Andrew Lampert Work | Artist Statement & CV | Return to Artist List
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Artist Statement
As an artist I regularly use moving images, performance and recorded sound to address the contemporary condition of cinema spectatorship in its waning days. I make works that are intended for theatrical presentation, multiple projector live performance and gallery exhibition. Many of my films, videos and performances are concerned with time as experienced on screen, in the course of production and most especially by the audience in a theater. I often tease out the lived and experienced moment, the filmed and edited moment, by means of exploiting live action, the actual act of projection and the insertion of live theatrics within the context of a cinema screening.
I love when the intentional and the unscripted collide in a way that cannot be easily broken apart by the viewer, and strive to make work that is unfamiliar, for the spectator and for myself. At first, my productions may appear haphazard, like a mash-up of contrasting elements, but before long structure emerges and guides the viewer to an understanding of how the pieces fit together. My live performances favor disjunctions and ruptures, multiple points of focus, simultaneous action(s), asynchronous sound, narration, non-actor performers and the semblance of a story if not a fully fleshed out narrative. My films, videos and installations employ similar strategies, but investigate issues of liveness (and liveliness), staging and composition with a different set of techniques. Ultimately, I am interested in dealing with the truths and fictions inherent in personal, first person expression.
Although my work across mediums is concerned with structure, the content ultimately leans heavily towards humor, storytelling and portraiture. I come out of a long tradition of experimental filmmaking where the act of formal exploration often becomes the very subject of the work. In my practice abstraction, repetition and other devices are used to emphasize the various narratives at play rather than comment and focus attention squarely on the materials and medium employed. I am acutely interested in the ways that disjointed elements have the potential to bring about a deeper attention and more active participation in the viewer. Playing with the synchronization of picture and soundtrack allows the spectator to notice the formal properties of what they are watching, makes them understand that sound and image are two plastic, pliable elements that create unforeseen relationships and connections when rearranged. While much of my work is made expressly with the audience in mind, I am also equally aware of venue, meaning the particular site and mode of exhibition. Being responsive to an exhibition venue’s intrinsic norms, whether it be the movie theater or a black box gallery, allows me to create a more transformative experience that defies the rules and expectations habitually brought by the audience into that space.
Born and raised in St. Louis, I began shooting super 8 film at age 11 in an era where home video had already usurped the celluloid home moviemaking market. Moving to New York at the age of 18, I almost immediately fell into the experimental/independent film community. Within a couple years I became Director of Programming for the New York Underground Film Festival, where I worked for six years. During that time I was also hired by Anthology Film Archives where I continue to work today as the Archivist. My responsibilities include maintaining the moving image collections, preserving canonical and little known artist films, co-curating Anthology’s two theaters, and many other duties. Over the years I have worked closely with numerous film and media artists, and come to recognize that only rarely does one ever truly make their art alone.
I regularly work with an extended group of collaborators including musicians (cellist Okkyung Lee, percussionist Chris Corsano, guitarist/author Alan Licht) and performers, most of whom are non-actors. Whether they appear in live performances or act in films/videos, I build my pieces around their unique talents, in a sense creating narratives, contexts and parameters that integrate their directed improvisations. I think of this group as a loose ensemble, and by working together they bring qualities and ideas that enrich the work as well as enliven the process.
I am currently developing two very different projects that I plan to work on simultaneously. The first production is a feature length theatrical movie to be shot on 16mm film and completed on video. It focuses on a pair of college freshman with a shared desire to save the world. They are quickly overwhelmed by the wide phalanx of political and environmental factors far beyond their control. Rather than be discouraged, the duo (played by Caroline Golum and Owen Kline) dig deeper and discover that the people who need them most are those who, due to indifference or inability, cannot adapt to technology and the changing means of communication in our society. In a world where contact is increasingly virtual rather than physical, and in a society where neighborhoods are now extended social networks, there are segments of our population who can not catch up, much less catch on to the new way of doing things. The teens decide it is their duty to show the disadvantaged, the discombobulated and the aged how to live in the modern world. They set off on a mission to teach them how to text message, search on craigslist, use smart phone apps and other modern tools.
A decidedly offbeat hybrid of teen comedy and documentary essay, this is a film about people who hate or simply don’t know about Facebook, text messaging, email and online shopping; about people who still need newspapers, land lines and the experience of going to the movies. It deals with changing values, wavering cultural trends and the grip of nostalgia. I am shooting this still untitled piece on all the out-of-date 16mm stock that has been accumulating in my refrigerator for years. With the rise of digital technologies celluloid film has found itself to be a dying medium, and making a movie about the future with tools from the recent past underscores the urgency to adapt, or be left behind. This is my first feature production, and I plan to work with a cinematographer, producer and other crew. I am currently gathering advice from filmmakers who have produced features so that I can successfully deal with all the logistics involved in this large project.
My second project is a piece being co-made with my father. 70-years old and retired, my dad, Jack, has worked in auto parts, costume jewelry and faux antique Chinese furniture, but until recently he has never held a video camera. Earlier this summer Jack was diagnosed with prostate cancer and he’s currently (successfully) undergoing treatment in California. I have asked him to keep a video record of his experiences, which includes not only visits to the hospital but also, against the advice of his doctors, a sky diving excursion. In fact, my father has decided to set off on a wide variety of new, sometimes questionable experiences, both extreme and exotic. I am not sure what form our project will take, but expect that it might be a multi-channel gallery piece. It will include my own footage, home movies, campy TV commercials that my father made in the 70s and much more. I’m less interested in making a touchy-feely portrait of our relationship, and more invested in spotlighting his incredibly upbeat attitude, oddball spirit and gonzo adventures.
As an artist I regularly use moving images, performance and recorded sound to address the contemporary condition of cinema spectatorship in its waning days. I make works that are intended for theatrical presentation, multiple projector live performance and gallery exhibition. Many of my films, videos and performances are concerned with time as experienced on screen, in the course of production and most especially by the audience in a theater. I often tease out the lived and experienced moment, the filmed and edited moment, by means of exploiting live action, the actual act of projection and the insertion of live theatrics within the context of a cinema screening.
I love when the intentional and the unscripted collide in a way that cannot be easily broken apart by the viewer, and strive to make work that is unfamiliar, for the spectator and for myself. At first, my productions may appear haphazard, like a mash-up of contrasting elements, but before long structure emerges and guides the viewer to an understanding of how the pieces fit together. My live performances favor disjunctions and ruptures, multiple points of focus, simultaneous action(s), asynchronous sound, narration, non-actor performers and the semblance of a story if not a fully fleshed out narrative. My films, videos and installations employ similar strategies, but investigate issues of liveness (and liveliness), staging and composition with a different set of techniques. Ultimately, I am interested in dealing with the truths and fictions inherent in personal, first person expression.
Although my work across mediums is concerned with structure, the content ultimately leans heavily towards humor, storytelling and portraiture. I come out of a long tradition of experimental filmmaking where the act of formal exploration often becomes the very subject of the work. In my practice abstraction, repetition and other devices are used to emphasize the various narratives at play rather than comment and focus attention squarely on the materials and medium employed. I am acutely interested in the ways that disjointed elements have the potential to bring about a deeper attention and more active participation in the viewer. Playing with the synchronization of picture and soundtrack allows the spectator to notice the formal properties of what they are watching, makes them understand that sound and image are two plastic, pliable elements that create unforeseen relationships and connections when rearranged. While much of my work is made expressly with the audience in mind, I am also equally aware of venue, meaning the particular site and mode of exhibition. Being responsive to an exhibition venue’s intrinsic norms, whether it be the movie theater or a black box gallery, allows me to create a more transformative experience that defies the rules and expectations habitually brought by the audience into that space.
Born and raised in St. Louis, I began shooting super 8 film at age 11 in an era where home video had already usurped the celluloid home moviemaking market. Moving to New York at the age of 18, I almost immediately fell into the experimental/independent film community. Within a couple years I became Director of Programming for the New York Underground Film Festival, where I worked for six years. During that time I was also hired by Anthology Film Archives where I continue to work today as the Archivist. My responsibilities include maintaining the moving image collections, preserving canonical and little known artist films, co-curating Anthology’s two theaters, and many other duties. Over the years I have worked closely with numerous film and media artists, and come to recognize that only rarely does one ever truly make their art alone.
I regularly work with an extended group of collaborators including musicians (cellist Okkyung Lee, percussionist Chris Corsano, guitarist/author Alan Licht) and performers, most of whom are non-actors. Whether they appear in live performances or act in films/videos, I build my pieces around their unique talents, in a sense creating narratives, contexts and parameters that integrate their directed improvisations. I think of this group as a loose ensemble, and by working together they bring qualities and ideas that enrich the work as well as enliven the process.
I am currently developing two very different projects that I plan to work on simultaneously. The first production is a feature length theatrical movie to be shot on 16mm film and completed on video. It focuses on a pair of college freshman with a shared desire to save the world. They are quickly overwhelmed by the wide phalanx of political and environmental factors far beyond their control. Rather than be discouraged, the duo (played by Caroline Golum and Owen Kline) dig deeper and discover that the people who need them most are those who, due to indifference or inability, cannot adapt to technology and the changing means of communication in our society. In a world where contact is increasingly virtual rather than physical, and in a society where neighborhoods are now extended social networks, there are segments of our population who can not catch up, much less catch on to the new way of doing things. The teens decide it is their duty to show the disadvantaged, the discombobulated and the aged how to live in the modern world. They set off on a mission to teach them how to text message, search on craigslist, use smart phone apps and other modern tools.
A decidedly offbeat hybrid of teen comedy and documentary essay, this is a film about people who hate or simply don’t know about Facebook, text messaging, email and online shopping; about people who still need newspapers, land lines and the experience of going to the movies. It deals with changing values, wavering cultural trends and the grip of nostalgia. I am shooting this still untitled piece on all the out-of-date 16mm stock that has been accumulating in my refrigerator for years. With the rise of digital technologies celluloid film has found itself to be a dying medium, and making a movie about the future with tools from the recent past underscores the urgency to adapt, or be left behind. This is my first feature production, and I plan to work with a cinematographer, producer and other crew. I am currently gathering advice from filmmakers who have produced features so that I can successfully deal with all the logistics involved in this large project.
My second project is a piece being co-made with my father. 70-years old and retired, my dad, Jack, has worked in auto parts, costume jewelry and faux antique Chinese furniture, but until recently he has never held a video camera. Earlier this summer Jack was diagnosed with prostate cancer and he’s currently (successfully) undergoing treatment in California. I have asked him to keep a video record of his experiences, which includes not only visits to the hospital but also, against the advice of his doctors, a sky diving excursion. In fact, my father has decided to set off on a wide variety of new, sometimes questionable experiences, both extreme and exotic. I am not sure what form our project will take, but expect that it might be a multi-channel gallery piece. It will include my own footage, home movies, campy TV commercials that my father made in the 70s and much more. I’m less interested in making a touchy-feely portrait of our relationship, and more invested in spotlighting his incredibly upbeat attitude, oddball spirit and gonzo adventures.
CV
ANDREW LAMPERT (b. 1976, St. Louis)
284 17th St.,
Brooklyn, NY 11215
718.916.6697
andrew@anthologyfilmarchives.org
Selected Works/Performances/Screenings
2011 TASTE TEST, Views From The Avant-Garde, New York Film Festival, New York City
2011 RIGMAROLE REVERSAL, Images Festival, Toronto (solo show), Migrating Forms Festival, NY
2011 NUMINA LENTE, with Corsano/Flower duo, Numina Lente Festival, New York City
2011 WIN SOME LOSE, International House, Philadelphia, PA
2010 FAILURE: PRONONCUATION PROBLEM, Institut für Alles Mögliche, Berlin
2010 CONDUCING, Roulette, New York City
2010 CAROLINE GOLUM AS, short film screened at Oberhausen Film Fest, Rotterdam Film Fest
2010 GREATER NEW YORK, exhibit at P.S. 1 Contemporary Arts Center, Queens, NY
2010 THE GOLDEN MEAN: CHARLEMAGNE PALESTINE, Migrating Forms Festival, NY
2010 AM I FROM BROOKLYN?, Poetry Project, NY
2010 JACKA SPADES & HOME, Brakhage Seminar, University of Colorado, Boulder, CO
2010 MURDER MYSTERY, part of ON TOP OF THE WHALE, Mitchell Algus Gallery, New York, NY
2010 PROJECTO DYSFUNCTION, collaboration with Greg Pierce, Pennsylvania Hospital Surgical Amphitheatre, Philadelphia, PA
2009 MAGNUS, P.S.1 Contemporary Art Center, Queens, NY & Light Industry, Brooklyn, NY
2009 IF NOT FOR YOU, CATULLUS, Bard College, Annandale-on-Hudson, NY
2009 JUTTING (FOR WILL ROSE), Project Space Leeds, Leeds, UK
2009 JACKA SPADES, Issue Project Room, Brooklyn, NY
2009 TURNED OFF, TUNED OUT, Kings Place, London, UK
2008 COMFORTABLE SEATS: TAKE TWO, Center for Contemporary Arts, Glasgow, Scotland
2008 INSIDE JOKE (A.K.A. BIG MISTAKE), Spike Island, Bristol, UK
2008 COMFORTABLE SEATS, BFI South Bank Center, London, UK
2008 MELINDA’S MOVIE, Aperture Gallery, New York City
2008 VARIETIES OF SLOW (triple 16mm installation), Whitney Museum of American Art
2008 ABSTRACTION IN 2008?, Cinema Project, Portland, OR.
2008 ALL MAGIC SANDS, Light Industry, Brooklyn, NY
2008 THE PURPOSE CROSSED, Fabulous Festival of Fringe Film, Durham, Canada
2008 4 MEN WITH MOVIE CAMERAS, Philadelphia, PA
2008 LAMP/LICHT, University of Wisconsin, Madison
2008 SWEETHEARTS, International Film Festival Rotterdam, Holland
2007 SWEETHEARTS, Tesla, Berlin, Germany
2007 EASY NOW, ALAN, Diapason Gallery, New York City
2007 MAJOR CONDITIONAL, Dundee Contemporary Arts Centre, Dundee, Scotland
2007 TIT FOR TAT, The Kitchen, New York City
2007 HOW TO SPEAK (SEE) & WHAT TO SAY (HEAR), Yale University, New Haven
2007 TEMPORARY MEASURES, exhibition at Associates Gallery, London, UK
2006 VARIETIES OF SLOW and OKKYUNG DUET, Biennial, Whitney Museum of American Art
2006 VEXED, Sculpture Center, New York City
2005 GROWTH OPPORTUNITIES, Getty Museum, Los Angeles
2004 #6 OKKYUNG, Views From The Avant-Garde, New York Film Festival, New York City
2004 YOU WON’T EVER SEE IT, YOU WON’T EVER KNOW, Roulette, New York City
2002 HENRY FLYNT, Anthology Film Archives, New York City
2001 WAR OF THE WORLDS, Ocularis, Brooklyn NY (one segment of omnibus production)
2000 TIGER ME BOLLIX, International Film Festival Rotterdam (co-made with Moira Tierney)
Selected Bibliography
“UNESSENTIAL CINEMA: AN INTERVIEW WITH ANDREW LAMPERT” by Joel Schlemowitz, The Moving Image, forthcoming (2012)
“ANDREW LAMPERT” by Ed Halter, Bomb, Issue 112, Summer 2010
“POWERS OF PROJECTION” by Ed Halter, ArtForum, January 2010
“YEAR IN FILM: CULTURE HIGH” by Eric Hynes, Village Voice, 12/22/10
“SECRETS IN THE ARCHIVES: HIDDEN STORIES, NECESSARY RELEASES.” By Melinda Stone. Conversation with Andrew Lampert and Rick Prelinger. In Helen De Michiel and Kathy High, A Closer Look/Hidden Histories, San Francisco: National Alliance for Media Arts & Culture, 2005.
“REEL PEOPLE” by Emily Pugh, Stay Free, 2005
“AVANT-GARDE FILM JOURNAL” by Brian Frye, Millennium Film Journal Nos. 39/40, Winter 2003
Selected Publications
“ON PRESERVING ALEPH” in Wallace Berman catalogue, Nicole Klagsbrun Gallery, 2010
“DENMARK REMARKS ON EXPANDED PRESERVATION” in Live Cinema: A Contemporary Reader, Cinematograph/SF Cinematheque, 2009
“WITH KOVAKS AT CANTER’S”, in North Drive Press 4, 2008
“ON THE PROLIFERATION AND COLLAPSE OF THE MOVING IMAGE”, in North Drive Press 3, 2006
“RESULTS YOU CAN’T REFUSE: CELEBRATING 30 YEARS OF BB OPTICS”, Editor, Anthology Film Archives, 2006
Selected Curation/Programming
At Anthology Film Archives, I curate the regular series UNESSENTIAL CINEMA, PERSONAL ARCHIVE, AUDIO VERITE, SINGLE FRAME and ALL CIRCUITS ON. Other Anthology screenings/series include SEMINAL CINEMA: FILMS FROM WALLACE BERMAN AND THE SEMINA CIRCLE (2007, co-presented with Grey Art Gallery, NYU), EYE & EAR CONTROLLED (2005, films/videos by experimental composers, co-curated with Jim O’Rourke for Anthology and The Kitchen), ON THE COLLECTIVE FOR LIVING CINEMA (2007, co-curated with Jeff Preiss as part of the related exhibition at Orchard Gallery), VARIATIONS: A JOHN CAGE FESTIVAL (2004) as well as numerous programs, live performance events, single artist surveys and group shows.
I have curated and presented programs for the Performa Biennial (2005, 2007, 2009), London International Film Festival (2005), Pacific Film Archive (2006, 2007), Harvard Film Archive (2005), George Eastman House (2004, 2009), UCLA Film and Television Archive (2007, 2008), National Gallery of Art (2009), Ponrepo/National Film Archive, Prague (2011), Aurora Picture Show (2005), Chicago Filmmakers (2006), San Francisco Cinematheque (2007), Massachusetts College of Art (2004), Basement Films (2008), Cinema Project (2008), Liverpool Biennial (1999), Ocularis (2001) and The Robert Beck Memorial Cinema among other venues. I was guest curator of THE STONE, a New York City performance venue operated by composer John Zorn, in May 2008.
Selected Guest Lectures & Artist Talks
Yale University School of Art; Penn University; Bard College (Film and Electronics department, Center for Curatorial Studies); Columbia University; New York University (Moving Image Archiving Program, Cinema Studies department, Institute of Fine Arts); Pratt Institute (School of Information and Library Sciences, Film/Video & Photography) ; School of Visual Arts; University of New York, Buffalo; New York Summer School For The Arts; University of California, Los Angeles; University of California, Berkeley; University of Madison, Wisconsin; L. Jeffrey Selznick School of Film Preservation; Hirshhorn Museum and Sculpture Garden; Orphans Symposium (2004, 2006, 2008, 2010); Rewind/Fast Forward Film Festival, Miami; Images Festival, Toronto; Association of Moving Images Archivists conference (2005, 2006 & 2007 & 2010), The Leonard Lopate Show on WNYC (2 appearances), WFMU (3 appearances)
DVD Release
ASTRONOME (2010, video), shot with Henry Hills, document of theater collaboration between Richard Foreman and John Zorn
BENETTON (2004, 16mm), included on J&L Video, 2007
THE TRIAL OF CELLINO AND BARNES (2004, video), included on Video Salon Vol. 1, released by TV Eye Video, 2006
Video Distribution
Electronic Arts Intermix, New York City
Relevant Professional Experience
2003- PRESENT Archivist and Programmer, Anthology Film Archives, New York, NY
2008- PRESENT Board of Advisors, Image Festival, Toronto, Canada
2007- PRESENT Archival Consultant and Cinematographer for Robert Frank
2005- PRESENT Board of Directors, UBU WEB
2005- PRESENT Board of Advisors, Aurora Picture Show, Houston, TX
1998-2002 Manager and Researcher, Anthology Film Archives, New York, NY
1997-2000 Director of Programming, New York Underground Film Festival, New York, NY
Selected Preservations
As Archivist at Anthology Film Archives, I have preserved more than 150 films by artists including Ericka Beckman, James Benning, Wallace Berman, Ed Bland, Beth and Scott B, Stan Brakhage, Robert Breer, Rudy Burckhardt, Bruce Conner, Tony Conrad, Manuel De Landa, Maya Deren, Hollis Frampton, Bette Gordon, Henry Hills, Ken Jacobs, Richard Kern, George and Mike Kuchar, Willard Maas, Jonas Mekas, Marie Menken, Sidney Peterson, Jose Rodriguez Soltero, Carolee Schneemann, Paul Sharits, Harry Smith, Nick Zedd and many others.
Education
2009-2011 MFA, Bard College, Milton Avery Graduate School of the Arts
2002-2003 L. Jeffrey Selznick School of Film Preservation
1995-1999 New York University, Tisch School of the Arts
ANDREW LAMPERT (b. 1976, St. Louis)
284 17th St.,
Brooklyn, NY 11215
718.916.6697
andrew@anthologyfilmarchives.org
Selected Works/Performances/Screenings
2011 TASTE TEST, Views From The Avant-Garde, New York Film Festival, New York City
2011 RIGMAROLE REVERSAL, Images Festival, Toronto (solo show), Migrating Forms Festival, NY
2011 NUMINA LENTE, with Corsano/Flower duo, Numina Lente Festival, New York City
2011 WIN SOME LOSE, International House, Philadelphia, PA
2010 FAILURE: PRONONCUATION PROBLEM, Institut für Alles Mögliche, Berlin
2010 CONDUCING, Roulette, New York City
2010 CAROLINE GOLUM AS, short film screened at Oberhausen Film Fest, Rotterdam Film Fest
2010 GREATER NEW YORK, exhibit at P.S. 1 Contemporary Arts Center, Queens, NY
2010 THE GOLDEN MEAN: CHARLEMAGNE PALESTINE, Migrating Forms Festival, NY
2010 AM I FROM BROOKLYN?, Poetry Project, NY
2010 JACKA SPADES & HOME, Brakhage Seminar, University of Colorado, Boulder, CO
2010 MURDER MYSTERY, part of ON TOP OF THE WHALE, Mitchell Algus Gallery, New York, NY
2010 PROJECTO DYSFUNCTION, collaboration with Greg Pierce, Pennsylvania Hospital Surgical Amphitheatre, Philadelphia, PA
2009 MAGNUS, P.S.1 Contemporary Art Center, Queens, NY & Light Industry, Brooklyn, NY
2009 IF NOT FOR YOU, CATULLUS, Bard College, Annandale-on-Hudson, NY
2009 JUTTING (FOR WILL ROSE), Project Space Leeds, Leeds, UK
2009 JACKA SPADES, Issue Project Room, Brooklyn, NY
2009 TURNED OFF, TUNED OUT, Kings Place, London, UK
2008 COMFORTABLE SEATS: TAKE TWO, Center for Contemporary Arts, Glasgow, Scotland
2008 INSIDE JOKE (A.K.A. BIG MISTAKE), Spike Island, Bristol, UK
2008 COMFORTABLE SEATS, BFI South Bank Center, London, UK
2008 MELINDA’S MOVIE, Aperture Gallery, New York City
2008 VARIETIES OF SLOW (triple 16mm installation), Whitney Museum of American Art
2008 ABSTRACTION IN 2008?, Cinema Project, Portland, OR.
2008 ALL MAGIC SANDS, Light Industry, Brooklyn, NY
2008 THE PURPOSE CROSSED, Fabulous Festival of Fringe Film, Durham, Canada
2008 4 MEN WITH MOVIE CAMERAS, Philadelphia, PA
2008 LAMP/LICHT, University of Wisconsin, Madison
2008 SWEETHEARTS, International Film Festival Rotterdam, Holland
2007 SWEETHEARTS, Tesla, Berlin, Germany
2007 EASY NOW, ALAN, Diapason Gallery, New York City
2007 MAJOR CONDITIONAL, Dundee Contemporary Arts Centre, Dundee, Scotland
2007 TIT FOR TAT, The Kitchen, New York City
2007 HOW TO SPEAK (SEE) & WHAT TO SAY (HEAR), Yale University, New Haven
2007 TEMPORARY MEASURES, exhibition at Associates Gallery, London, UK
2006 VARIETIES OF SLOW and OKKYUNG DUET, Biennial, Whitney Museum of American Art
2006 VEXED, Sculpture Center, New York City
2005 GROWTH OPPORTUNITIES, Getty Museum, Los Angeles
2004 #6 OKKYUNG, Views From The Avant-Garde, New York Film Festival, New York City
2004 YOU WON’T EVER SEE IT, YOU WON’T EVER KNOW, Roulette, New York City
2002 HENRY FLYNT, Anthology Film Archives, New York City
2001 WAR OF THE WORLDS, Ocularis, Brooklyn NY (one segment of omnibus production)
2000 TIGER ME BOLLIX, International Film Festival Rotterdam (co-made with Moira Tierney)
Selected Bibliography
“UNESSENTIAL CINEMA: AN INTERVIEW WITH ANDREW LAMPERT” by Joel Schlemowitz, The Moving Image, forthcoming (2012)
“ANDREW LAMPERT” by Ed Halter, Bomb, Issue 112, Summer 2010
“POWERS OF PROJECTION” by Ed Halter, ArtForum, January 2010
“YEAR IN FILM: CULTURE HIGH” by Eric Hynes, Village Voice, 12/22/10
“SECRETS IN THE ARCHIVES: HIDDEN STORIES, NECESSARY RELEASES.” By Melinda Stone. Conversation with Andrew Lampert and Rick Prelinger. In Helen De Michiel and Kathy High, A Closer Look/Hidden Histories, San Francisco: National Alliance for Media Arts & Culture, 2005.
“REEL PEOPLE” by Emily Pugh, Stay Free, 2005
“AVANT-GARDE FILM JOURNAL” by Brian Frye, Millennium Film Journal Nos. 39/40, Winter 2003
Selected Publications
“ON PRESERVING ALEPH” in Wallace Berman catalogue, Nicole Klagsbrun Gallery, 2010
“DENMARK REMARKS ON EXPANDED PRESERVATION” in Live Cinema: A Contemporary Reader, Cinematograph/SF Cinematheque, 2009
“WITH KOVAKS AT CANTER’S”, in North Drive Press 4, 2008
“ON THE PROLIFERATION AND COLLAPSE OF THE MOVING IMAGE”, in North Drive Press 3, 2006
“RESULTS YOU CAN’T REFUSE: CELEBRATING 30 YEARS OF BB OPTICS”, Editor, Anthology Film Archives, 2006
Selected Curation/Programming
At Anthology Film Archives, I curate the regular series UNESSENTIAL CINEMA, PERSONAL ARCHIVE, AUDIO VERITE, SINGLE FRAME and ALL CIRCUITS ON. Other Anthology screenings/series include SEMINAL CINEMA: FILMS FROM WALLACE BERMAN AND THE SEMINA CIRCLE (2007, co-presented with Grey Art Gallery, NYU), EYE & EAR CONTROLLED (2005, films/videos by experimental composers, co-curated with Jim O’Rourke for Anthology and The Kitchen), ON THE COLLECTIVE FOR LIVING CINEMA (2007, co-curated with Jeff Preiss as part of the related exhibition at Orchard Gallery), VARIATIONS: A JOHN CAGE FESTIVAL (2004) as well as numerous programs, live performance events, single artist surveys and group shows.
I have curated and presented programs for the Performa Biennial (2005, 2007, 2009), London International Film Festival (2005), Pacific Film Archive (2006, 2007), Harvard Film Archive (2005), George Eastman House (2004, 2009), UCLA Film and Television Archive (2007, 2008), National Gallery of Art (2009), Ponrepo/National Film Archive, Prague (2011), Aurora Picture Show (2005), Chicago Filmmakers (2006), San Francisco Cinematheque (2007), Massachusetts College of Art (2004), Basement Films (2008), Cinema Project (2008), Liverpool Biennial (1999), Ocularis (2001) and The Robert Beck Memorial Cinema among other venues. I was guest curator of THE STONE, a New York City performance venue operated by composer John Zorn, in May 2008.
Selected Guest Lectures & Artist Talks
Yale University School of Art; Penn University; Bard College (Film and Electronics department, Center for Curatorial Studies); Columbia University; New York University (Moving Image Archiving Program, Cinema Studies department, Institute of Fine Arts); Pratt Institute (School of Information and Library Sciences, Film/Video & Photography) ; School of Visual Arts; University of New York, Buffalo; New York Summer School For The Arts; University of California, Los Angeles; University of California, Berkeley; University of Madison, Wisconsin; L. Jeffrey Selznick School of Film Preservation; Hirshhorn Museum and Sculpture Garden; Orphans Symposium (2004, 2006, 2008, 2010); Rewind/Fast Forward Film Festival, Miami; Images Festival, Toronto; Association of Moving Images Archivists conference (2005, 2006 & 2007 & 2010), The Leonard Lopate Show on WNYC (2 appearances), WFMU (3 appearances)
DVD Release
ASTRONOME (2010, video), shot with Henry Hills, document of theater collaboration between Richard Foreman and John Zorn
BENETTON (2004, 16mm), included on J&L Video, 2007
THE TRIAL OF CELLINO AND BARNES (2004, video), included on Video Salon Vol. 1, released by TV Eye Video, 2006
Video Distribution
Electronic Arts Intermix, New York City
Relevant Professional Experience
2003- PRESENT Archivist and Programmer, Anthology Film Archives, New York, NY
2008- PRESENT Board of Advisors, Image Festival, Toronto, Canada
2007- PRESENT Archival Consultant and Cinematographer for Robert Frank
2005- PRESENT Board of Directors, UBU WEB
2005- PRESENT Board of Advisors, Aurora Picture Show, Houston, TX
1998-2002 Manager and Researcher, Anthology Film Archives, New York, NY
1997-2000 Director of Programming, New York Underground Film Festival, New York, NY
Selected Preservations
As Archivist at Anthology Film Archives, I have preserved more than 150 films by artists including Ericka Beckman, James Benning, Wallace Berman, Ed Bland, Beth and Scott B, Stan Brakhage, Robert Breer, Rudy Burckhardt, Bruce Conner, Tony Conrad, Manuel De Landa, Maya Deren, Hollis Frampton, Bette Gordon, Henry Hills, Ken Jacobs, Richard Kern, George and Mike Kuchar, Willard Maas, Jonas Mekas, Marie Menken, Sidney Peterson, Jose Rodriguez Soltero, Carolee Schneemann, Paul Sharits, Harry Smith, Nick Zedd and many others.
Education
2009-2011 MFA, Bard College, Milton Avery Graduate School of the Arts
2002-2003 L. Jeffrey Selznick School of Film Preservation
1995-1999 New York University, Tisch School of the Arts
NUMINA LENTEPerformance
2011, 30:00, 16mm (x 5 projectors) and live music
ETKA & MASHA: TEENAGERS OF THE OLD WORLDShort film
2010, 12:34, 16mm on video
MADELINE VICTORIOUSShort film
2010, 6:26, Video
AM I FROM BROOKLYN?Performance
2010, 25:00, Super 8mm. and CD
Performance 2010, 32:30, Super 8mm and CD
Performance 2010, 20:00, 35mm slides and CD
Performance2010, 60 minutes, 16mm (x 4 projectors)
Short film2009, 5:40, 16mm
VARIETIES OF SLOWPerformance/Installation @ Whitney Museum of American Art
2008, 16mm (x3 projectors)
SWEETHEARTSPerformance
2008, 24:00, 16mm (x3 projectors) and live performers.
BRISTOL BY NIGHTPerformance
2008, 30:00, 16mm (x2 projectors) and Super 8mm
(x 2 projectors)
COMFORTABLE SEATSPerformance
2008, 27:00, 16mm (x3 projectors), Super 8mm (x 1 projectors), 35mm and live performers
HOW TO SPEAKPerformance
2006, 23:00, 16mm projector, record player and live performers.