Ohio Edit's Global Holiday Extravaganza features some of the sparkliest writers from across the globe, including Jessa Crispin (Bookslut, Spolia) from Berlin; Natalie Eve Garrett (Hairpin) from Washington, DC; Zoe Ruiz (The Rumpus) from Los Angeles; Jim Behrle (Hairpin, Awl) as Santa; and Amy Fusselman…
Ohio Edit's Global Holiday Extravaganza features some of the sparkliest writers from across the globe, including Jessa Crispin (Bookslut, Spolia) from Berlin; Natalie Eve Garrett (Hairpin) from Washington, DC; Zoe Ruiz (The Rumpus) from Los Angeles; Jim Behrle (Hairpin, Awl) as Santa; and Amy Fusselman (The Pharmacist's Mate/8). Plus free wine and candy canes!
About the Contributors:
Amy Fusselman is the author of 8 and The Pharmacist's Mate and is the editor of Ohio Edit. Her forthcoming book is Savage Park.
Jessa Crispin is the editor and founder of the literary magazines Bookslut and Spolia. Her Sun is conjoined Dark Moon Lilith. Sometimes she resides in Berlin, sometimes not.
Zoe Ruiz is the managing editor of The Rumpus. Her work has appeared in The Weeklings, Salon, and Two Serious Ladies and she has a bi-monthly column on Ohio Edit. She studied creative writing at UC Santa Cruz and now lives in LA.
Jim Behrle is Santa. He writes for The Awl, The Hairpin, The Poetry Foundation, and the good boys and girls everywhere.
Natalie Eve Garrett is an artist, writer, sea creature and chickpea. She lives with her husband and two children near the place where she grew up, in a town just outside DC, along the Potomac River. Her work can often be seen on The Hairpin, where she has several regularly featured columns, including a popular food column called Disgustingly Good. She is currently working on a cookbook anthology called The Artists' and Writers' Cookbook.
Josh Lefkowitz has had poems published in Court Green, The Hairpin, and elsewhere. He has recorded humorous essays for NPR's All Things Considered and BBC's Americana, and previously performed a pair of autobiographical monologues in theaters and spaces across the country. Josh won the 2013 Wergle Flomp Humor Poetry contest. He lives in Prospect Heights, Brooklyn.
Kathy Giuffre is the author of An Afternoon in Summer: My Year in the South Seas and lives in Colorado with her husband and two sons. Her NPR radio show is called “Off Topic” and can be heard every Saturday morning on KRCC 91.5 FM or anytime at offtopicradio.org
Molly MacDermot is a noted expert on teens and has served as Editor in Chief of the teen magazines M, QuizFest, AstroGirl, and J-14.
Todd Wernstrom is a wine distributor in New York City where he lives with his wife, three children and a crazy (but cute) little dog. Prior to forming his own distribution company, he wrote about wine for a number of national and regional publications. To his great surprise, he recently discovered that not being paid to write about sports-related topics is far more satisfying than being paid to write about grapes.
Jillian Chaitin was born and raised in San Diego, California. She had a natural love of making art from very early on, which was fostered by her mother, an art teacher. Jillian went on to study fine art at U.C. Berkeley, before moving to the New York to continue her studies of painting, illustration, and screen printing, at SVA and FIT. In addition to being an illustrator and artist, she and her husband, Jeremy Hollingworth, are co founders and partners of Cabin Modern, a boutique interior design and lifestyle studio. Jillian lives with her husband on the lower east side, and loves traveling, hearts, and taking polaroids.
Jen May is a Scorpio and artist living in Brooklyn, NY with 3 cats.
Light Industry hosts a rare double bill of Nathaniel Dorsky and Jerome Hiler—two major figures in contemporary experimental cinema—featuring Dorsky’s portrait of Hiler, the pivotal Hours for Jerome, and a new print of Hiler’s In the Stone House. Seen together, these films reveal the deeply reciprocal…
Light Industry hosts a rare double bill of Nathaniel Dorsky and Jerome Hiler—two major figures in contemporary experimental cinema—featuring Dorsky’s portrait of Hiler, the pivotal Hours for Jerome, and a new print of Hiler’s In the Stone House. Seen together, these films reveal the deeply reciprocal nature of Dorsky and Hiler’s art. “Hours for Jerome was photographed from 1966 to 1970 both in New York City and in the countryside in New Jersey,” Dorsky recalls. “During the exact same period of time, Jerome was shooting footage which would eventually become In the Stone House. These two works are a personal mirror of one another, but have never been shown together. Most of the footage from both films was shot at the house we were renting on Lake Owassa near the Delaware River, about two hours from Manhattan. It was known by the neighbors as the stone house. We were both about 25 years old.”
Partners for almost fifty years, Dorsky and Hiler first met in New York City in the 1960s, where they were both mentored by Gregory Markopoulos, whose ultimate influence can be seen in their precise, idiomatic, and expressive approach to montage. After relocating for a few years to rural New Jersey, the pair moved to San Francisco in 1971, where they have lived ever since. There, the two continued to shoot film, but for many years chose to screen footage only privately, to small groups of friends.
Dorsky broke from this habit in 1980, when he began editing what would become Hours for Jerome; with its completion, Dorsky returned to public exhibition, and the film came to be celebrated as one of the key works marking a new direction for American avant-garde cinema. “Hours for Jerome is simply the most beautifully photographed film that I’ve ever seen,” Warren Sonbert wrote upon the film’s release. “Here cinema enters the realm of the compassionate; capturing the eye and the mind, in ways unlike the predictable arena of the structural film.” Hours can now be seen as the beginning of certain formal practices of Dorsky’s that reach into the present day, particularly the exclusive use of silent 16mm projected at 18 frames per second. Like films such as Compline (2009), Aubade (2010) or August and After (2012), it too investigates the play of light through different seasons, but with a greater emotional immediacy, achieved through a design closer to the diary films of Jonas Mekas. And if Dorsky’s recent films have given nods to specific musical genres, Hours for Jerome is undoubtedly a love ballad.
Hiler took much longer to bring his work back into the public eye, but did so most notably with Words of Mercury, which premiered to great acclaim at the New York Film Festival in 2011, and was later included in the 2012 Whitney Biennial. Since then, Hiler’s annual presentation of new work has cemented his reputation. His films display a careful and subtle power all their own, pushing everyday events into a richly subjective realm. In the case of In the Stone House, Hiler documents the intimacies of the couple’s social life—visits from artist and poet friends, exploratory treks into the wilderness, a gathering for an eclipse—intercut with stretches of inky black leader that punctuate these images’ distance from the present day. “Viewers familiar with Dorsky’s films who see Hiler’s work for the first time might conclude that his greatest influence has been Dorsky’s mature cinema,” P. Adams Sitney recently observed. “Yet one might, with equal justification, claim that Hiler has been the primary influence on Dorsky.”
In the Stone House, Jerome Hiler, 16mm, 1967-70/2012, 35 mins
“In the Stone House records and recollects a period of life of four years in rural New Jersey. In the latter 1960s, two young guys with monastic leanings leave the clatter of Manhattan’s art and film scene to catch the wave of higher consciousness that was about to change the world forever to find themselves washed ashore in a place only slightly updated from Way Down East. The monastic retreat quickly turned into the weekend getaway for a host of extravagant Manhattanites seeking films and fun.” - JH
Hours for Jerome, Part One, Nathaniel Dorsky, 16mm, 1982, 21 mins
Hours for Jerome, Part Two, Nathaniel Dorsky, 16mm, 1982, 24 mins
“Hours for Jerome is an arrangement of images, energies, and illuminations from daily life. These fragments of light revolve around the four seasons and are very much a part of the youthful energy and poignant joy of my mid-twenties. Part One is spring through summer; Part Two is fall and winter. The title of the film refers to a ‘Book of Hours’ which, in medieval European Catholicism, was a series of prayers presented eight times every 24 hours. Each ‘hour’ had its own qualities from pre-dawn till very late at night and these qualities also changed through the progressing seasons of the year. They were traditionally illustrated by luminous miniature paintings, and were often titled ‘Hours for…’. Saint Jerome was a favorite subject of these illuminations and he is often depicted at his studies accompanied by a lion. The Jerome in Hours for Jerome is a close friend and filmmaker who is seen at his work or studies often with his cats. He is first seen reading the newspaper, then putting sugar in his coffee, contemplating a book of Mozart’s letters in a ‘rain and lightening’ storm, swimming, and writing a letter in blue; and in Part Two picking an apple, editing film, standing under a tree, reading, watching television during a snowstorm, and driving a car at twilight. So the title is a somewhat humorous reference to the medieval form, as this film is also a series of illuminations from different times of day and night progressing through the seasons. There is also the pun that so much of the film has to do with various kinds of time.” - ND
Tickets -$7, available at door.
Please note: seating is limited. First-come, first-served. Box office opens at 7pm.
About INGENIOUS: America is a nation of inventors—or so said Mark Twain. But these days it seems American innovation is in the hands of engineers in Silicon Valley, Detroit manufacturers, or Houston rocket scientists. So when journalist Jason Fagone heard about a contest offering $10 million to …
America is a nation of inventors—or so said Mark Twain. But these days it seems American innovation is in the hands of engineers in Silicon Valley, Detroit manufacturers, or Houston rocket scientists. So when journalist Jason Fagone heard about a contest offering $10 million to anyone who could build a safe, energy-efficient car of the future, he knew he was in for the ride of his life. INGENIOUS: A True Story of Invention, Automotive Daring, and the Race to Revive America is the story of four teams vying for that prize, and their fervor reminds us we are still living in Twain’s America, a place where ingenuity springs from the most unexpected places.
The Automotive X Prize was announced in 2007 by American entrepreneur Peter Diamandis. The contest attracted interest from more than three hundred teams around the world, including dozens of amateur inventors. Many of them threw out the rulebook on how a car should look, feel, and drive, choosing instead to start from scratch. The finished product needed to be safe, mass- producible, and able to travel 100 miles on the energy equivalent of one gallon of gas—the inventors could take it from there.
The first team Fagone heard about was a group of local Philadelphia high-schoolers who had beaten out a team from MIT in a previous competition. When he went to the school to investigate, he was amazed: This was 2010, and the country was in a recession. General Motors had gone bankrupt. America, everyone kept saying, didn’t make things anymore. Yet here, Fagone found a hive of energy, ingenuity, and hope. He was hooked.
As more than a hundred teams battled it out for the Automotive X Prize, Fagone spent the next several years focused on four teams in particular, getting to know the inventors—many of them amateurs—who were investing their sweat, tears, time, and money in America’s energy future. In INGENIOUS we meet:
Kevin and Jen, high school sweethearts and garage tinkerers. They’re sinking their life savings into cobbling together a battery-powered dream machine in an Illinois barn.
Oliver Kuttner, German immigrant, realestate developer, and big-idea man whose Virginia team is building what they call the Very Light Car. Forget reinventing the wheel —Oliver reinvents the lug nut, recalibrating every part of the machine to make it featherweight, a car so light you could push it across the floor with your thumb.
California start-up Aptera Motors, working on a pod-shaped, aerodynamic vehicle resembling the wingless bird the company is named for. They’re the early favorite, but false starts and management restructuring have left the company’s future hinging on Diamandis’s prize.
The West Philly school kids, who are building two hybrid cars: one that looks sexier than the Prius, another meant to be within the budget of families in their lower-income neighborhood.
INGENIOUS is the story of ordinary people striving for the extraordinary. It offers a fascinating window into the creative process, and it celebrates the return of an older, more democratic notion of invention, one not reserved for huge corporations with deep pockets and hundreds of engineers. These four teams risk failure, ridicule, and financial ruin in a pursuit of a dream bigger than themselves. As the Illinois team writes in chalk on their barn wall: SOMEBODY HAS TO DO SOMETHING. THAT SOMEBODY IS US!
Moonlighter Presents is an occasional lecture series that features speakers who something but are not experts or professionals on their subjects. The event is three short twenty-minute talks on subjects as diverse as airport carpets and literary hay fever. On Friday, Dec 13th at 8pm, Cathouse …
Moonlighter Presents is an occasional lecture series that features speakers who something but are not experts or professionals on their subjects. The event is three short twenty-minute talks on subjects as diverse as airport carpets and literary hay fever.
On Friday, Dec 13th at 8pm, Cathouse FUNeral in Williamsburg will host the 12th installment of Moonlighter Presents, a nomadic lecture series organized by Stephanie DeGooyer and Justin Martin. Three speakers will lecture briefly on topics that extend beyond their “official” qualifications: artist Tyler Colburn will lecture on autonomous city states known as "charter cities"; architect Leslie Gills will give a history of typology and fonts; and painter Evan Daniel Smith will discuss the aesthetics of Pi and his effort to memorize a series of meaningless random numbers. Dan Fox of Frieze will DJ.