Public Programs Manager Andria Lisle reflects on Brooks’ Art & A Movie program and interviews photographer Susan Segal.
Behind the scenes, planning our quarterly Art & A Movie programs, which are part of the larger Brooks Films program, feels a little bit like training a housecat to jump through a fiery hoop. It can be done (see: Moscow Cats Theatre), but it is often a difficult process. First, we have to choose the film and negotiate screening rights. Then we have to find a suitable art-making activity that must fit numerous criteria: It has to relate, somehow, to the accompanying film. It has to be inexpensive, interesting, and easily interpreted. It has to be open-ended enough for attendees to riff on their own. It also has to pass the eagle-eyed examination of our Chief Curator and Registrar, who have strict rules on what kind of art-making materials can be used in the Rotunda, where many works of art, including Nam June Paik’s Vide-O-belisk and photographs by William Eggleston and Ernest Withers are on view.
Paint and glue are verboten, which spurs our imagination on to more creative ideas. Make working clocks out of 45 rpm records? We did that when we screened Thunder Soul. Braid chic bracelets out of sailor’s rope? Yes, when we screened Bonjour Tristesse. Fabricate miniature chairs out of champagne cork cages? Yes, along with a packed screening of Lena Dunham’s Tiny Furniture. We’ve made ransom note Valentines (and liberally poured White Russians) for The Big Lebowski, and sewn felt mustaches for City Lights.