Barbara Hammer

The filmmaker, fighting ovarian cancer, stage 3, returns to her experimental roots, in a multilayered film of numerous chemotherapy sessions with images of light and movement that take her far from the hospital bed. A a cancer ‘thriver’ rather than ’survivor’, Barbara Hammer rides the red hills of Georgia O’Keefe’s Ghost Ranch in New Mexico, the grassy foothlls of the Big Horn in Wyoming, and leafy paths in Woodstock, New York changing illness into recovery. The haunting and wondrous music of Meredith Monk underscores and celebrates in this film that lifts us up when we might be most discouraged.

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What do construction workers do in their well-earned breaks? How might Angelina Jolie's and Brad Pitt's relationship have ended? And what really happened between Marilyn Monroe and Joan Crawford during the summer of 1959? The answers to these and many other interesting questions are provided by twelve queer New York filmmakers. Their films also scrutinize such topics as the difference between the way men and women dream, and how erotic tying a necktie or having a manicure can be.

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Jeju-do is the largest of Korean islands and lies between Korea and Japan. There, for hundreds of years, women dive without breathing apparatus, to the ocean floor and collect shellfish, octopus, and urchins that they sell. The divers are in their sixties and seventies and their daughters do not want to inherit their work, lifestyle, and health problems that go with diving. As a filmmaker I was privileged to meet many of these women and dive with them. Their stories of hardship and pride confirmed my desire to record this unique and ancient tradition.

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1920’s Surrealist artists Claude Cahun and marcel Moore come to life in this hybrid documentary. Lesbians and step-sisters, the gender-bending artists lived and worked together all their lives. Heroic resisters to the Nazis occupying Jersey Isle during WWII, they were captured and sentenced to death. Award-winning filmmaker Barbara Hammer infuses this film with vigor using photographs, archival footage, dramatic interludes of a “found Cahun script”, and unique interviews of Jersey Isle residents who knew the “sisters”.

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On October 11, 2001, in Times Square, New York City, an ad hoc group of artists named Our Grief Is Not a Cry for War silently demonstrated for peace at a time when the nation was clamoring for war and sacrificing its own civil liberties.

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Hammer’s 2003 film Resisting Paradise, which deals with the concept of art as a tool of political resistance, was especially fascinating to me. Hammer, who was doing a painting residency in Cassis, France, when war broke out in Kosovo, found herself questioning the validity of art in the face of political conflict and unrest. She began exploring the history of the French Resistance in Cassis, and used that as a chance to reflect on how Cassis’ artistic community, both those who were threatened by the Nazi occupation of France and those who were able to remain relatively neutral, reacted to the atrocities of the Second World War.

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Devotion investigates the extremely complex and heirarchical relationships among a committed group of Japanese filmmakers who dedicated up to 30 years of their lives making films for one man-Ogawa Shinsuke. Members of Ogawa Pro filmed the student movement of the late 60's; the fight by farmers to save their land from government confiscaton for the Narita airport at Sanrizuka; and the village life of a small farming community, Magino Village, in northern Japan. These heartbreaking and sometimes funny stories have never been told on film before. Rare footage, stills, and diaries with interviews with Oshima Nagisa, Hara Kazuo and Robert Kramer make this historical inquiry visually exciting as well as valuable.

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This video documentary centers on the questions of civil liberties and cultural differences in a society beginning to open as one woman searches for her own ethnic roots, identity and family history in Ukraine. Issues of human rights, anti-Semitism, homophobia, feminism and a divided and economically-depressed country are encountered as Barbara Hammer, a feminist activist and pioneer of lesbian cinema, return to a “homeland” full of struggling as people search for a new post-glasnost identity.

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A montage of film clips and stills calling all lesbians to come out and celebrate who they are. In a trilogy of experimental documentaries, director Barbara Hammer rewrites history by inserting lesbians and lesbian imagery throughout educational films, newsreels, medical footage and more from the past century.

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The Female Closet uses archival photographs, home movies, interviews, and other visual materials to explore the closeted lesbian stories of artists Alice Austen, Hannah Höch and Nicole Eisenman. Utilizing groundbreaking research, newly discovered home movies, and archival photographs, and other visual sources, The Female Closet is a cultural interrogation of the closeted and not-so-closeted lives of three women artists.

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“Blue Film No. 6: Love Is Where You Find It” (1998) is a found porn flick: a threesome. Hammer excises the male part, retaining the two ladies and an amusing digest of voyeuristic platitudes.

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Childhood stories of the artist as a young lesbian and intimate tales of the lesbian as a young artist underscore the filmmaker's life of performances. With a Swiss army knife she robs an American Express Bank in Morocco, accosts a shepherd in a field on International Women's Day, and tap dances on Shirley Temple's star on Hollywood Boulevard. This child movie star was the ideal by which Hammer's ambitious mother measured her own Barbie. Grandma, already a cook for Lillian Gish in Hollywood, introduced the cute, loquacious child and her mother to D.W. Griffith. Lesbian autobiography is a slender genre, so Hammer draws from general culture studies for critique and to provide an ironic edge to the synthesized "voices of authority".

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Out in South Africa, a documentary about a country in the state of transition; specifically of lesbians and gays, black and white, Indian and Asian, from townships, cities and rural areas who speak of their lives and desires as homosexuals in post-apartheid South Africa. Hammer was invited to have a retrospective in summer, 1994, at the first Gay and Lesbian film festival on the African continent. She wanted to do more than screen her films and videos; she wanted to teach video production skills in the townships. These workshops provide the deeply moving stories lesbians and gays told to one another.

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A minute-long, partly animated colour video that is a humorous plea for good sex, safely prophylactic though it may be.

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Essay documentary explores eroded emulsions and images for lost vestiges of lesbian and gay culture. First feature by a pioneer of lesbian cinema, Hammer weaves gay and lesbian couples with footage that unearths the forbidden and invisible history of a marginalized people.

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In “Vital Signs” (1991), Barbara Hammer demonstratively transforms the horror of death into its opposite. She tenderly cares for a human skeleton, feeding it, dressing and caressing it, taking it for walks in the dark cabaret of an intimate relationship beyond death. She confronts pain and fear rather than repressing them.

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Hammer used old x-ray footage, rearranged, colored and orchestrated through optical printing, in order to reveal hidden bodily movements and rhythms in its constant juxtaposition.

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Excavation of Dr. James Sibley Watson

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‘Still Point’ serves as Barbara Hammer’s definitive reassessment of 70’s cultural feminism. She literally places side-by-side the romantic image of her companion walking and stretching under the sun in a landscape and the gritty realism of a methodical garbage picker on the street of New York city, pushing a shopping cart and moving on to the next waste container. Our world view must encompass both realities, the film indicates. Privilege can’t obscure vision.

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From the platonic cave to post-punk, the tape traces the invisible and visible references to women who love women from prehistory to contemporary times with the sarcastic sound of the ’50s lesbian quartet from Seattle, the Sluts from Hell.

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A tape by Barbara Hammer.

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A whirlwind tour of paternal institutions: fatherhood, Lacanian psychoanalysis and bondage.

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Three short films. I: The Wet Dream-Questions of seduction, viewer/viewed and personal stories are collaged in this heavily postproduced account of a 'hot tub relationship. II: The Erotic Intellect-Shot in Garbo's Hairdressing Salon, Hammer suggests intellectual stimulation to be as provocative as overt sexuality. III: Clip, Grab, and Paint-A sunstroke delirium as the videographer identifies with Georgia O'Keeffe and her radio obituary using a frame buffer and computer program for paintbrush and easel.

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The Peruvian Galapagos Islands feature in Hammer’s film Endangered, where Blue-footed Boobies, seals and iguanas are equated with the filmmaker herself who identifies light, life and the genre of experimental film to be threatened with extinction in this late twentieth century. Every image is marked and cancelled before it disappears. Even the emulsion of the film is treated with acid showing its fragility. The film is a highly effective compilation of image, colour and sound building upon each other, slowly heightening the sense of urgency. Against this mood there is a reassuring image of a silhouetted woman working at the film projector. A strong, competent, fearless woman. Woman documenting, warning, saving.

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Deconstructs the representation of AIDS in the popular media where distortion and misrepresentation amount to a "snow job" promoting increased homophobia, sexual discrimination and repression of gays.

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NO NO NOOKY TV posits sexuality to be a social construct in a "sex-text" of satiric graphic representation of "dirty pictures." Made on an Amiga Computer and shot in 16mm film, NO NO NOOKY TV confronts the feminist controversy around sexuality with electronic language, pixels and interface. Even the monitor is eroticized in this film/video hybrid that points fun at romance, sexuality, and love in our post-industrial age. Preserved by the Academy Film Archive in 2017.

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Place Mattes explores the space between reaching and touching. Animation and optical printing are used to create travelling mattes for places, confounding the difference between eternal and internal.

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In Tourist, Barbara Hammer depicts a trip to Europe: the flow of images is manipulated with a syncopated rhythm, to alter the perception of places that appear well-known and to instill a feeling of anxiety ...

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A dramatic romantic comedy narrative featuring a pre-menopausal woman who tires to join the Hot Flashes.

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"Barbara Hammer's Optic Nerve is a powerful personal reflection on family and aging. Hammer employs filmed footage which, through optical printing and editing, is layered and manipulated to create a compelling meditation on her visit to her grandmother in a nursing home. The sense of sight becomes a constantly evolving process of reseeing images retrieved from the past and fused into the eternal present of the projected image. Hammer has lent a new voice to the long tradition of personal meditation in the avant-garde of the American independent cinema." -- John Hanhardt, Biennial Exhibition Catalogue, Whitney Museum of American Art, New York, 1987

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An investigation into what subway passengers are reading.

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The film examines the ways that women directors have contributed to this genre and emphasizes the role that the media play in representation of sexuality and gender, underscoring the power that film has to shape our perceptions of one another. Visually, this documentary comes to life on screen through compelling and intimate original interviews, intercut with emotionally-charged archival footage, photographs, ephemera, inspired music, and film clips.

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We, as human beings on a small globe, united by evolutionary structure and biological DNA have a chance to come together through the experience of empathy and identification with the sensitive body. An unspoken plea for viewers to engage with compassion, to experience vulnerability, to know through evidence this body is their body.

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From 2015 to 2017, Lynne Sachs visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives.

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What do filmmakers as disparate as Kevin Smith, Ed Burns, Rob Epstein, and Barbara Hammer have in common? A secret weapon known as Bob Hawk. As a veteran of the American independent film scene since its inception, the cinephile and consultant has been a regular, cherished presence at film festivals and markets for over three decades. Hawk saw promise in scrappy, independently produced films like Clerks and The Brothers McMullen when no one else even knew to look, and he brought these films to the attention of the Sundance Film Festival, thereby launching multiple careers in the process. An unsung champion of new voices, he has discovered innovative work, nurtured new talents, and brokered relationships with film festivals and critics alike, while staying out of the spotlight—until now. At 75, Bob Hawk looks back on a still-vibrant life in independent film, exploring how the rebellious gay son of a preacher found his calling as a behind-the-scenes film impresario.

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Masculinity/Femininity is an experimental film project interrogating normative notions of gender, sexuality and performance. Shot primarily on Super 8, the project merges academic and creative critique -- a document of gender de-construction rather than a documentary about gender construction.

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Through intimate interviews, provocative art, and rare, historical film and video footage, this feature documentary reveals how art addressing political consequences of discrimination and violence, the Feminist Art Revolution radically transformed the art and culture of our times.

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Generations is a 30 minute 16mm film about mentoring and passing on the tradition of personal experimental filmmaking. Barbara Hammer, 70 years old, hands the camera to Gina Carducci, a young queer filmmaker. Shooting during the last days of Astroland at Coney Island, New York, the filmmakers find that the inevitable fact of aging echoes in the architecture of the amusement park and in the emulsion of the film medium itself. Inspired by Shirley Clarke’s Bridges Go Round, both filmmakers edited picture and sound separately, joining their films in the middle when they finished making a true generational and experimental experiment.

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The filmmaker, fighting ovarian cancer, stage 3, returns to her experimental roots, in a multilayered film of numerous chemotherapy sessions with images of light and movement that take her far from the hospital bed. A a cancer ‘thriver’ rather than ’survivor’, Barbara Hammer rides the red hills of Georgia O’Keefe’s Ghost Ranch in New Mexico, the grassy foothlls of the Big Horn in Wyoming, and leafy paths in Woodstock, New York changing illness into recovery. The haunting and wondrous music of Meredith Monk underscores and celebrates in this film that lifts us up when we might be most discouraged.

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Jeju-do is the largest of Korean islands and lies between Korea and Japan. There, for hundreds of years, women dive without breathing apparatus, to the ocean floor and collect shellfish, octopus, and urchins that they sell. The divers are in their sixties and seventies and their daughters do not want to inherit their work, lifestyle, and health problems that go with diving. As a filmmaker I was privileged to meet many of these women and dive with them. Their stories of hardship and pride confirmed my desire to record this unique and ancient tradition.

Open details →

Hammer’s 2003 film Resisting Paradise, which deals with the concept of art as a tool of political resistance, was especially fascinating to me. Hammer, who was doing a painting residency in Cassis, France, when war broke out in Kosovo, found herself questioning the validity of art in the face of political conflict and unrest. She began exploring the history of the French Resistance in Cassis, and used that as a chance to reflect on how Cassis’ artistic community, both those who were threatened by the Nazi occupation of France and those who were able to remain relatively neutral, reacted to the atrocities of the Second World War.

Open details →

This video documentary centers on the questions of civil liberties and cultural differences in a society beginning to open as one woman searches for her own ethnic roots, identity and family history in Ukraine. Issues of human rights, anti-Semitism, homophobia, feminism and a divided and economically-depressed country are encountered as Barbara Hammer, a feminist activist and pioneer of lesbian cinema, return to a “homeland” full of struggling as people search for a new post-glasnost identity.

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Documentary that highlights 18 women and covers a period of time from the 50's to the 90's. The women chosen were selected because they represent the real diversity within both feminism and independent film and video. They range in age from 65 to 25. They are black, white, Puerto Rican, Yugoslavian, Asian American, biracial. They are straight, gay and bisexual. What they share is a need to express their own interpretations of what American culture is and could be and a belief that this work is made particularly powerful through the media.

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The Female Closet uses archival photographs, home movies, interviews, and other visual materials to explore the closeted lesbian stories of artists Alice Austen, Hannah Höch and Nicole Eisenman. Utilizing groundbreaking research, newly discovered home movies, and archival photographs, and other visual sources, The Female Closet is a cultural interrogation of the closeted and not-so-closeted lives of three women artists.

Open details →

Childhood stories of the artist as a young lesbian and intimate tales of the lesbian as a young artist underscore the filmmaker's life of performances. With a Swiss army knife she robs an American Express Bank in Morocco, accosts a shepherd in a field on International Women's Day, and tap dances on Shirley Temple's star on Hollywood Boulevard. This child movie star was the ideal by which Hammer's ambitious mother measured her own Barbie. Grandma, already a cook for Lillian Gish in Hollywood, introduced the cute, loquacious child and her mother to D.W. Griffith. Lesbian autobiography is a slender genre, so Hammer draws from general culture studies for critique and to provide an ironic edge to the synthesized "voices of authority".

Open details →

Essay documentary explores eroded emulsions and images for lost vestiges of lesbian and gay culture. First feature by a pioneer of lesbian cinema, Hammer weaves gay and lesbian couples with footage that unearths the forbidden and invisible history of a marginalized people.

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Barbara Hammer’s Audience is a fascinating deep cut from the director’s prodigious filmography. Relatively raw in its design, this 16mm diary of audience reactions at retrospectives of Hammer’s work in San Francisco, London, Toronto, and Montreal in the early 1980s bears none of the distinctive visual flourishes and essayistic form one usually finds in her filmmaking. Today, Audience serves as an invaluable historical archive, providing quick but complex portraits of lesbian scenes in different cities and countries: the San Francisco women are bold and raucous, treating Hammer like a celebrity; the London crowd more reserved and tentative; the Canadians politely critical after initial hesitation. It also functions as a testament to the power of Hammer herself as a figure of lesbian culture, showing how fully she engages audiences to incite new forms of discourse about representation.

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Film by Barbara Hammer.

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Four stages of a lesbian relationship explored in an experimental film starring performance artists Terry Sendgraff and Barbara Hammer on suspended trapezes and ropes.

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From the first kiss to breakup, Almy and Hammer record their relationship on a reel-to-reel ¾” tape recorder and microphone.

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Filmmaker Barbara Hammer recounts how she got her scars as well as her "pleasure wrinkles."

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Born in Los Angeles but a New Yorker by choice, Barbara Hammer is a whole genre unto herself. Her pioneering 1974 short film Dyketactics, a four-minute, hippie wonder consisting of frolicking naked women in the countryside, broke new ground for its exploration of lesbian identity, desire and aesthetic.

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A profound and powerful experimental, personal film of one woman's despair, rage and exhibitionism; a baroque fugue of identity chanting growing from women's pain to a holistic, self-healing naming ritual.

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The filmmaker, fighting ovarian cancer, stage 3, returns to her experimental roots, in a multilayered film of numerous chemotherapy sessions with images of light and movement that take her far from the hospital bed. A a cancer ‘thriver’ rather than ’survivor’, Barbara Hammer rides the red hills of Georgia O’Keefe’s Ghost Ranch in New Mexico, the grassy foothlls of the Big Horn in Wyoming, and leafy paths in Woodstock, New York changing illness into recovery. The haunting and wondrous music of Meredith Monk underscores and celebrates in this film that lifts us up when we might be most discouraged.

Open details →

Jeju-do is the largest of Korean islands and lies between Korea and Japan. There, for hundreds of years, women dive without breathing apparatus, to the ocean floor and collect shellfish, octopus, and urchins that they sell. The divers are in their sixties and seventies and their daughters do not want to inherit their work, lifestyle, and health problems that go with diving. As a filmmaker I was privileged to meet many of these women and dive with them. Their stories of hardship and pride confirmed my desire to record this unique and ancient tradition.

Open details →

1920’s Surrealist artists Claude Cahun and marcel Moore come to life in this hybrid documentary. Lesbians and step-sisters, the gender-bending artists lived and worked together all their lives. Heroic resisters to the Nazis occupying Jersey Isle during WWII, they were captured and sentenced to death. Award-winning filmmaker Barbara Hammer infuses this film with vigor using photographs, archival footage, dramatic interludes of a “found Cahun script”, and unique interviews of Jersey Isle residents who knew the “sisters”.

Open details →

Devotion investigates the extremely complex and heirarchical relationships among a committed group of Japanese filmmakers who dedicated up to 30 years of their lives making films for one man-Ogawa Shinsuke. Members of Ogawa Pro filmed the student movement of the late 60's; the fight by farmers to save their land from government confiscaton for the Narita airport at Sanrizuka; and the village life of a small farming community, Magino Village, in northern Japan. These heartbreaking and sometimes funny stories have never been told on film before. Rare footage, stills, and diaries with interviews with Oshima Nagisa, Hara Kazuo and Robert Kramer make this historical inquiry visually exciting as well as valuable.

Open details →

This video documentary centers on the questions of civil liberties and cultural differences in a society beginning to open as one woman searches for her own ethnic roots, identity and family history in Ukraine. Issues of human rights, anti-Semitism, homophobia, feminism and a divided and economically-depressed country are encountered as Barbara Hammer, a feminist activist and pioneer of lesbian cinema, return to a “homeland” full of struggling as people search for a new post-glasnost identity.

Open details →

A montage of film clips and stills calling all lesbians to come out and celebrate who they are. In a trilogy of experimental documentaries, director Barbara Hammer rewrites history by inserting lesbians and lesbian imagery throughout educational films, newsreels, medical footage and more from the past century.

Open details →

The Female Closet uses archival photographs, home movies, interviews, and other visual materials to explore the closeted lesbian stories of artists Alice Austen, Hannah Höch and Nicole Eisenman. Utilizing groundbreaking research, newly discovered home movies, and archival photographs, and other visual sources, The Female Closet is a cultural interrogation of the closeted and not-so-closeted lives of three women artists.

Open details →

Essay documentary explores eroded emulsions and images for lost vestiges of lesbian and gay culture. First feature by a pioneer of lesbian cinema, Hammer weaves gay and lesbian couples with footage that unearths the forbidden and invisible history of a marginalized people.

Open details →

NO NO NOOKY TV posits sexuality to be a social construct in a "sex-text" of satiric graphic representation of "dirty pictures." Made on an Amiga Computer and shot in 16mm film, NO NO NOOKY TV confronts the feminist controversy around sexuality with electronic language, pixels and interface. Even the monitor is eroticized in this film/video hybrid that points fun at romance, sexuality, and love in our post-industrial age. Preserved by the Academy Film Archive in 2017.

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A hand plays with a vagina as the same scene drifts over a sea of erotic rock formations.

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Born in Los Angeles but a New Yorker by choice, Barbara Hammer is a whole genre unto herself. Her pioneering 1974 short film Dyketactics, a four-minute, hippie wonder consisting of frolicking naked women in the countryside, broke new ground for its exploration of lesbian identity, desire and aesthetic.

Open details →

It shows a family where the son makes a wish to switch sizes with the father so that he can be the boss for a change. The father doesn't like this at all. After a while, the son slowly realizes that being a grownup isn't all that easy. Unfortunately, the father doesn't seem to realize that the same holds true for being a kid.

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