclaimed projects explore intersections between cultural history and subjectivity, through a feminist lens. Known for her use of reenactment, Subrin’s previous award-winning short films, video art and installations have screened and exhibited widely in the US and abroad, including solo shows at The Museum of Modern Art, New York, The Vienna International Film Festival, The Institute of Contemporary Art, Philadelphia, Harvard Film Archives, Cambridge, The National Gallery of Art, Lightbox Cinema, The San Francisco Cinematheque, and Film Society of Lincoln Center. She has presented her films in group shows, festivals and museums internationally, including The Whitney Biennial, The Guggenheim Museum, The Walker Art Center, The New York Film Festival (1998, 2000, 2006), VOLTA/NY, The Hessel Museum at Bard College, and the Rotterdam International Film Festival (1998, 2001, 2016) and film festivals globally. In 2012 and 2022, her film Shulie was included in the British Film Institute’s Sight&amp;Sound once-a-decade international critics’ poll for “The Greatest Films of All Times.” Richard Brody covered her 2015 solo show at Film Society of Lincoln Center for The New Yorker, writing of Shulie: “Subrin’s concepts are ingenious and her experiment results in a major advance in the field. Her ideas are beautiful, and the movie is a thing of wonder.” Her new award-winning short film, Maria Schneider, 1983, starring Manal Issa, Aissa Maiga and Isabel Sandoval, had its world premiere at the 2022 Cannes International Film Festival in Director’s Fortnight and North American premiere at The 60th New York Film Festival and is nominated for a César (French Oscars) in Best Documentary Short Film category. &nbsp;A multi-channel video, sound and sculptural version, The Listening Takes, is on view at David Winton Bell Gallery until June 4th, 2023. She is currently developing her feature-length bio-pic about Maria Schneider. &nbsp; In 2016 Subrin premiered her award-winning first feature film, A Woman, A Part, at The Rotterdam International Film Festival in the Tiger Awards competition before presenting it in festivals worldwide. Starring Maggie Siff, Cara Seymour, John Ortiz and Khandi Alexander, it was acquired by Strand Releasing for distribution and theatrically released in 2017. It was also acquired by Netflix, Showtime and The Criterion Channel. Critically acclaimed by The New York Times, Variety, Artforum, The Los Angeles Times and many others, A Woman, A Part was selected for many Best Of lists in 2016 and 2017. Currently, The Criterion Channel is presenting several of her short films and video art.&nbsp; In 2010, Sue Scott Gallery in New York mounted a retrospective of her work, Elisabeth Subrin: Her Compulsion To Repeat. It her 2010 video installation Lost Tribes and Promised Lands, her 2008 two-channel film projection Sweet Ruin, as well as selected experimental films, videos, and large-scale photographic stills from 1990-2010. Parts of the exhibition traveled to MoMA/PS1’s Greater New York, The Mattress Factory, Pittsburgh, La Musee D’Art Contemporain de Val De Marne, Paris, The Haggerty Museum, Milwaukee, and in solo exhibitions at The Jewish Museum, New York, and VOLTA, New York. A Guggenheim, Rockefeller and Fulbright Fellow, Subrin has also received grants from Creative Capital, The Annenberg Foundation, NYSCA, The Westenberger Foundation, France 3, Centre Nationale du Cinéma, and The Andrea Frank Foundation. She was a fellow at The Sundance Institute’s Feature Filmmaker and Screenwriter Labs. She has been a fellow at The MacDowell Colony six times, as well as creating a commissioned film for their Centennial. She has also held residencies at Yaddo and Denniston Hill. Her work has been written about extensively in The New York Times, Artforum, The New Yorker, Art Journal, Frieze, BOMB, The LA Weekly, The San Francisco Bay Guardian, The Village Voice and The Boston Globe and has been the subject of academic book chapters, essays, and panels. Subrin is the creator of the feminist film blog, Who Cares About Actresses, and lectures frequently on film, feminism, and independent cinema. Subrin received a BFA in Film from the Massachusetts College of Art and a MFA in Video from The School of the Art Institute of Chicago. She is a Professor of Film and Media Arts at Temple University. Subrin was a 2020 Fulbright Research Scholar in France at the École Nationale Supérieure d’Arts de Paris-Cergy. <img width="634" height="476" width_o="634" height_o="476" data-src="https://freight.cargo.site/t/original/i/823741496e83efd7e46d1da164bca52a77af3025c2d70b5f38c5524dd47ede9e/screen-shot-2016-04-03-at-45239-pm.png" data-mid="121926891" border="0" src="https://freight.cargo.site/w/634/i/823741496e83efd7e46d1da164bca52a77af3025c2d70b5f38c5524dd47ede9e/screen-shot-2016-04-03-at-45239-pm.png" /> https://elisabethsubrin.com/News Mon, 18 Oct 2021 17:48:03 +0000 Elisabeth Subrin https://elisabethsubrin.com/News 1.31.16"A Woman, A Part" premieres at International Film Festival Rotterdam. 5.14.14Damage Reports opens at ICA, Philadelphia. 1.23.10Elisabeth Subrin: Her Compulsion to Repeat opens at Sue Scott Gallery in NYC. 4.25.10"Lost Tribes and Promised Lands" will be exhibited in the 2010 Greater New York exhibition atPS1/MoMA. 5.23.10MoMA PS1's "Greater New York" exhibition opens today. 5.28.10Interview on Radiovisual 6.17.10 - 6.21.10K8 Hardy, Wynne Greenwood and I are screening some work together for Greater New York Cinema, curated by Ed Halter and Thomas Beard. K8 and I will do a Q&amp;A after our screening on Saturday, June 19th, 3PM. Wynne Greenwood and K8 Hardy / Elisabeth SubrinNew Report, 2005 (Wynne Greenwood and K8 Hardy, video, 12 mins)New Report Artist Unknown, 2006 (Wynne Greenwood and K8 Hardy, video, 17 mins)Shulie, 1997 (Elisabeth Subrin, 16mm/video, 37 mins)Screened daily at 3pm. Conversation with Hardy and Subrin following Saturday, June 19screening 6.23.10 - 8.1.10"Lush Life" opens today at On Stellar Rays. 9.6.10"Shulie: A Film and Stills by Elisabeth Subrin" opens at The Jewish Museum on September 12 through January 30, 2011 9.24.10"Planet of Slums" opens at Mason Gross Galleries at Rutgers University's Mason Gross School of the Arts. From the press release: On view in the Mason Gross Galleries September 24th - October 23rd twenty-one artists respond to Mike Davis’ book Planet of Slums (2006) using various recycled, reused or found forms and materials including painting, drawing, sculpture, installation, photography, printmaking, film, video and performance. Curators Omar Lopez-Chahoud and LaToya Ruby Frazier organized the exhibition with artists’ works that emphasize land use, the environment, the economy, globalization, foreign policies, government power structures, architecture and detritus. Artist in the exhibition include; Manuel Acevedo, Alberto Borea, Erik Benson, Tony Bubba, Nanna Debois Buhl, Mary Ellen Carroll, Oscar Cornejo, Abigail DeVille, Oasa DuVerney, Zachary Fabri, Patrick Hamilton, Takashi Horisaki, Amal Laala, Greg Lindquist, Tom Saver, Elisabeth Subrin, Rishi Singhal, Rob Swainston, Nyugen Smith, Juana Valdes and Lori Waselchuk. The Mason Gross Galleries at Civic Square, 33 Livingston Avenue, New Brunswick, NJ 08901 are open from 10 a.m. to 4 p.m. Mondays, Tuesdays, Thursdays and Fridays, 10 a.m. to 6 p.m. Wednesdays and noon to 4 p.m. Saturdays. More information is available by calling 732-932-2222, ext. 798. Admission is free. https://elisabethsubrin.com/Mobile-nav Mon, 18 Oct 2021 16:34:47 +0000 Elisabeth Subrin https://elisabethsubrin.com/Mobile-nav PROJECTS — Maria Schneider, 1983 (2022) — A Woman, A Part — Who Cares About Actresses — Damage Report — Her Compulsion to Repeat — Lost Tribes and Promised Lands — Sweet Ruin — The Caretakers — Up — Well, Well, Well— The Fancy— Shulie— Swallow PRESS— Press for A Woman, a Part— Elisabeth Subrin/Review— Again— Trashing Shulie— Packing History...— False Document— Disappearing Acts— File Under "Heroes"— Jumping Out a Window— The Shock of the View&nbsp; Biography NewsContact Instagram Twitter ©2022 Elisabeth Subrin https://elisabethsubrin.com/Who-Cares-About-Actresses Mon, 18 Oct 2021 16:34:48 +0000 Elisabeth Subrin https://elisabethsubrin.com/Who-Cares-About-Actresses <img width="1000" height="410" width_o="1000" height_o="410" data-src="https://freight.cargo.site/t/original/i/e94e2dc794b3cbfc33823c114e888243b5872426ca719fbd75c637d38ca28143/12006690_1630574990546761_6066884097894759662_o.png" data-mid="121930138" border="0" src="https://freight.cargo.site/w/1000/i/e94e2dc794b3cbfc33823c114e888243b5872426ca719fbd75c637d38ca28143/12006690_1630574990546761_6066884097894759662_o.png" /> Who Cares About Actresses 2014 to presentfeminist film blog An expansive, intersectional take on actresses, women filmmakers, cinema, art &amp; representation. We celebrate &amp; eviscerate with feminist missionary zeal. "When writer, director, and visual artist Elisabeth Subrin told people about her upcoming feature, A Woman, A Part—about a middle-aged actress struggling to find herself independently of her career—even actresses responded by asking her why she would tackle such a subject. Her new website, Who Cares About Actresses?, is partly animated by her belief, as she explains in a simple but powerful manifesto, that “our culture does not recognize the utterly critical role actresses have as ambassadors for female identity.” Launched last November, the site (which is dedicated to Maria Schneider) showcases interviews, short films, artwork for galleries, and even Internet art in the form of animated GIFs. Fully embracing the potential of multimedia, these selections play on issues of identity and reflect the widespread demand by many actresses for better opportunities and more diverse roles. Here you’ll find a speech by Viola Davis (pictured) at the Screen Actors Guild Awards, a biting supercut of actresses refusing to answer insipid questions on red carpets, and an insightful article on Method acting and feminism. February featured posts exclusively about black actresses, beginning with Mbissine Thérèse Diop, star of Sembene’s Black Girl. In a world saturated with images of women, this inventive and powerful intervention by Subrin and her contributors is genuinely vital." — Violet Lucca, FILM COMMENTWebsite: http://whocaresaboutactresses.tumblr.com/Facebook: https://www.facebook.com/whocaresaboutactresses/ https://elisabethsubrin.com/Damage-Report Mon, 18 Oct 2021 16:34:48 +0000 Elisabeth Subrin https://elisabethsubrin.com/Damage-Report <img width="400" height="600" width_o="400" height_o="600" data-src="https://freight.cargo.site/t/original/i/905219b172995fa577e8b83189571cacdfdda92c4e223ba547b0919ecb0896e0/largeica50may2717.jpeg" data-mid="121927709" border="0" src="https://freight.cargo.site/w/400/i/905219b172995fa577e8b83189571cacdfdda92c4e223ba547b0919ecb0896e0/largeica50may2717.jpeg" /> <img width="400" height="225" width_o="400" height_o="225" data-src="https://freight.cargo.site/t/original/i/5cbdf865eb5395dd08acb0b6101828905c0811c9cd3787ddee9f3fa192c4b8fb/ica50may2708-copy-resize-copy_v2.jpeg" data-mid="121927707" border="0" src="https://freight.cargo.site/w/400/i/5cbdf865eb5395dd08acb0b6101828905c0811c9cd3787ddee9f3fa192c4b8fb/ica50may2708-copy-resize-copy_v2.jpeg" /> <img width="400" height="267" width_o="400" height_o="267" data-src="https://freight.cargo.site/t/original/i/17387b47000f37d7c5101cef66213438678dedd375fd5e5b70a79cafc3849c49/largeica50may2716.jpeg" data-mid="121927708" border="0" src="https://freight.cargo.site/w/400/i/17387b47000f37d7c5101cef66213438678dedd375fd5e5b70a79cafc3849c49/largeica50may2716.jpeg" /> Damage Report 2014Installation: etched glass vitrines, pedestals, light fixturesCommissioned by The Institute of Contemporary Art, Philadelphia "Intrigued by the language ICA's registrars have used to record the condition of objects as they enter and leave the museum ("damage reports") filmmaker Elisabeth Subrin recasts these handwritten documents as an ethereal presence in the gallery. For her first foray into object making, Subrin worked with glass artist Amber Cowan to imbed actual texts from the original "damage reports" that accompanied the 1989 Francesca Woodman exhibition that toured to ICA. From these archival ledgers, as written by then-registrar Jane Carroll, Subrin extracted and edited haunting phrases like "Numerous small losses along spine" and "curling inward slightly" whose corporal tone evokes their source — Woodman's elegant and troubled self-portraits. The subtlety of the etched text is heightened by the darkened gallery space, which illuminates low-hanging light through these handmade glass vitrines. Their emptiness evokes both Woodman's missing photographic prints and the biographical void that has entrenched her work within well-trod narratives." —Kate Kraczon, Associate Curator, Institute of Contemporary Art, Philadelphia from Elisabeth Subrin: Damage Report Exhibitions:ICA@50, Institute of Contemporary Art, Philadelphia https://elisabethsubrin.com/Her-Compulsion-to-Repeat Mon, 18 Oct 2021 16:34:49 +0000 Elisabeth Subrin https://elisabethsubrin.com/Her-Compulsion-to-Repeat <img width="700" height="297" width_o="700" height_o="297" data-src="https://freight.cargo.site/t/original/i/18415ec21a328bd3cfeb48acde4a51dd69f7f175b5c0ab23622be446f3a016a9/615400700.jpeg" data-mid="121938146" border="0" src="https://freight.cargo.site/w/700/i/18415ec21a328bd3cfeb48acde4a51dd69f7f175b5c0ab23622be446f3a016a9/615400700.jpeg" /> Her Complusion to Repeat 201020-year Artist retrospective at Sue Scott Gallery, New YorkFilm, Video, Installation, Photography25-page catalogue with essay by Ed HalterDocumentation here. "Subrin presents the act of discerning between history and subjectivity as a necessary yet inherently impossible task, a project we are asked to undertake despite the knowledge that our findings will always be incomplete. Engaging with stories of women’s lives, Subrin embraces the contradictions between the empirical needs of feminist historiography and the radical unsurety of postmodern thinking."—Ed Halter, "Again," from ELISABETH SUBRIN: HER COMPULSION TO REPEAT "Today, some fifty years removed from Andy Warhol's deployment of fashion and shoe advertisements and thirty years since the flowering of the Pictures generation, the sheer quantity of images circulating in the world has normalized appropriation, and the dispersion of its intent has largely depoliticized it. Remaking (or outright stealing) doesn't register as the challenge to the status quo it used to. These shifts notwithstanding, Elisabeth Subrin has done her part to uphold appropriation's politicized, feminist legacy. Since the late 1980s, her films and videos have used appropriative strategies to deconstruct authoritarian voices. In several such pieces that were included in her recent small-scale retrospective at Sue Scott Gallery, along with a selection of stills from the videos on view, Subrin, characteristically, took on autocratic history telling by remaking histories through the exposure or reconstruction of minor events. It was surprising to find that in her newest video, that voice is her own. Lost Tribes and Promised Lands, 2001-10, is a split-screen projection: half footage that Subrin shot during a midday walk around her Williamsburg, Brooklyn, neighborhood about a month after 9/11, half Subrin's attempt to re-create the same walk eight years later, when the ubiquitous flags and crummy delis seen in the left-hand screen had largely given way to boutiques and cafés. Gentrification is an old New York story, and the replacement of the iconography of knee-jerk patriotism by that of a neighborhood's architectual and cultural makeover isn't itself exceptional. But providing narrative content per se is rarely Subrin's intent. What always makes her work tick is how it interrogates authorship. Re-creation seen here is a ruse, blockaded as it is by political shifts, real estate development, or just the banal march history."—Nick Stillman, ARTFORUM A Time Out NY and The New York Times Critic's Pick. Exhibition:Elisabeth Subrin: Her Compulsion to Repeat, Sue Scott Gallery, New York https://elisabethsubrin.com/Lost-Tribes-and-Promised-Lands Mon, 18 Oct 2021 16:34:49 +0000 Elisabeth Subrin https://elisabethsubrin.com/Lost-Tribes-and-Promised-Lands <img width="565" height="211" width_o="565" height_o="211" data-src="https://freight.cargo.site/t/original/i/b26006d524aeea40c48ccb7579a18ada108e83569814377aa9b69be56cf00e88/losttribes-bushcu.jpeg" data-mid="121938182" border="0" src="https://freight.cargo.site/w/565/i/b26006d524aeea40c48ccb7579a18ada108e83569814377aa9b69be56cf00e88/losttribes-bushcu.jpeg" /> Lost Tribes and Promised Lands 20102-channel video installation, 16mm to HD, salvaged wood, 6:00 loop "In the days following the September 11 attacks on New York, Subrin took a battered 16mm Bolex camera out into her neighborhood in Williamsburg, Brooklyn, shooting houses and storefronts that had then become suddenly and compulsively festooned with American flags and other accretions of patriotic paraphernalia. Nearly a decade later, with the same camera, on the same date and at the same approximate hour of the day, she attempted to retrace her own steps, now only half-remembered and largely conjectured from the 2001 footage itself: alienated from her own work by time, she approached it as a found object. She combined the two reels into a double-screen loop, allowing for a visual comparison between then and now. Once again, Lost Tribes and Promised Lands expresses a longing to go backwards, to hold on to the past as a way of making sense of (or perhaps to stop) the ongoing flow of time. We see there is a difference: some buildings remain largely the same, many have changed only superficially, while others have completely disappeared in a decade of aggressive gentrification. A makeshift memorial has become a permanent commemorative plaque, delis have transmuted into chic bistros. A window that once displayed a flyer of Osama Bin Laden with a target drawn on his forehead now bears in the same spot a handwritten sign advertising soft-serve yogurt. In some shots, the same building appears canted in the frame first to the right, then to the left, both mirroring and opposing its own temporal twin. Presented in installation at Sue Scott Gallery, Lost Tribes and Promised Lands is projected behind a wall made from the kind of battered wood found covering urban building sites—always salvaged from past projects, never truly new. It is a material that signifies both construction and demolition, and a barrier to easy viewing; it recalls both a temporary shelter and a martial barricade." Ed Halter, "Again," from Elisabeth Subrin: Her Compulsion To Repeat Exhibitions:Thenceforward and Forever Free, Haggerty Museum of Art, Milwaukee, WINeighbo(u)rhood, The Mattress Factory, Pittsburgh, PAGreater New York, PS1/MoMA, Queens, New YorkLet's Dance, Musée d'Art Contemporain du Val-de-Marne, Paris FranceElisabeth Subrin: Her Compulsion To Repeat, Sue Scott Gallery, New York, NYLost Tribes: Elisabeth Subrin, Light Industry at X-initiative, Dia/Chelsea, New York (work in progress) https://elisabethsubrin.com/Sweet-Ruin Mon, 18 Oct 2021 16:34:49 +0000 Elisabeth Subrin https://elisabethsubrin.com/Sweet-Ruin <img width="700" height="234" width_o="700" height_o="234" data-src="https://freight.cargo.site/t/original/i/3123abd472908dcb13caad2416005b3bbca392b1c25da88837bb62898c097351/584400700.jpeg" data-mid="121938189" border="0" src="https://freight.cargo.site/w/700/i/3123abd472908dcb13caad2416005b3bbca392b1c25da88837bb62898c097351/584400700.jpeg" /> Sweet Ruin 20082-channel video projection, 16mm to HD, 10:00 loop projected from hard drive Sweet Ruin is an experimental adaptation of Michelangelo Antonioni’s unrealized script, Technically Sweet, written in the late '60s, but never produced. Set in the Amazon and Sardinia, it was to star Jack Nicholson as T., a disillusioned journalist obsessed with guns, and Maria Schneider as "The Girl." In two screens paralleling the dual plots of his script, Sweet Ruin imagines the ruins of Antonioni's work, as if it somehow actually filmed, but then lost and forgotten. Meditating on love, violence and cinema, the installation was shot with out-of-date, damaged 16mm film stock, processed and edited to evoke fragments of hypothetical lost takes and shards of the abandoned script. Reclaiming and reinterpreting the original script, Subrin explores the psychological and gendered dynamics of relationships by blurring the lines between interiorized and externalized states of being, and casting an actress in both the Nicholson and Schneider role. Featuring Gaby Hoffman as T. and The GirlSound Design by Taylor Thompson Selected Exhibitions:Anti-Establishment, Center for Curatorial Studies, Hessel Museum of Art, Bard College, New York, NYElisabeth Subrin: Her Compulsion To Repeat, Sue Scott Gallery, New York, NYTechnically Sweet, PARTICIPANT, Inc., New York, NYTechnically Sweet, Overgaden Institute of Contemporary Art, Copenhagen, Denmark https://elisabethsubrin.com/The-Caretakers Mon, 18 Oct 2021 16:34:50 +0000 Elisabeth Subrin https://elisabethsubrin.com/The-Caretakers <img width="600" height="338" width_o="600" height_o="338" data-src="https://freight.cargo.site/t/original/i/383cdd9c526e133130cc96eb7265ad7d98e9e191061e5b39af8f8f31b4c0add3/cleocuhat4.png" data-mid="121931404" border="0" src="https://freight.cargo.site/w/600/i/383cdd9c526e133130cc96eb7265ad7d98e9e191061e5b39af8f8f31b4c0add3/cleocuhat4.png" />The Caretakers 2006HD, 18:41 A commission for The MacDowell Colony's Centennial Celebration, The Caretakers traces the unraveling of a writer as she begins a residency at a legendary artist colony, haunted by the aura of former artists who worked there. Stripped of her urban, career-driven preoccupations, Cleo finds herself unable to connect with the quiet new world around her. A chance encounter with a mysterious former housekeeper challenges Cleo's understanding of the interdependencies between art making, care-taking and love. Inspired by myths and memoirs of former MacDowell artists, Subrin's parable is an ode to the gift of creative space. Featuring Cara Seymour (Adaptation, Dancer in the Dark, American Psycho), with an original score by video/performance artist Wynne Greenwood (Tracy and the Plastics). Selected screenings:The 44th New York Film Festival, Lincoln Center, New York, NYThe Museum of Modern Art, New York, NYThe Wexner Center for the Arts, Columbus, OHThe Walker Art Center, Minneapolis, MNNational Gallery of Art, Washington, DC