Phantom Highway
A Slide Show by Katherin McInnis
Sunday, September 18th at 7pm
4 Charles Place
Bushwick, Brooklyn, NY
Phantom Highway traces the path of the never-built Bushwick Expressway. Planned by Robert Moses in 1955 as part of federal Interstate 78, the expressway — connecting the Williamsburgh Bridge to routes to JFK — was scheduled for completion by 1975, but shelved by 1971. Following the freeway’s path tells a story of displacement and disinvestment, met with community resilience and reinvention.
* shown with *
* shown with *
New York Portrait #1 by Peter Hutton, 1978-79, 16mm
“Hutton’s sketchbook of mid-1970s New York, edited in three parts over twelve years, is a chronicle of indelible impressions and an act of urban archeology. The artist evokes the city’s delicate rhythms, tonal contrasts, and shifts of scale—scrims of white mist and black smoke, of gauze, cloud, and fluttering pennant; the shadowy geometries of tenements and water towers; palimpsests of graffiti, skywriting, and painted signs; ecstatic sunlight glinting off the wings of homing pigeons as they traverse a pillowy sky; the slight rustle of a homeless man’s shirt; the flowery patterns of rainwater draining from a flooded street; a blimp’s lazy progress between two buildings whose balconies resemble film sprockets; and a winter fog rolling over the sandy rivulets of Coney Island, making of it a lunar park, removed from time.” – Josh Siegel, Associate Film Curator, MoMA
The Commoners by Jessica Bardsley + Penny Lane 2009
In 1890, a wealthy eccentric named Eugene Schieffelin collected every bird ever mentioned by Shakespeare and released them into Central Park. The only one to survive in the New World was the European Starling, now among the commonest – and most despised – birds in America. The Commoners is an essay film about European Starlings, poetry, the rhetorical relationship between nationalism and environmentalism, and the paths people forge through history as they attempt to improve the natural world.
“Hutton’s sketchbook of mid-1970s New York, edited in three parts over twelve years, is a chronicle of indelible impressions and an act of urban archeology. The artist evokes the city’s delicate rhythms, tonal contrasts, and shifts of scale—scrims of white mist and black smoke, of gauze, cloud, and fluttering pennant; the shadowy geometries of tenements and water towers; palimpsests of graffiti, skywriting, and painted signs; ecstatic sunlight glinting off the wings of homing pigeons as they traverse a pillowy sky; the slight rustle of a homeless man’s shirt; the flowery patterns of rainwater draining from a flooded street; a blimp’s lazy progress between two buildings whose balconies resemble film sprockets; and a winter fog rolling over the sandy rivulets of Coney Island, making of it a lunar park, removed from time.” – Josh Siegel, Associate Film Curator, MoMA
Spirit by Jem Cohen, 2007, 7:30
"...The film is a domestic portrait of Patti and her son, Jackson. William Blake was invited in the form of a plaster cast of his death mask. Kurt Cobain, (conflicted, fierce, gentle, and another mother’s son) was invited as an admirer of Leadbelly. Cats were invited as household saints. The film invokes New York and rural America. It is about picking up guitars and doing dirty dishes." – Jem Cohen
Available Properties by Mary Billyou 2011
A real estate film from the East Riviera.
The Commoners by Jessica Bardsley + Penny Lane 2009
In 1890, a wealthy eccentric named Eugene Schieffelin collected every bird ever mentioned by Shakespeare and released them into Central Park. The only one to survive in the New World was the European Starling, now among the commonest – and most despised – birds in America. The Commoners is an essay film about European Starlings, poetry, the rhetorical relationship between nationalism and environmentalism, and the paths people forge through history as they attempt to improve the natural world.
This screening is held in conjunction with the current exhibit LIVE / WORK SPACE at Camel Art Space: a show of collaborative pieces revealing the productive qualities of shared conversations and the possibilites of liminal space.
six dollars
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