Interview/documentary of an actor speaking about auditioning for acting roles as a major part of an actor’s life. This video is a movie in a movie-shooting a self tape, conducting an interview about shooting an audition, and shooting a video about the shooting of the self tape.
Actors do so many auditions in relation to the small percentage of castings-and this became part of the soul of the short doc/interview.
Hand Drawn Animation
color. TRT: 09:12
A magical experience for 9 year old Jonnie, who travels to an underwater city and meets his new friend Azimer, a former performance artist. This animation is hand drawn and based on an original script by Frances Barth, with voice over by Ron Nakahara and David Asta, and includes video performance by Valerie Charles.
A short documentary/portrait of the painter Regina Bogat, who at the age of 84 had her first solo show in New York City, of work from the 1960’s. These paintings had only been seen once at her loft party back in the ‘60’s. A part of the 10th Street art scene, Regina was the only woman artist working in the Bowery Studio building with Mark Rothko, James Brooks, Ray Parker and other Abstract Expressionists. A natural raconteur and independently minded painter, a friend of Ad Reinhardt and Eva Hesse, Regina subsequently married the painter Alfred Jensen and has continuously painted throughout her life. In 2019 there will be a retrospective of her work, and she has recently had multiple exhibitions in New York and Paris.
Nominated for best International Short Documentary 2018
We just were notified that Frances’ hand drawn animation “Jonnie in the Lake” is an OFFICIAL SELECTION in the Portoviejo Film Festival this June in Ecuador. It has Spanish subtitles and we are thrilled to be part of the festival! A still from “Jonnie” is on the poster below.
NeueHouse presents Jam Session, a group exhibition curated by Ella Marder
Special collaboration with Blum & Poe and Silas von Morisse galleries
Clara Claus Matthew Cole
Julian Hoeber Daniel Horowitz
Penny Slinger Andre Von Morisse
The fall-winter gallery season was the proverbial embarrassment of riches, at least for those of us who admire paintings and sculptures that are more about the expressive potential of the visible than about readily articulated verbal “concepts.” Exhibitions ranging from inventively recorded perceptions of the world around us to free-wheeling abstractions, from exquisitely refined investigations of painting languages to robust sculptures, from traditionally presented landscapes to aggressively shaped disquisitions on vernacular culture filled the galleries. And that’s not to forget some stunning drawing exhibitions, including a dazzling retrospective of works on paper by a Renaissance giant.