Santa Fe Film Fes­ti­val,

Pasatiempo - - Art In Re­view -

The Heretics This film by di­rec­tor Joan Bra­der­man serves as a great re­fresher course about the fem­i­nist move­ment dur­ing the 1970s. In 1971, Bra­der­man be­came part of a fem­i­nist art col­lec­tive. Decades later, she re­vis­ited that ex­pe­ri­ence by re­con­nect­ing with her ac­tivist sis­ters. At the core of the film is the story of how these women, who formed the Here­sies Col­lec­tive, came to­gether to cre­ate an ex­tremely in­flu­en­tial mag­a­zine. In 27 is­sues pro­duced from 1977 to 1992, Here­sies: A Fem­i­nist Publi­ca­tion on Art and Pol­i­tics pre­sented top­ics too charged for main­stream pub­li­ca­tions. “ Art in Amer­ica, Art­news, and Art­fo­rum ... we were pub­lish­ing stuff that they would not have touched, and that made [Here­sies] so much sex­ier and fun,” writer and col­lec­tive mem­ber El­iz­a­beth Hess says in the film. Cover sto­ries in­cluded “The Great God­dess,” “Art in Unestab­lished Chan­nels,” and “Les­bian Art and Artists.”

Bra­der­man, Hess, and a cast of 20 other found­ing mem­bers, in­clud­ing New Mex­ico artists Har­momy Ham­mond, May Stevens, Food Fight Chris Tay­lor’s 2008 doc­u­men­tary about the rapid rise of in­dus­tri­al­ized agri­cul­ture in the United States af­terWorldWar II— and the long-last­ing im­pli­ca­tions that rise has had on the pro­cess­ing, mar­ket­ing, con­sump­tion, and farm­ing of food— takes most of its the­matic cues from the gospels of AliceWaters of Chez Panisse and The Edi­ble School­yard fame and food ac­tivist Michael Pol­lan, au­thor of The Om­ni­vore’s Dilemma: A Nat­u­ral His­tory of Four Meals and In De­fense of Food: An Eater’s Man­i­festo.

Fun an­i­ma­tion and well-paced in­ter­views with­Waters, Pol­lan, and oth­ers (in­clud­ing, rather cu­ri­ously, celebrity Spago chef/food-em­pire iconWolf­gang Puck) keep the tone light while still de­liv­er­ing strong mes­sages about the blos­som­ing lo­cal-food rev­o­lu­tion rooted in ’70s-era Cal­i­for­nia, grass­roots ac­tivism, and or­ganic farm­ing. Food Fight isn’t ground­break­ing, nor does it cover any­thing new for those who have their radar tuned to the sus­tain­able-food move­ment. But Sonoma or­ganic farmer Bob Can­nard makes a good case for tak­ing some­one else to see this film— some­one, per­haps, who de­scribes him­self as a “foodie” but has ab­so­lutely no idea where his or her din­ner ac­tu­ally comes from: “The qual­ity of our food is mea­sured by how it will ship, rather than how it tastes.” Not rated. 91 min­utes. 6 p.m. Thurs­day, Dec. 3, Re­gal DeVar­gas; 10:15 a.m. Fri­day, Dec. 4, New Mex­ico His­tory Mu­seum.— Rob DeWalt own choice that I am in this po­si­tion— the lucky one. Some­times I feel I don’t want to be this per­son. ... But it’s amaz­ing.” And so the ex­per­i­ment comes to an end— the U.S. has gained an­other bal­let dancer and Cam­bo­dia may have lost a small part of its soul. Not rated. 88 min­utes. 3:40 p.m. Thurs­day, Dec. 3, The Screen; 1:30 p.m. Sun­day, Dec. 6, NDI-NM Dance Barns.— Madeleine Nick­lin and Sabra Moore, as well as writer and cul­ture critic Lucy Lip­pard, ap­pear in the film. “The first [is­sue of Here­sies] was prob­a­bly the most ex­hil­a­rat­ing; that was the one where we re­ally thought we were go­ing to change the world,” Lip­pard says.

Chang­ing the world— mean­ing the pa­tri­ar­chal power struc­ture— was an up­hill bat­tle. “If a woman would go to an in­ter­view for a job, she’d be given a typ­ing test, no mat­ter what,” re­marks jour­nal­ist and col­lec­tive mem­ber Patsy Beck­ert. And as Lip­pard re­calls, “I was sup­pos­edly too cute to be here. ‘You’re too cute to be an art critic.’ Mark Rothko ac­tu­ally told me that.” Artist Nina Yankowitz says mat­ter-of-factly, “It be­came clear to me that ev­ery­thing in my life, in terms of art, I was go­ing to have to fight for.”

Bra­der­man’s film cov­ers a lot of ground in por­tray­ing the dif­fi­cul­ties that women have had to over­come, both in art and pol­i­tics, and that in some ways con­tinue to­day. As Su Friedrich says, “Peo­ple who are com­ing up now in their 20s and 30s ... don’t have a clue; it’s im­pos­si­ble to know what a vac­uum we were work­ing in com­pared to now.” Not rated. 95 min­utes. 5 p.m. Thurs­day, Dec. 3, New Mex­ico His­tory Mu­seum; 12:30 p.m. Satur­day, Dec. 5, Mu­seum of Con­tem­po­rary Na­tive Arts.— Dou­glas Fair­field Pirkle Jones: Seven Decades Pho­tographed Jane Levy Reed’s 2008 doc­u­men­tary at­tests to the glo­ri­ous vi­sion and so­cial con­science of pho­tog­ra­pher Jones. Among those in­ter­viewed for the film are Tim B. Wride, co-cu­ra­tor of a 2001 ex­hi­bi­tion of Jones’ work; San­dra S. Phillips, se­nior cu­ra­tor of pho­tog­ra­phy at the San Fran­cisco Mu­seum of Modern Art; and Kath­leen Cleaver, who was sec­re­tary of com­mu­ni­ca­tions for the Black Pan­ther Party in the late 1960s and who helped fa­cil­i­tate Jones’ pho­tog­ra­phy of the Pan­thers. Jones and his wife, Ruth-Mar­ion Baruch, put to­gether the ex­hibit A Pho­to­graphic Es­say on the Black Pan­thers. Sev­eral of his por­traits of Pan­thers Huey New­ton, Stokely Carmichael, and Bobby Seale are iconic.

When you watch this film, you will feel the man’s con­cern with jus­tice in so­ci­ety, es­pe­cially when it comes to events that un­folded in the San Fran­cisco Bay Area. But you will also be en­rap­tured with the gallery of im­ages Jones com­posed dur­ing his long ca­reer, which ended with his death on March 15 of this year.

A mon­tage of his pho­tos presents a spi­der web glit­ter­ing with wa­ter drops, stark build­ings with open win­dows, a man sit­ting on a truck bumper, a lit­tle bait shop, three young men on a mo­tor­cy­cle, and Dorothea Lange pho­tograph­ing the de­struc­tion of a land­mark tree. Jones’ port­fo­lio in­cludes other shots of prom­i­nent pho­tog­ra­phers, among them Mi­nor White, Ed­wardWe­ston, and Imo­gen Cun­ning­ham.

Then there are the land­scapes he cap­tured in Cal­i­for­nia; one stun­ning cityscape is View of Twin Peaks #1, San Fran­cisco, From Fog Series, 1955. Jones was “won­der­fully sen­si­tive to the lu­mi­nous skies we have,” cu­ra­tor Phillips says of this pho­tog­ra­pher’s pho­tog­ra­pher. The obit­u­ary that ran in The New York Times in­cluded a com­pli­ment from Jones’ men­tor, Ansel Adams: “His pho­tog­ra­phy is not flam­boy­ant,

Pirkle Jones: Seven Decades Pho­tographed

The Heretics

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