Sixty Six Screen 11 articles

Sixty Six

2015

Sixty Six Poster
  • Sixty-Six is steeped in the influence of pop-culture imagery (the title is an admission if not a celebration), and although playful, curiously Sixty-Six is little match for the force of the original images it uses. It consistently drowns in the overwhelming force of these pop-culture references, rather than succeeding to propel them into a new context which would renew their meaning (which is what these meaningless images so desperately need).

  • These pop culture artifacts have been stripped down into objects, icons, letters, and colors. The colors, letters, icons, and objects have been pasted back together into a dream. A dream that's intimate and collective, that grows into a collection of stop-motion suites. Curated with an aesthete's eye, the animated collages are a pleasure to behold, and a pleasure to hear: rain patters alongside music from Some Came Running or dialogue from an episode of Route 66.

  • Set at the intersection of mass culture and myth, right at the hazardous corner of desire and dread, “Sixty Six” offers a dizzying display of largely found images and sounds — culled from old comics, ads, magazine layouts, songs and noises — that together form a kind of cinematic archaeology of the American unconscious.

  • [Klahr's] newest work, Sixty Six, comprising twelve short “chapters” produced between 2002 and 2015, is an ambitious attempt to view—and review—the iconography and themes of his cinematic fables through the lens of mythic archetypes... By filming the comics double-sided (both sides of a page simultaneously), Klahr creates a vivid palimpsest in which most of the bubbled dialogue is inverted and characters are willfully conflated.

  • The collection recalls Klahr’s best work in which the artist mines American comic books, advertisements, familiar music, and other pop-culture ephemera to create haunting dreamlike landscapes that seem to trigger a memory in the viewer that likely never existed. It’s a major work and what is particularly exciting is that it never occurred to me that I was watching it in a digital projection. It’s stunning.

  • Klahr unleashes a dazzling array of visual ideas, deftly combined with sounds, silence, or music and all in the service of what he calls the film’s “pop associational mindscape.” In a heart-stopping moment later in “Helen of T,” a blonde... passes a poster reading “Art of the Sixties” and depicting an immortalized Roy Lichtenstein comic-book blonde. Where does life end and art begin? Color, especially, in charged dots, stripes, targets, and grids, summons an array of moods and situations.

  • New York maestro of vintage mash-up Lewis Klahr gives us a hypnotic, gorgeously textured American pop dreamscape with his feature assemblage Sixty Six... Created over a thirteen-year period, the dozen episodes that make up this intricate retro melody are almost sublime at points in their undertow of nostalgic longing and tracing of the remnants of collective anxiety.

  • An anthology film in 12 chapters, Lewis Klahr’s animated mosaic Sixty Six is both greater than the sum of its parts and grander than the scope of its one-dimensional decoupage. Any attempt to describe the film leads to a maze of contradictions... Combining outré visual sources with classical music cues and allusions to Greek mythology, this composite feature is the strangest of hybrids: a personal work of universal provenance.

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    Sight & Sound: Adam Nayman
    August 05, 2016 | September 2016 Issue (p. 55)

    One of the most fascinating aspects of Sixty Six is the rigour with which Klahr differentiates between his filmed objects – which tend to be 'real' – and his characters, who are doomed to exist only in two dimensions and can never really interact with their environments, just exist over the top of them. A Roy Lichtenstein print is present in 'Helen of T' not just to pay homage, but as an emblem of a methodology that imbues wholly artificial characters with familiar existential anxieties.

  • Tonight Lewis Klahr will introduce the local premiere of his 12-film cycle Sixty Six at the University of Chicago Film Studies Center. For Chicagoans who care about experimental cinema, this is one of the major events of the year, a chance to hear a leading voice in the avant-garde discuss one of his richest, most entrancing works. On a visual level Sixty Six is characteristically dense, as Klahr creates mosaics from layers of photographs, comic-book cutouts, and random objects.

  • It's a feature-length film, but it's not a single long-form work, like his masterful 1993 film THE PHARAOH'S BELT. Instead, it's akin to a visual suite—a 12-chapter mid-career rumination on past obsessions, friendships, and personal history—as well as being a propulsion forward with new digital techniques and tools. It's nimble and gorgeous.

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