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National Gallery of Art Partners with SOC for Film Series

American University School of Communication and the National Gallery of Art have launched a multi-year program of international screenings on AU's main campus in SOC’s new digital Malsi Doyle and Michael Forman Theater. Members of the greater AU community are invited to enjoy classic films from France, Italy, China, Czech Republic, Senegal, Brazil, and more.

The jointly hosted line-up of events, open to the public free of charge, will occasionally include moderated discussion by related filmmakers, scholars, and content experts. The program is part of a two-year partnership and venue collaboration between SOC and NGA while the Gallery’s East Building and its auditorium are undergoing renovation. AU’s newest theater in SOC’s renovated McKinley Building is expected to draw untapped audiences to campus for the curated film retrospectives.

The film series, "On the Street", organized in conjunction with the National Gallery exhibition Garry Winogrand, initiated the reciprocal program in April.

Homage to Winogrand

In conjunction with the National Gallery of Art’s exhibition on well-known street photographer, Garry Winogrand, American University held a juried student photography exhibition. The exhibition received more than 250 submissions from area colleges and universities including: American University, Northern Virginia Community College, University of the District of Columbia, George Mason University and Loyola University. Eight photographs were selected as best in show. Images were judged by Ksenya Gurshtein, National Gallery of Art photography curatorial fellow. Join SOC and National Gallery of Art for "On the Street Film Series," celebrating the Garry Winogrand exhibition.

On the Street Film Series | Forman Theater, McKinley Building

4/11, 7:00 p.m. – Everybody Street
4/13, 4:30 p.m. Third Avenue: Only the Strong Survive & On the Bowery
4/18, 7:00 p.m. Jamel Shabazz Street

Best in Show


1D
—Kevin Goldfarb

This photograph captures the complex play of light and shadow on a crowded street that is characteristic of Winogrand’s scenes and which he used to great effect to heighten the drama of his images. Here, as in many of Winogrand’s most interesting photographs, this play seems to bring out a range of moods in the crowd: the little boy’s joy and confidence seem to be spot lit by the sun itself and framed by the more pensive moods of the adults in the shadows around him.

Coffee Break—Kelsey Hasmonek

As so many photographs submitted to the contest did, this one responds to Winogrand’s near-obsession with photographing women, and it recalls Winogrand images of multiple women who, despite being together, nevertheless seem each lost in her own thoughts. There is also a difference from Winogrand’s usual work in the way the shot is composed. The foreground serves as a buffer and a distancing device that makes the whole photograph feel less troublingly voyeuristic and invasive than many of Winogrand’s photographs of women.

Spectators—Mary Holmes

The silhouette of the woman in the lower left corner really makes this shot: it doesn’t insist on an interpretation of American cultural norms, but it certainly suggests rich possibilities for it.

Lady Liberty—Kacey Keith

This photograph gets its framing and sense of scale just right—the person dressed in the Statue of Liberty costume at first glance looks monumental until the hands and the surroundings make us recalibrate the scene. The wry sense of humor and the juxtaposition of the lofty and the ridiculous is something that Winogrand certainly appreciated in his own work.

Stride—Alexandra Korba

Garry Winogrand wrote that “Bodies speak in attitudes, in the way they move, walk, sit, and lie.” This photograph captures a particularly eloquent gait.

Capricorn—Thinh Ly

This photograph captures very precisely that distinctly Winograndian feel that we are looking at a fascinating story unfolding, but will never be able to figure it out.

Hand to Trunk—Katie Parody

Of all the photographs submitted to the contest, this was the most clever and startling riff on a particular (and iconic) Winogrand photograph.

Curious Turtle—Mike Shipman

This photograph has the ethereal filtered light that Winogrand knew how to use to great effect. In the framing of the scene, there is also a palpable tension between the subjects’ actions and active engagement in a given moment and their simultaneous aloofness from each other. Looking at the photographs submitted to the contest and comparing them to Winogrand’s work, I was struck by a new, seemingly ubiquitous contemporary leitmotif of people using their smart phones. It signifies instantaneously and powerfully this particular moment in American culture.