(F. Robert) 'ZACK' Stiglicz
Paintings: semi-abstract male & female figures
Evergreen Park Illinois

Painter, Film/Video Artist, Educator, Writer, Critical Theorist, Actor/Performer. SZpro@aol.com ****************************************************************************** ****************************************************************************** ZACK STIGLICZ: Contact Zack Stiglicz (legal: Frank Robert Stiglicz) at 708-952-0079 and SZpro@aol.com ****************************************************************************** ****************************************************************************** UPCOMING EXHIBITIONS: **************************************** 1. Group Exhibition (reviewed and well-received: ChicagoFreePress.com - August 29, 2007 - "The Man Show" - p. 13 - review by PAUL VARNELL)..... "The Man Show" Mars Gallery, Chicago August 18-31, 2007. **************************************** 2. Group Exhibition "The Cowboy and The Pegasus" At Pulaski Fieldhouse August 25, 2007. **************************************** 3. Group Exhibition (cancelled) "Untitled" September 8, 2007 at MCA Warehouse. (cancelled) September 9-30, 2007 Center on Halsted. (cancelled) **************************************** 4. To be announced: VIDEO/FILM SCREENINGS --- "posthumously yours" AND "gaz-zak: my face is pointed toward Napoleon" AND "Bent" (among the first-place awards: Black Maria Festival 2001; redux 2007) AND other videos/films by Zack Stiglicz. Selected works are now available for (free/educational) exhibition, by arrangement with Zack. Contact SZpro@aol.com ........ ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ EDUCATION: ∞∞∞∞∞ Ph.D. Political Science - 1999 (University of Minnesota).(International Relations, Comparative Politics, Political Theory). (Minor in Philosophy). ∞∞∞∞∞ Thesis Title: "European Great Power Alliance, War & System Transformation 1815-1939." ∞∞∞∞∞ Ph.D. Thesis defended: 1982. (Years of graduate school attendance at U of M: 1974-1978). ∞∞∞∞∞ Final binding of the thesis delayed for personal reasons (and due to career changes) until 1999. ∞∞∞∞∞ Degree formally granted: 1999. (granted to legal name: Frank Robert Stiglicz). ∞∞∞∞∞ M.F.A. Fine Art - 1992 (The School of The Art Institute of Chicago). ∞∞∞∞∞ B.A. Political Science - 1974 (Miami University - Ohio). ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ CURRENT TEACHING: ∞∞∞∞∞ Assistant Adjunct Professor. 1st Year Program – The School of the Art Institute of Chicago. ∞∞∞∞∞ Instructor. Film/Video/New Media - Columbia College (Chicago). ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ PAINTING EVENTS: ••••••••••BAREWALLS “Paint-In” at The School of The Art Institute of Chicago - 140 juried SAIC alumni-painters painted in public (for 7+ hours) for corporate and individual sponsors, who offered closed bids for the work. All proceeds went to SAIC scholarship funds. Stiglicz’s piece (“Woman in Barewall Doorway”) was aunctioned off to Howard L. Ecker, President & CEO, JUPITER Reality Services. -Nov 2006. ••••••••••Sånzå (Carnival of the Moon): “Schizo-politico-analysis” & “Silver Daimon”- paintings exhibited at High Concept Laboratories, Chicago- October 2006. ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ INTERESTS: ∞∞∞∞∞ •THEMES in all my work privilege the male body in extremity. ∞∞∞∞∞ •Film & Video, Painting, The Body in Art, Creativity Studies, War/ Violence/ Peace, Politics, Economics, History, Psychology, Religion, Gnosticism, Disability/ Painting/ Art, The Criminal Mind/Transformation/ Painting/Art, HIV/AIDS/Art, Literature, Writing, Performance, Humanities, Feminism, "Adbusters,” Fashion/ Anti-Fashion, Critique of Capitalism, Installation, Sensuality/ Eroticism/ Spirituality/ Death/ Painting/ Art, Liberal Arts. ∞∞∞∞∞ •VIDEO into PAINTING and PAINTING into VIDEO: Interlocked Creative Processes. ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ Ongoing/Proposed PAINTING & VIDEO/FILM Projects that seek funding: ∞∞∞∞∞(1) 180+ PAINTINGS COMPLETED (2006-2007). Mostly 48x36, 48x32 and 60x36 - most on canvas, several on wood. Crucial to this enterprise: VISUALIZING THE (more-than-life-size) phantom of MALE and FEMALE FORMS. The painting lends itself to diverse INTERPRETATIONS and to many THEMATIC FRAMES of REFERENCE. (See artist's statement). Among the possibilities, several works fit under the TITLE: “THE CRIME SCENE & THE ART SCENE - MEN OF INTERPOL: Crime, Rehab, Spirituality, Disability, Mentoring, Muscles, Marks, Masks." There are, again, many other THEMATIC GROUPINGS identified in the artist's statement. (2) Numerous paintings with varied themes outside the primary framework of male and female bodies. (Anticipated Production: 2007-2008) (3) 'CHASING YOUR GUERNICA' - Large-format PAINTINGS (Anticipated Production: 2007-2008): Three 18'x 6' PAINTINGS: War, Religion, Revelation, Mythology, Violence, Bodies. (4) 'SPY-POLIS/SPY-MANIA’ - Spy Mania/ Ethics/ Consciousness (Anticipated Production: 2007-2009). Deconstruction of SPYING/SURVEILLANCE via Video/ Painting/ Drawing/ Performance/ Installation/ Writing. Video Images as a “Sketchbook” for new paintings - and - Paintings as "sketches" for new video work. A Creative Process Loop: VIDEO-into-PAINTING loops-with PAINTING-into-VIDEO. ULTIMATE GOALS: Gallery Exhibition of Paintings with thematically-related Video Installation, and short-format as well as long-format NARRATIVE, DOCUMENTARY, and VISIONARY VIDEO work. ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ 200+ Film/Video Screenings since 1990: Writing, Direction, Image-Production, Visual Rendering, Text/Adaptation, Cinematography, Editing, Sound, Set Design, Collages, Models, Voice and Acting in these works are (generally) by Zack Stiglicz. These personal/experimental films/videos incorporate (compositionally) painterly images, in collision/collusion with radical cross-cutting, long takes, monologues, classic/visionary dialogue. ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ Experimental Films and Videos since 1990: ∞∞∞∞∞ FILMS: ∞∞∞∞∞ Filial Seduction (8 min., 1990) - Lakeside meditation on the father figure. ∞∞∞∞∞ Rose of The Night (8 min., 1990) - Painterly meditation on the mother figure. ∞∞∞∞∞ Aristophanes on Broadway (10 min., 1991) - Otherworldly adaptation of Plato’s Symposium. ∞∞∞∞∞ Voices in The Chora (30 min., 1991)–Bodies in excess–Gay pride AIDS march meets Hiroshima. ∞∞∞∞∞ Coiled (8 min., 1991-92) – Counterpoint: gay & straight dancing bodies. Textual exchange between the great existential competitors: Sartre (Nausea) wrestles Camus (A Happy Death). ∞∞∞∞∞ Sculpted (8 min., 1991-92) – Drifting abstraction, bodies silhouetted on snow, Sartre’s Nausea. ∞∞∞∞∞ Gradiva (12 min. 1992) – Radical cuts, long takes, dancing bodies, lovers, Barthes and Sartre. ∞∞∞∞∞ Pompeii (30 min. 1993) – Iconic debris, Mad Max radicalized, Kristeva’s Black Sun, Whitman. ∞∞∞∞∞ Nothing Nobody Nowhere (14 min. 1994-95)– Old Edison/Mutoscope B&W bodies made lyrical. ∞∞∞∞∞ God the Pugilist (10 min. 1996) – Gnostic rant at the Chichen Itza ruins in the Yucatan. ∞∞∞∞∞ Blink (11 min. 1997) – Chemical manipulation and etching on film. Silent film as marked body. ∞∞∞∞∞ Murder Will Out (25 min. 2000) – Yucatan drug murder: Text of Kerouac, Blanchot, Burroughs. ∞∞∞∞∞ -TOTAL: 3-hour film program ∞∞∞∞∞ VIDEOS: ∞∞∞∞∞ I Shall Have To Invent A Name For You (10 min. 1998) - Marlon Brando “meets” Bill Clinton. ∞∞∞∞∞ Bent (60 min. 1999-2000) – Monstrous transfiguring of erotic bodies: Francis Bacon meets Dali. ∞∞∞∞∞ Sexual Economy of Risk (45 min. 30 min. & 15 min. versions. 2001-2002) – Experimental transformation of erotic images. Broken selves as Eros-Mechanism. Freud, Deleuze, Zizek. ∞∞∞∞∞ posthumously yours (15 min. 2003) – Rebirth of a Platonic friend. Tattoos as cosmic metaphors. ∞∞∞∞∞ Mary's Christmas (60 min. 2004)–Visionary doc of painter M. Bonfiglio & his mom’s dementia. ∞∞∞∞∞ ‘gaz-zak:' My face is pointed toward Napoleon (15 min. 2005) – Aesthetics/ethics/radical editing, desire, extremity, violence, right-wing politics, religion, resurrection, eternity, Gnosticism. (See attachment) ∞∞∞∞∞ -TOTAL: 3.5-hour video program ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ FILM and VIDEO EXHIBITIONS, SHOWS, BROADCASTS and AWARDS: ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ AWARDS: ∞∞∞∞∞ 1st Place (Grand Prize) Award (with national tour): Black Maria Film and Video Festival. *BENT. ∞∞∞∞∞ 2 Director's Choice Awards: Black Maria (with national tours): *NOTHING NOBODY NOWHERE. *BLINK. ∞∞∞∞∞ 5 Director's Citation Acknowledgements: Black Maria. *I SHALL HAVE TO INVENT A NAME FOR YOU. *GOD THE PUGILIST. *COILED. *SEXUAL ECONOMY OF RISK. *MURDER WILL OUT. ∞∞∞∞∞ Old Peculiar Award: *NOTHING NOBODY NOWHERE. Ann Arbor Film Festival (Ann Arbor, Michigan). ∞∞∞∞∞ Originality Award: *ARISTOPHANES ON BROADWAY. National Poetry Association Poetry Film Festival (San Francisco). ∞∞∞∞∞ Best Experimental Film: *SEXUAL ECONOMY of RISK, short-form. Chicago Gay and Lesbian Film Festival. ∞∞∞∞∞ National and Moscow/Russia Touring Package: *ARISTOPHANES ON BROADWAY. Ann Arbor Film Festival (Ann Arbor, Michigan). ∞∞∞∞∞ 2nd Place Award: *MURDER WILL OUT. Sarah Lawrence Experimental Film Festival (Bronxville, NY). ∞∞∞∞∞ Judge's Award: *COILED. Onion City Film Festival in Chicago. ∞∞∞∞∞ Honorable Mention: *COILED. Athens (Ohio) International Film & Video Festival. ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ Exhibitions (3 or more films in exhibition): New York Millennium Film Archives (NYC). Los Angeles Film Forum. Pleasure Dome (CineCycle -Toronto). CEPA Gallery at The Albright Knox (Buffalo). Rocky Mountain Film Center (Boulder, CO). Ann Arbor Film Festival (Judge's Exhibition-Ann Arbor, MI). Robert Beck Memorial Cinema (NYC). Ithaca College (Ithaca, New York). Carolina Film Festival (Greensboro, NC). Columbus College of Art and Design (Columbus, Ohio). Film Alternative (Southern IL U. at Carbondale). River Oaks Art Center (Oak Park, IL). School of Art and Design (University of Illinois-Chicago). The School of the Art Institute of Chicago. ∞∞∞∞∞ Exhibition Tours: Ann Arbor Film Festival. Black Maria Film and Video Festival. London Film Coop (UK and European Touring Programme). "Experimental Chicago" Chicago Filmmakers Tour: Millennium (NY)/Art Gallery of Ontario (Toronto). University of Wisconsin (Milwaukee). ∞∞∞∞∞ US and International Screenings: Moscow Theater and Kinocenter (Russia). Zweiter Berliner Congress for Performance and Visual Art (Berlin, Germany). London Film Festival (Art & Experiment Section). Helsinki Film Coop (Finland). National Film Theatre (London, UK). Plymouth Art Center (London, UK). Impakt Film Festival and Archive (Utrecht, Netherlands). Whitney Museum of American Art (NYC). New York Underground Film Festival. Pacific Film Archives (San Francisco). Albright-Knox Art Gallery (Buffalo, NY) and World AIDS Day (Albright-Knox, Buffalo NY). The Territory Series (PBS Swamp). NAME Gallery-CNTV Channel 19 Broadcast (Chicago). Poetry Film Festival and Archive-National Poetry Association (San Francisco,CA). Athens (Ohio) International Film/Video Festival & Athens Hand Processing Workshop. Hartford Art School - University of Hartford (CT). ED Video - Media Arts Centre (Guelph, Ontario). Independent Images Workshop (Sheridan College-Mount Forest, Ontario). University Film/Video Association Annual Conference (Chapman U., Orange,CA). Charlotte Film and Video Festival (NC). Sinking Creek Film and Video Festival (Nashville, TN). Big Muddy Film Festival (Carbondale, IL). Theatrically-released (NYC) film short (Aristophanes on Broadway) to accompany the feature release "Split". Gay & Lesbian Film Festival (Munich, Germany). Lesbian & Gay Experimental Film Festival (NYC). Atlanta Gay & Lesbian Film Festival (GA). Center for Art Tapes (Halifax, Nova Scotia). IMAGE Film/Video Center (Atlanta, GA), Essential Cinema (Seattle, WA). ∞∞∞∞∞ Chicago Screenings: Gene Siskel Film Center (Chicago). Eye & Ear Clinic (School of Art Institute of Chicago). Onion City & Onion City Experimental Film Festivals (Chicago Filmmakers). X-Film Chicago. Gerber/Hart Library (Chicago). Chicago Underground Film Festival. Music Box Theater (Chicago). Around the Coyote Chicago Arts Festival. Film/Video New Media “Aesthetics” course – Columbia College (Chicago). Gay & Lesbian Film and Video Festival. (Chicago Filmmakers & University of Chicago Law Center). School of The Art Institute of Chicago Library Film/Video Archive. NAME Gallery–CNTV Channel 19 Broadcast. Experimental Film Coalition (Randolph Street Gallery-Chicago). DocFilms-University of Chicago. ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ GRANTS: 2 Illinois Arts Council Grants. Films: GRADIVA & POMPEII. ∞∞∞∞∞ Chicago Department of Cultural Affairs Grant: Works-in-Collage - incorporated into Film: GOD THE PUGILIST. ∞∞∞∞∞ The School of the Art Institute of Chicago Faculty Enrichment Grant: Works-in-Collage & Film - GOD THE PUGILIST. shot at Chichen Itza Ruins - Yucatan. ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ PUBLICATIONS and WORK-IN-PROGRESS MANUSCRIPT (details on request): ∞∞∞∞∞ •••Published: Cinematograph, Lightstruck, Nexus, Millennium, South Asian Journal. ∞∞∞∞∞ •••”et.al.” - Original, book-length, work-in-progress MANUSCRIPT, incorporating: Drawings/Collages/Essays/Criticism/Fiction/FilmText/Poetry/Mixed-Form-Work: Castration Anxiety 101; Animation by Larry Jordan; Videos by Alan Sondheim; The Ruins of Chichen Itza; Andy Warhol’s Sleep and The Male Nude in Art; Ingmar Bergman’s Persona; fictional rendering of the life of Hiroshima survivor, Shigeko Niimoto Sasamori; Great Martyrs, Lost Prophets, and Mad Dogs (political allegory); 4 Black Men, 2 White Women and 1 Baby (poetic & sociological reflections); Black & White Aesthetics; Coiled & Filial Seduction (experimental/narrative/diary/adaptation FilmTexts). ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ COLLEGE and UNIVERSITY TEACHING (1978-2006): ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ ART: ∞∞∞∞∞ Assistant Adjunct Professor, The School of The Art Institute of Chicago - 1st Year Program. ∞∞∞∞∞ Assistant Adjunct (Since 2002). Instructor (Since 1998). ∞∞∞∞∞ Research Studio Courses (Since 2004 - see courses below). Also: 4D: Video/Performance/Sound (1998-2004). ∞∞∞∞∞ Instructor, Columbia College (Chicago) (Film/ Video/ New Media Department) - (Since 2000 - see courses below). 'Aesthetics of Film' (Since 2000). See other course below. ∞∞∞∞∞ Instructor, Moraine Valley CC (Theater Dept.) - Palos Hills, IL-'Film Appreciation' (2004-2005). ∞∞∞∞∞ Instructor, Facets Multimedia (Chicago) – Several Film Appreciation Topics Courses (1995-97). ∞∞∞∞∞ Instructor, Southern Illinois University at Carbondale (Film and Photography Department) - 'Film Production' and 'Male Directors and Film Actresses' (1994). ∞∞∞∞∞ Instructor, SAIC (Film Department) - Selected Production and Topics Courses (1992-95). ∞∞∞∞∞ [Completed MFA degree at The School of the Art Institute of Chicago (1988-1991).] ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ POLITICS: ∞∞∞∞∞ Assistant Professor, Williams College (Williamstown, MA.) - Political Science (1980-87). ∞∞∞∞∞ Instructor, University of Wisconsin (Milwaukee) - Political Science (1979-80). ∞∞∞∞∞ Instructor, San Francisco State University - International Relations Program (1978-79). ∞∞∞∞∞ Lecturer, University of Minnesota (Minneapolis) - Political Science (1978). ∞∞∞∞∞ [In 1985: chose not to pursue tenure in Politics, and to study and make Art in its place.] ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ ART and FILM/VIDEO COURSES Taught (1985-2006): ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ FIRST YEAR PROGRAM COURSES at The School of The Art Institute of Chicago – Since 1998 4D (Video/Performance/Sound) (14 sections: 1998-2004 - including 2 Summers) Research Studio I (Research/Studio Methods: Painting, Drawing, Photo, Sculpture, 4D, Fashion, Installation, Performance, Writing, Multimedia, New Media (5 sections: Fall 2004 - 2006 and upcoming Fall 2007). Including: Fall 2006 - Instructor for a pilot section of the proposed FYP Residential College Initiative. Research Studio II (“Collage/Assemblage/Photomontage”)(4 sections: Spring 2005-2007 and upcoming Spring 2008). Research Studio II (”Disturbing The Crime Scene” – Crime and Art)(pilot: Spring 2007 and upcoming Spring 2008). ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ CORE and CRITICAL STUDIES COURSES at Columbia College - Chicago – Since 2000. Aesthetics of Cinema (15 sections through Spring 2007 and upcoming 2007-2008). The Crime Film (pilot: Summer 2007) ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ ART & FILM - THEORY, HISTORY, and CRITICAL STUDIES: Meaning/Drama/Aesthetics in Films of Violence/Revolution/War (Political Science/Williams). Films of Luis Bunuel (Political Science, Williams). Film Theory and Production Seminar: Primitive Cinema, The Body in Art, and The Cinema of Melies (SAIC). Film Theory and Production Seminar: Aesthetics, Ethics and Politics of The Nude Body in Film (SAIC/partial term). Male Directors and Film Actresses: Feminism and Film (SAIC, SIUC). Erotic Mysteries of the Cinema: Proyas, Lynch, Hitchcock, Godard, Campion, Bergman (Facets). The Book, Literature & The Word in Film: Mizoguchi, Godard, Bertolucci, Greenaway, Truffaut (Facets). Cinema as Poetry/Poets in Excess & Insight: Schroeder, Cocteau, Verhoeven, Bunuel, Fellini, Jarman (Facets). Fathoming Aboriginal Space in the Amazon, Africa and Australia – Jungles, Deserts and Cities of Otherness: Films by Herzog, Babenco, Pontecorvo, Antonioni and Weir (Facets). Theatrical Personae and Masks of Performance: Doubles/Demons/Shadows in Films Hitchcock/Bergman/Fassbinder (Facets). Cinema of Obsession: Films of Bertolucci and Visconti (Facets). Film Appreciation (Moraine Valley CC) (7 sections 1994-1995). ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ FILM/VIDEO PRODUCTION: 4D:Video Production/Cinema Concepts/Performance/Sound (SAIC) (14 sections 1998-2004). Video Aesthetics/Film Concepts/Production/Post-Production (Williams- Pol Sci Winter Interim). Accelerated 16mm Production, Post-Production and Editing Strategies (SAIC). Advanced 16mm Post-Production and Editing Strategies (SAIC). Intermediate 16mm Production/Post-Production (SIUC). Introductory 16mm Pre-Production, Production and Editing (SAIC) (multiple sections). ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ PROJECTS: Graduate and Undergraduate Studio Projects (SAIC) (multiple sections). Independent Projects in Film Studio and Film Theory/History (SAIC, SIUC). ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ Selected POLITICAL SCIENCE COURSES Taught (1978-1987): International Relations. Nuclear Strategy. Ethics and War. Imperialism, Colonialism, and Neo-Colonialism. Terrorism and Counter-Terrorism. Applied Statistics for The Social Sciences. Freedom, Authority, and Community. Authoritarianism, Totalitarianism and Political Control. ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ COURSES UNDER DEVELOPMENT or consideration: Critical Film Studies - Contemporary Narrative Film: "The Tarkovsky Effect" (1980-present). Research Studio: Disability & The Arts. ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ ACTING (2005/2007): ∞∞∞∞∞ “The Patriarchs” by Kyle Harris (June 2005) – The part of Alcibiades – an adaptation of Plato’s ”Symposium” – critique of sexuality & dramatic/poetic/philosophical exploration of male-on-male rape, sexual need, philosophical aspiration, poetic embodiment, & violence – ACTING COMPLETED – “The Patriarchs” is currently in post-production. First screenings anticipated - late 2007 or early 2008. Contact: kyle@freespeech.org. ∞∞∞∞∞ UNDER ongoing CONSIDERATION: An experimental/narrative video by Jake Barningham - The combo fictional/ biographical/ visionary character of “The Painter Inmate.” ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ Appendix: COMPLETED CYCLE OF WORK IN VIDEO (2002–2005): ∞∞∞∞∞ VIDEO: “Sexual Economy of Risk” (45min-2002): Screened - Chicago Underground Film/Video Festival (positively reviewed by Ted Shen),, THAW Fest (Iowa), and Discount Cinema (Chicago)- concerning sexuality, religion, Deleuzean schizoanalysis, schizophrenia, politics, radical editing in collision/collusion with narrative. -COMPLETED- ∞∞∞∞∞ VIDEO: “posthumously yours” (20min-2003): Screened - Chicago Underground Festival (positively reviewed by Fred Camper) – explores sexuality and death-rebirth of a Platonic companion, communicating with the dead, clairvoyant experience, and the personal politics, sociology, poetics, & philosophies of tattoo body-art. -COMPLETED- ∞∞∞∞∞ VIDEO PORTRAIT OF A PAINTER-PERFORMANCE ARTIST’S WORK & LIFE: “Mary’s Christmas” by Michael Bonfiglio (60 min-2004) – shown as part of a Gerber/ Hart Library (Chicago) Installation – incorporates reflections on Bonfiglio’s varied artmaking and the care he extended to his mother who suffered from dementia. -COMPLETED- ∞∞∞∞∞ VIDEO: “gaz’zak – my face is pointed toward Napoleon” (27min-2005) - explores bent desire, extremity, sexuality, violence, right-wing politics, religion and Gnosticism . -COMPLETED- ****************************************************************************** ****************************************************************************** ****************************************************************************** ****************************************************************************** ****************************************************************************** ****************************************************************************** ****************************************************************************** ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ ATTACHMENT – Reflections on selected VIDEO and WRITING – Zack Stiglicz ZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZSZZSZSZSZSZSZSZSZSZS ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ VIDEO: “gaz-zak: my face is pointed toward Napoleon.” ∞∞∞∞∞ BOOK: “et.al” ∞∞∞∞∞ This VIDEO and this BOOK pre-date my 2006 re- immersion in painting, but ‘PAINTERLY ASPECTS’ of the two works do exist, and have been HIGHLIGHTED below. They merit attention as pre-formulations of the recently renewed activity in PAINTING. ∞∞∞∞∞ Put another way, there exists a creative (or evolutionary?) line from previous work in WRITING and FILM, and current work in PAINTING. ∞∞∞∞∞ The VIDEO “gaz’zak – my face is pointed toward Napoleon” (12 min. 2005). ∞∞∞∞∞ “Gaz’zak” explores: the male body & Eros; the male body as ?-mark; the transformation of erotica via visual/sonic critique and experiment; bent desire; extremity; violence; right-wing politics; religion; the “eternal feminine, luring to perfection” (Goethe); Gnosticism; Christianity, and the body/figure of Christ; the collisions & collusions of heterosexuality, homosexuality, and unnamed orientations; sex and death; frequent, insistent, foreboding, imposing, and explosive coincidence (or “fatalistic fixity”) of sound with image fragments; insistent collaging; philosophical and aesthetic “doubt” via radical instability of relations between - and prevalent uncoupling of & collision between - image & image, image & sound, sound & sound; and EXPLOITATION OF THE VITAL FORCE OF PAINTERLY IMAGES IN MOVING IMAGE CONTEXTS. ∞∞∞∞∞ The “jazz editing” of “gaz’zak” mirrors the dynamics of an (1) (e)strange(d), schizophrenic mind, which also provides (2) an allegory of social, political and world-historical disintegration. By themselves, these psychological-and-social models inadequately reflect the video’s origins. Of greater significance is the action of (3) The Artist (ZS) as a Demonic Being, a Lesser God, and Art-Demiurge, who fashions AN ALTERNATE VIDEO PLANET/WORLD from visual and sonic debris that is malevolently transported from Earth. ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ Images and sounds are the victims, playthings and puppets of ZS – The Soulless Lesser-Demiurge. This world functions as symbolic compensation for the (imagined, but all the same) terrifying creation of the Earth (and the creation of The Lesser Gods) by a Great Cosmic Demiurge. (There is a God, but (s)he or It, or Whatever-it-is, is evil.) The work finds its philosophical foundations in: Antonin Artaud, Gnosticism (of diverse sentiment), Manichean theology, and visions embraced by the courageous, heretical victims of the Albigensian Crusade. We are suspended in the triangle of belief, fantasy and poetry, and establishment Chritianity emerges as the great foe. ∞∞∞∞∞ Yes, we are struck by fetishism of fragmentation, but the maker/scribe also strives to release the cry of a devastated heart. The etymological origins of the word schizophrenia signal “broken” and “heart.” ∞∞∞∞∞ A METAPHOR: Conceive an imaginary “PLANET” or an imaginary WORLD with vast “OCEANS” of (experimental) visual-&-sonic flotsam-&-jetsam, an uncanny expanse, organic-&-mechanical debris, congealing and dividing according to unknown laws of attraction and repulsion. ∞∞∞∞∞ OUT OF THIS EXPANSE rise NARRATIVE and DOCUMENTARY “CONTINENTS,” their landscapes studded with crevices, created through the eruption of ocean debris. TEXT and MUSIC act as poetic and narrative anchors in the seas of confusion, and serve as landmarks on the unstable “continental masses.” ∞∞∞∞∞ Beyond the flow of time and in my mind’s eye, the PLANET exists (imaginatively) as a frozen, SCUPLTED (3D) ENTITY. I visualize this entity as a beautiful ORB that I bounce back and forth between my hands. ONE MAY ALSO REGARD THE ‘PLANET’ AS AN ENORMOUS PAINTING… perfect in its stillness, a vision of the eternal. ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ The Demiurge-moi has ransacked Earth for things to see and things to hear. He/I/It deposits those images and sounds•••Upon the Orb, and they abide eternally•••Upon the ORB, Upon the Orb, Upon the Orb, as in some Realm of PARA•PLATONIC FORMS. They are then re-collected (and recollected) by little “busy-body” creatures (my SOUND-collector and CINEMATOGRAPHER) who crawl like sentient ants across the landscapes and oceans. My “busy-cutter editor” then composes the images and sounds, end-to-end and overlapped in radically wild fashion, and thereby creates the illusions of change, rupture, movement, and time. PAINTERLY IMAGES remain, covered by blankets of sound and incorporated into illusions of movement. ∞∞∞∞∞ Islands of political and religious discourse (right-wingers barking at a gay parade; strange dialogue from a movie about the Apocalypse) rise out of the sea – the “cosmic soup” - of crazed imagery. The video is also a rapid slide-show, interrupted by strategically placed moving-image inserts. Some sounds emanate from pieces of the world itself; others consist of sound-over supplied by the busy-bodies. Busy, busy, busy. Welcome to my world. …Of course, I failed to add that the busy-bodies are DIRECTED BY THE DEMIURGE. There is no mercy or tenderness connected with this direction. ∞∞∞∞∞ Rapid alternation between images is inspired by experimental filmmaker Peter Kubelka. Separate PAINTERLY IMAGES are rapidly juxtaposed, and appear to reside simultaneously on the screen – but with a poignant fluttering effect, as if threatened at any moment by dissolution and extinction. This image-play raises philosophical (and semantic) questions concerning oneness and duality, as we also conduct perceptual experiments that represent (if only metaphorically) the dance of appearance and being. Radical cross-cutting is intriguing, as physicists spin tales of parallel worlds and quantum leaps, and argue that their scientific arguments depend on the limits and even “fictions” of perception. ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ The video plays with the strategic opposition between (2D) PAINTERLY/still images, and (4D} change and movement. “Post-war cinema is threatened with coming to a standstill” -that is from Raymond Bellour in “The Film Stilled” – and that is precisely what the “mind” of this video experiences, via the rhythmic incorporation of FREEZE FRAMES/PHOTOGRAPHS/PAINTERLY VISIONS. As a testament to the multi-layered nature of the world and our lived experiences, COLLAGED and SUPERIMPOSED IMAGES abound. Poetic, figurative and symbolic SELF-PORTRAITS mark the video; these self-portraits of the video’s “scribe” (ZS) are collaged with images from the work of artist Roger Brown (shot on location at his Michigan home). Stiglicz worked to fuse the spirit of his self-portraits with the spirit of Roger Brown’s paintings. Especially significant are RB’s crumbling skyscrapers, which pre-date 9/11 and serve as prescient, eerie emblems of the Apocalypse. Other inhabitants of the video world include strange, telling 19th Century literary fragments, plucked from Stevenson, Stoker, and Poe. These Romantic literary relics rightly transform the deformed soul(s), the disturbed “world,” and the disfigured bodies that the video enfolds. ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ The BOOK titled “et. al.” incorporates new and older writings and a few pieces of visual art works that stretch back for two decades’ time. Together, these artifacts form a rather obvious collection of research essays, memoirs, fiction, poetry, mixed-form writings, drawings, photoshop, and collages. After considerable revision and consolidation, these works may prove to be of publishable quality. I currently classify this collection, varyingly, as: ∞∞∞∞∞(1) an ARCHIVE ∞∞∞∞∞(2) a DIARY of “Dreams Memories Reflections” (thank you, Jung)∞∞∞∞∞(3) EDUCATIONAL RESOURCES & MATERIAL ∞∞∞∞∞(4) a (word-privileged, but also image-laden) ARTIST’S BOOK ∞∞∞∞∞(5) a COLLECTION of ESSAYS with visual images ∞∞∞∞∞(6) an UBER-or-UR-ARTWORK in its own right ∞∞∞∞∞(7) a SCRAPBOOK ∞∞∞∞∞(8) EPHEMERA ∞∞∞∞∞(9) THOUGHT EXPERIMENTS ∞∞∞∞∞(10) MISCELLANY ∞∞∞∞∞(11) INSPIRATIONS for future work ∞∞∞∞∞(12) my “PRISON NOTEBOOKS” ∞∞∞∞∞(13) MEMOIRS of fictional SCHIZOPHRENIA and Deleuze-inspired SELF-SCHIZOANALYSIS ∞∞∞∞∞(14): a HYBRID BOOK that encompasses the preceding designations. ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ I pursue writing and research as highly pleasurable, personally charged and (yet also) socially and politically significant activities in their own right. I also occasionally import these very materials and “lines-and-vectors-of-thought” that run through them into classroom lectures, presentations and discussions. I then export the resulting classroom activities and discoveries into revision of the writing (and artwork). As such, an infinite loop joins writing/artwork and class activity. Each benefits from and multiples the other. ****************************************************************************** ****************************************************************************** ****************************************************************************** “et. al.” CONTENTS: ∞∞∞∞∞ BACKGROUND INFORMATION and Reflections/Life/Art: pages 1-37... ∞∞∞∞∞ •••‘Castration Anxiety 101 - Penis Monologue No. 1’ - prose & prose poetry reflections on the origins of castration anxiety 38-45... ∞∞∞∞∞ •••‘Great Martyrs, Lost Prophets, and Mad Dogs’ - fantasy about terrestrial and extra-terrestrial politics•philosophy• psychology 46-51... ∞∞∞∞∞ •••‘4 Black Men, 2 White Women, 1 Baby/Me/You/Us’script for performance and/or video - prose/prose-poetry inspired by performance artist Spalding Gray & philosopher Gilles Deleuze 52-67... ∞∞∞∞∞ •••‘Patricia Gives Birth to a Dream by the Doorway’ (Larry Jordan) & ‘Persona’ (Ingmar Bergman) creative non-fiction: ‘scholarly-memento’ about the PAINTERLY IMAGE of Patricia and animation in Patricia and Persona(“scholarly-memento”= potentially scholarly research, conditioned by personal reflections) 68-85... ∞∞∞∞∞ •••‘Sondheim, Voice & the Figure of the Child’ &... ∞∞∞∞∞ •••‘Sinking into the Flow: Reflections on Sondheim / Murder is Speech’s Other’ critical essays as creative non-fiction (concerning the videos of Alan Sondheim) (including text of: ‘Fears & Retributions’ by Alan Sondheim) 86-95... ∞∞∞∞∞ •••‘A Gossamer Life’ & ‘whisper glitter shatter bleed’ - prose/fantasy poetry and social critique of ‘the gossamer li(f)e’ of the World Wide Web (or: how to bond with an on-line witch from the Yucatan) and prose/fantasy poetry about human cannibalism and Oceanic spirits 96-101... ∞∞∞∞∞ •••‘At the Rocks of Chichen Itza’ & ‘Ixbalangue’ fantasy poetry and fantasy prose poetry - the spirits, (un)doings, goings-on, & becomings of the ruins of Chichen Itza in the Yucatan 102-109... ∞∞∞∞∞ •••‘Sex and Death in Warhol’s Sleep’ - creative non-fiction: ‘scholarly-memento’ of Warhol’s PAINTERLY IMAGES – largely in prose (“scholarly-memento”= potentially scholarly research, conditioned by personal reflections) 110-137... ∞∞∞∞∞ •••‘Charged Miscellany: Interest Rates are High’ - poetry, prose, prose poetry, and 16mm film texts - ‘at the edge of sleep’ ‘the sanctum of the cloistered monks’ ‘the foam of profane gazes’ ‘Hates provoked’ ‘Juicy bodies of aliens’ ‘Coiled (film text)’ ‘My father left a note’ ‘Filial Seduction (film text)’ ‘God the Pugilist-The 13th Protocol (film text)’ 138-149... ∞∞∞∞∞ •••‘Persona: this is not a research essay…’ - non-fiction critical appreciation and assessment of the film Persona by Ingmar Bergman, using French critical/literary/film theory & transpersonal psychology; with poetic inserts. 150-274... ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• ****************************************************************************** ****************************************************************************** ****************************************************************************** ∞∞∞∞∞ ••••••‘SLAUGHTERHOUSE HIROSHIMA: The One & Lonely Shigeko Niimoto Sasanisi of the Self/Other/Be(com)ing Crowd’ …a poetic tale of how a Japanese girl/ woman/ being/ survivor of Hiroshima and I are (as) One/Two/Three/Billions in passing. ••••••It’s 1984, the end of the world, and I have yet to finish a play about Hiroshima. She is one of the so-called Hiroshima Maidens whom Norman Cousins brought to this country to expose the American public to the human cost of atomic warfare. I am of her. ••••••I see myself in her. I see her in me. I am in her. She is in me. She sees herself in me. She sees me in herself. All the same, body and mind are divided. Her body and mind survived. ••••••Her soul and karma passed. Her soul and karma reincarnated in “me”. ••••••I see it all – The Great It – but in scraps - images and ideas and characters and plots from: …war, sex, AIDS, Reagan, World War IV (or: how the Soviet Union & The United States Did Not Survive Through 1984), self, history, religion, philosophy, poetry, word-excess, madness, Otherness, Ground Zero, gay bathhouses, Japanese children, American male homosexuals, Japanese children raped by American servicemen, parallel and not-so-parallel alternate worlds and time-lines, Einstein, hoards of Phantom/Zombie-“Einsteins”, the spirits of ancestors, clairvoyance, telepathy, intimations of eternity, that which is neither of space-time nor eternity… all of which simply “don’t belong together… and in this “not belonging,” these subjects find a philosophically compelling home. ••••••…This is also a tale of the bombing as the one and only moment of existence, as A COSMIC PAINTING.••••••Prose, prose poetry, and ephemeral notes spun from a flesh&blood meeting with Shigeko Niimoto Sasamori, a Hiroshima survivor. ••••••Inspirations and models include Slaughter-House Five, Lolita, and Jacob’s Ladder. 275-397... ****************************************************************************** ****************************************************************************** ****************************************************************************** ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• ∞∞∞∞∞ •••‘UR Here: black woman sits in café’ ::: Reflection on (a) presence/absence 397-405. ∞∞∞∞∞ •••‘Judith Brotman’s ‘Recollecting’ ::: The Exhibition Endgame’ 406-411. ∞∞∞∞∞ •••‘Research Studio: A Teaching Memento’ ::: Elements of a Student Archive 412-413. ****************************************************************************** ****************************************************************************** ****************************************************************************** CONTACT: Zack Stiglicz SZ Productions 2749 West 96th Street Evergreen Park, IL 60805. 708-952-0079 SZpro@aol.com