INTERIM EXECUTIVE DIRECTOR – Jessica Gohlke JessicaGohlke.com
Jessica Gohlke earned a B.A. from Sarah Lawrence College in 1991. After enrolling in NYU’s “Sight and Sound” workshop, she threw herself into the down-and-dirty independent film scene and worked variously as a production coordinator, production auditor, grant writer and script reader. Gohlke has a wealth of experience, both in creative and managerial roles. With professional skills including but not limited to screenwriting, film production, copywriting, project management, grant writing, research, construction management and bookkeeping. Gohlke is an adaptive Renaissance-woman. She is aware of the challenges associated with the Executive Directorship of Millennium, including the fact that a salary may not be available immediately, but is excited about the opportunity to do something she loves and finds interesting.
Gohlke’s history with Millennium goes back more than two decades: Throughout the 90s, she assisted Millennium with her grant-writing services in exchange for the use of the organization’s space and equipment. While completing her short film Between the Devil and the Deep Blue Sea, she utilized one of Millennium’s Steenbecks, as well as editing the Super 8 portion of the film there. As a result, the organization will always hold special meaning for her and the possibilities of its future thrill her.
In the mid-90s, Gohlke collaborated with Iranian film director, Amir Naderi, on the script for the film A, B, C… Manhattan, which premiered in the Un Certain Regard section of the Cannes Film Festival in 1997. The film subsequently screened in the American Spectrum section of the 1998 Sundance Film Festival. From there, Gohlke went on to co-write and co-produce another feature, Going Under, a dark drama starring acclaimed theater and film actor Roger Rees. The film went to numerous festivals, including the Sao Paulo International and Cinequest, and was awarded Best of the Fest at the Northampton Film Festival. Going Under had a brief theatrical release before being distributed by Blue Underground on DVD. During these years, Gohlke also wrote and directed two short films, one of which, Between the Devil and the Deep Blue Sea, features a leading-role performance by Edward Norton.
Gohlke currently resides in Brooklyn with her husband and two children. She is focused on bringing her latest writing and short film projects to the screen, but she has always found ways to get her projects off the ground while working in tandem with other jobs.
SLATE for MILLENNIUM FILM WORKSHOP BOARD CANDIDATES
Jerry Tartaglia – ARTIST MEMBER
Letter sent to the MFW envisioning Meeting:
Hello … First, let me say that I am very proud of you for having the resilience and dedication to The Millennium to be here and be willing to bring it back to life.
As some of you may know, my involvement with the Millennium goes back to 1971, when I first helped Tony Conrad with his “Yellow Movie” show when the Millennium was on Great Jones Street, next to the firehouse, in Manhattan.
Over the years I worked as a monitor, a workshop manager, and a Board member. In fact, I was, for about ten years or more, the only active member of the Board, and I did my best to exert some influence on Howard to help keep the organization open and afloat. That was not an easy task. The funding agencies were shrinking the grant amounts and with the digital revolution moving media artists away from celluloid film, the workshop hit the rocks.
In 2013 I tried to help bring about peaceable change during the upheaval between Jay and Howard. Unfortunately it went the way it did. Like all of us, Howard Guttenplan had his strengths and his character flaws and all of these impacted the organization. Nevertheless I admired and respected Howard for his dedication and his contribution to the ideals of Personal Cinema.
The new by-laws will, I believe, enable the New Millennium to start fresh and, with an active Board of Trustees we will be able to keep the organization open to new ideas and dynamic people.
I would very much like to be a part of this process and serve as a member of the Board.
As a member of the Board I would expect us to conduct a legal and transparent search for a Director during a reasonable period of time – say six months, and during that time to resolve all legal and financial questions. We need to develop sources of money, talent, and ideas. Grants, crowdfunding, benefit auctions and other methods are part of the arsenal at our disposal.
I also would expect the Board to take proactive steps to reinvigorate the filmmaking community at Millennium. Members should share films and filmmaking interests. I would like to see our general meetings be accompanied by screenings of members’ films. We need to find an “aesthetic identity” that we can communicate to the broader community.
I would also like to work to see The New Millennium become once again an International forum for Personal Cinema.
There are filmmakers and festivals and curators all around the world, who I know still regard The Millennium as an International Forum for Artists’ Cinema and would like to see it functioning once again.
I bring my 44 years of filmmaking experience along with my network of colleagues in New York, America, and Europe.
We should reach out to other film organizations in NYC and across the country to develop new working relationships and contacts.
I hope you’ll give me the chance to help in the re-creation of the New Millennium by serving on the Board of Trustees.
Thanks for listening to this rather lengthy statement!
If you would like to read my bio, go to jerrytartaglia.com
All the best, Jerry Tartaglia
A experimental filmmaker and writer whose work in Experimental Film and Queer Cinema spans four decades. He studied at Albright College from 1968 to 1972, with the Abstract Expressionist Painter, Harry Koursaros, who introduced him to the work of Jack Smith, Jonas Mekas, and Gregory Markopoulos.
It was in that early environment that he formulated a non-narrative film practice, seeking to realize the other potentialities of Cinema using 16mm film, which was the predominant technology of that time.
In 1973 he assisted Tony Conrad in the manufacture and production of Conrad’s Yellow Movie and Yellow Movie Video Monitor series and there he learned the connecting link between painting and Cinema.
The following year, he co-founded Berks Filmmakers Inc. with filmmakers Gary Adlestein and Gerry Orr. Berks Filmmakers went on to become one of the longest surviving Micro-Cinema Showcases for Experimental Media Art in the U.S. After Tartaglia returned to New York City in 1976, Adlestein and Orr’s leadership of the group continued to nurture other emerging filmmakers including Buddy Kilchesty Caleb Smith, Kevin Vogrin, and Jamie Harrar.
In 1977 as a member of U-P, a Filmmaking Collective in NYC, he produced his lost feature film, Lawless with Warhol Factory star Pope Ondine who introduced him to James Broughton. The influence of these two artists shaped his belief in Gay consciousness, Culturally created identities, and the existence of a Hetero-Normative Social Value System that, by its nature, obstructs Queer Spirit in life and art.
He was the first to write about “the gay sensibility in American Avant-Garde film” and his 1977 article in The Millennium Film Journal is regarded a seminal statement on the subject. At a time when the LGBT culture was an underground subculture, it served as an inspiration for the founders of several LGBT Film Festivals. During this time, he worked as a manager at The Millennium Film Workshop in NYC.
The decade concluded with the premiere of his film Lambda Man (1980) at a Museum of Modern Art CineProbe. Shortly thereafter he embarked on an experiment in living, joining the Short Mountain Collective in Liberty, Tennessee, learning organic farming techniques and herbalism. Through the Radical Faery Gatherings he had contact with the ideas of Harry Hay.
“…The axiom was a simple one, as Harry Hay said. Although Straight people maintain that Queers and Straights are completely the same except for our sexual behavior, in truth we are completely different except for our sexual behavior…
It is this difference and its cultural manifestation that I am interested in exploring in my Cinema.” (JT)
His 1981 film Vocation was shot at the Short Mountain Collective and is an invocation of Pan, the horned God. He completed it while living in San Francisco.
“The first six years of life in San Francisco were a nightmarish eye-opening experience. My friends were dying from a disease about which people knew very little and understood less. The real face of America showed itself in the divide between those who spoke and acted out of fear and hatred, and those who lived their compassion and courage. My film See For Yourself documents the experience of watching and shepherding a friend to his death from A.I.D.S. related diseases.
I had little interest in filmmaking, though I did shoot some material and experimented with photography. I thought I would never make another film but James Broughton told me not to worry about it. He himself had once stopped making Cinema for a number of years. Everything about gay-identified culture seemed to be crumbling. In the face of the epidemic, there seemed to be no hope for a Queer, self-defined Cinema. Mainstream Media were filled with lies, bigotry, and hetero-centric analysis of A.I.D.S.
Then, in 1987, filmmaker Jim Hubbard and novelist Sarah Schulman founded The New York Lesbian and Gay Experimental Film Festival (now called MIX NYC). They uncovered, promoted, and fostered films and videos that were politically daring and formally innovative. In showing my work from the 70s and early 80s at that first festival, I realized that there was, indeed an audience for non-narrative Queer Cinema, and have continued working ever since.” (JT)
Jerry Tartaglia’s A.I.D.S. Trilogy (A.I.D.S.C..R.E.A.M., Ecce Homo, and Final Solutions) were made during those early days of the epidemic in America. This experimental film trilogy broadly examines several issues surrounding the epidemic including the medicalization of morality, the policing of desire, and the management of the disease through cultural assimilation into the mainstream.
The work has been screened around the world and was included in the Century-end retrospective at the Whitney Museum of American Art, “The Art of the 20th Century.”
Since 1990, seven of his films have been premiered at the Berlinale – The Berlin International Film Festival. Manfred Salzgeber, the founding force behind the Panorama Section of the festival, helped bring Tartaglia’s work to European audiences through exhibition and distribution.
In 1993 he was one of the twelve artists who created the Red Ribbon as a symbol of A.I.D.S. awareness through the Artists’ Caucus of Visual AIDS in NYC, paving the way for awareness ribbons of all kinds.
That same year, he was approached by the custodians of Jack Smith’s Estate to begin work on restoring Smith’s film legacy. Thousands of feet of 16mm film in various states of viability were left behind upon Smith’s death in 1989 from A.I.D.S. related disease. Tartaglia’s connection to Jack Smith had come full circle, because, in 1977, while working at a film supply house in NY, he found and returned the lost camera original of Smith’s notorious Flaming Creatures.
The restoration work took place under the auspices of “The Plaster Foundation,” founded by Jim Hoberman and Penny Arcade.
He reconstructed Smith’s three feature films and eleven shorts for the Smith Estate. There was virtually no funding for the project and very little institutional support in America. Funds were raised through film shows and acquisitons of prints by museums and libraries. The former Donnell Library in NYC, The Pompideau Center, and the Osterreichesches Film Museum were among the earliest supporters.
The work was interrupted during 2007 and 2008 while the heir of the Estate resolved the legal question of ownership and enabled the Gladstone Gallery NY and Brussels to acquire the work and continue the restoration and preservation efforts. Since 2011 Tartaglia has uncovered previously unseen 16mm material in the Smith Archive and is working on the restoration for The Gladstone Gallery.
By the turn of the 21st Century, Tartaglia had made the transition to Digital Moving Image Production, though he did continue working with 16mm celluloid. He became increasingly interested in producing work that challenged the complacency of the screen/viewer relationship, and developed a series of “Live Film Action” works under the rubric The Way of the World.
In 2003 he became the custodian of the film works of the late Gary Goldberg, who is best known for a series of films starring Taylor Mead and Bill Rice.
In 2013 he completed a video that is a resetting of the 1933 film Das Blaue Licht by Leni Riefenstahl. A Short History of the Future examines the question of artistic neutrality in this age.Tartaglia also teaches Cinema, writing, and media production and remains grateful to all of his own teachers and students from whom he continues to learn.
Roberta Friedman– ARTIST MEMBER
A filmmaker working on both artists’ moving image and in the commercial cinema.
She is an associate professor at Montclair State University. She is very well connected in the commercial and experimental cinema worlds, and has extensive fundraising experience.
Roberta Friedman’s work spans a large assortment of film and video productions, many of which have been shown widely in the United States and Europe. Her projects have ranged from artistic, experimental work – such as her interactive video, The Erl King (in collaboration with Grahame Weinbren), which was acquired by the Guggenheim Museum for its permanent collection – to the unabashedly commercial, such as her work for George Lucas on Star Wars and The Empire Strikes Back.
As an independent filmmaker, she has produced and directed many short films, receiving grant funding and winning awards. Her pioneering work in interactive video, premiered at the Museum of Contemporary Art in Los Angeles, and was installed at the Whitney Museum of American Art Biennial 1987 and the Pompidou Centre in Paris, among other galleries. It was presented at the Guggenheim Museum in March, 2004, as part of a special exhibition involving preserving new media works.
Her recent video realization of a graphic score by John Cage, “49 Waltzes for The Five Boroughs” was presented as part of the Cage retrospective Rolyholyover a Circus at the Philadelphia Museum of Art, and at the downtown Guggenheim Museum, and will be issued as a DVD on Mode Records in the Spring of 2006.
Her experimental films have been selected to be preserved and housed by the American Academy of Film in Los Angeles.
She has extensive production and post-production television credits. She has worked for HBO, Bravo, A&E, WNET, Channel 4 and more. She was the executive producer of HERE! Family, a television series about gay, lesbian and transgender families, currently being broadcast on the HERE! Network, and coming out in 2006 on DVD.
She produced the biography of Stockard Channing for Bravo, and produced and developed a one hour weekly series “ID: It’s Dance !” an issue based weekly dance/talk show for WWOR.
She was the post supervisor for Michael Moore’s The Awful Truth, 185 a weekly series for Bravo Channel and Britain’s Channel 4 in the U.K.
She began her career in radio as producer of the KPFK series, “Richland Woman.” From there she segued into creating film titles and opticals, leading to special effects with Lucasfilm on Star Wars and The Empire Strikes Back specializing in sparks, matte work, and swords. Friedman continued in post-production working on such notable features as Ragtime , Days of Heaven , and Hair. She was also the producer of the feature film Alphabet City, and co-produced the recently released Blockbuster films Wolves of Wall Street, and A Good Night To Die among others.
Friedman’s documentary credits include: Producer of Paradise with a Waiting List: the Redwood War, a high definition documentary feature film currently in post production;
The Music In You , for Mattel Entertainment Corp. released worldwide on DVD, ” Pearl Harbor: A Time to Remember which aired on PBS and Art and Remembrance for German Television ZDF.
She was appointed Assistant Director of Film, for the New York Mayor’s Office of Film, Theatre, and Broadcasting serving during the Koch administration, and was a liaison between the film community and all of New York City.
Joey Huertas (aka JANE PUBLIC) – ARTIST MEMBER
Filmmaker / Performance Artist/ Sound Artist
New York City
I am interested in being considered as a BOARD member for the Millennium Film Workshop. I have had a long lasting relationship with the Millennium since my entry into filmmaking in the early 1990’s when Howard was leading The Millennium’s path. Howard gave me multiple ‘Personal Cinema’ solo shows at the old East 4th street location where I worked on the JK optical printer to creating my films at the workshop. The workshop and everything that it represents is currently at risk.
Now I would like to be closer— relative to all of those who want to see The Millennium thrive and grow in this new era of digital technology that has placed many of us cinephiles and underground film purists at risk. My works are ‘film workshop made’ films (using the optical printer, hand-procession techniques, and the blessed Steenbeck) and integrate personal confessionals as a means to rethink creatively, the meaning of identity, illness, healing, and loss, using film. I am also an active clinical social worker in NYC and my films clearly reflect that. The films and live Expanded Cinema performances that I create take on many forms, including clinical case studies, physical archives arranged by peculiar cataloguing methods, imagined biographies of fictitious persons, collections of found and anonymous photographs and recordings, and cinematic compositions of imaginary and spoken journal entries. I am a social worker, humanitarian and working social activist. I use my social work training and art for humanitarian work and to draw public awareness to various causes.
My films are not opposed to the commercial film industry, but stand for something else. They are a nexus, and a solar system for film that is made for the purpose of Art; film that challenges conventions, explores new ground, and inspires social change. I am an active opponent of the death penalty and I have been an active member of Amnesty International and The Innocence Project for over 10 years. I also work closely with various national sectors for victims’ rights, missing persons and the rights for incarcerated female artists.
Joey Huertas (aka Jane Public) is a clinical social worker by day, and a film and performance artist at all hours. I am responsible for a creating a kind of personal cinema that I identify as – Docu-fessional. My films are in line with the “direct” and “observational” movements in documentary filmmaking, while adhering closely to the mechanics of avant-garde and experimental cinema. Underlying the work is sense of sadness, humor and a profound fondness for deeply flawed personal stories.
My works portray the reminiscences of unplanned life encounters and experiences, using unusual storytelling aesthetics. Personal revelatory confessions are recorded by unconventional means (public library archives, surveillance, micro-film, the optical printer, manipulated journal entries, hearing aids and toys) and read much like the entries found in a hidden personal diary. One is left with the question of, “What is truth and what is fiction?” Critics have cited my work as representing a new form of transgressive fictional biography.
Most of my forty-two films and published writings comprise a dramatic social chronicle of human behaviour- in all of its variously rigid and amorphous manifestions of the emotional person. Whether revealing corners of society hidden from view or records of American lives and ideologioes and artful expositions of the human condition, I examine deeply intimate feelings, alienation, in physical, concrete and invented terms. The terrain of his films is private, but there is always a documentary impulse at work. The work can be described as psychological autopsies or clinical fiction.
As a clinical social worker (therapist) my work incorporates the therapeutic process directly into my art. The films offer no “immunity bubble”. The creative process involves a complete study and exploitation of the inner self. The elements of fact and fiction in storytelling are imprecise and distorted, making the relationship between the filmmaker and the audience difficult to manage. In the end, the viewer is left forced to acknowledge the reality of circumstance and coping skills. My films have been screened extensively at internationally diverse venues/museums and I am often invited to present and discuss the films in person.
I have been commissioned to produce a feature film for the United Kingdom. I will be screening my feature in 2017 with an accompanied solo show at the CCA Centre for Contemporary Arts in Glasgow, Scotland.
Sarah Lawrence College; Continuing Education 2006-2011
Hunter College School of Social Work 2002-2004; LCSW
SUNY Purchase Conservatory of Theatre Arts & Film, 1994-1998; B.F.A. CUM LAUDE
SELECTED AWARDS, GRANTS & FELLOWSHIPS (partial list)
2012 Best Experimental Film 2012, Syracuse International Film Festival
2008 Best Experimental Film 2008, Syracuse International Film Festival
2004 Digit Video Festival (Special Award)
2004 The Ann Arbor Film Festival (Honorable Mention)
2004 16th Annual US Super 8mm/Digital Video Festival (Special Merit Award)
1998 Dean’s Award for Film
1998 Research Stipend
1997 National Finalist Eastman Kodak Awards
1997 Charles and Lucille King Family Foundation Scholarship
1996 Willard Van Dyke Award for Non-Fictional Film
2017 Upcoming – Commissioned feature film for United Kingdom-LUX and ‘CCA Centre of Contemporary Arts’ Glasgow, Scotland
CCA CENTRE OF CONTEMPORARY ARTS, Glasgow, Scotland (Curator Remco DiBlaj).
Live performance with Connie Winston as part of Expanded Cinema on “ON GRIFFIN ALLEY” at FIVE MYLES, Brooklyn, NY (Curator Hanne Tierney and The Andy Warhol Foundation for the Visual Arts)
The Spectacle Theatre- Solo Exhibition, Brooklyn NY (curated by Millennium Film Workshop)
Live performance with Connie Winston as part of Expanded Cinema on “ON GRIFFIN ALLEY” at Le Petit Versaille,NYC (Curator Allied Productions+Devon Gallegos)
Another Women FIlm Festival , New York, NY (screening of D-Blok Snag (Curator Lili White).
Sound/film performance with Connie Winston at Dixon Place NY, (Live performance,”ON GRIFFIN ALLEY”)
Anthology Film Archives WINTER SERIES / Women Make Movies screening of film, MISSING GREEN (Curator Lili White/Barney Oldfield)
Millennium FIlm Workshop, New York, NY (exhibition of’ film “Episode”, curator Stephanie Wuertz)
TheatreLab “Pro Se”, TheatreLab, NY (Artist Residency Summer 2013 with artist Clare Hammoor/ Curators Wesley Fruge, Karesia Batan, Rafael Landeiro of Forward Flux)
CCA group exhibition ‘DEATH AND DADA’ at CCA CENTRE OF CONTEMPORARY ARTS, Glasgow, Scotland (Curator Rachel Lowther).
New American Cinema Group / Film-Makers Coop screening of film, MISSING GREEN (Curator Lili White & MM Serra)
NYU University press conference documentary reporter for State Department of the U.S & THE NEW SCHOOL lecture of visiting Cuban activist Yoani Sanchez (curators Ted Henken & Koko Fusco)
SYNDICATED NEWS (phone interview in Havana,Cuba with dissident Cuban blogger & recipient of State Department’s Women of Valor award: Yoani Sanchez
Anthology Film Archives, New York, NY (solo exhibition of’ film “in the Upper Room”)
Filmmaker’s Showcase, Old Bridge Library, NJ (“Nice People” exhibit, Curator Matt Helme)
Mono No Aware, Brooklyn, NY, (Live performance,”WHERE’S THE CHILD?”, Curator Steve Cossman)
Anthology Film Archives, New York, NY (solo exhibition of Girlstories feature film)
The Paper Box Gallery, Brooklyn, NY (Curator Daniel Maldonado/ Art For Progress)
Svenge Radio, Sweden (Radio Interview for Sweden Public Broadcast)
Nyack Village Theatre, Nyack, NY (solo exhibition of “Girlstories,” curator Richard Quinn)
Mono No Aware, Brooklyn, NY, (Live performance art for hand-developed film ‘The Colors of Spring’, Curator Steve Cossman)
The Passage Gallery , Purchase College, NY (Curator Paul Echevarria+ Purchase New Media)
Syracuse International Film Festival 2011, Syracuse, NY
Art Basel- Miami Beach, Miami, FL (represented by Art For Progress/ curator Daniel Maldonado)
Zero Film Festival, Installation for film, “HOMEWRECKA”, NY-Miami-L.A.-Canada-Europe
Millennium Film Workshop, NY, Fall 2010 “Personal Cinema”, Featured Artist (Curator Howard Guttenplan)
Syracuse International Film Festival 2010, Syracuse, NY
West Germany, Buro Fur Postmoderne Kommunikation (Curator Fritz Welch), Berlin, Germany
Anthology Film Archives FALL SERIES 2010, (Featured Artist), New York, NY
DOG ARTS CENTER, Brooklyn, NY (Film Installation)
PFVA, Purchase Film Conservatory, donated16mm LEN for historical/preservation archives, New York, NY
Art Basel- Miami Beach, Miami, FL (represented by NYC gallery Participant, Inc.Lia Gangitano)
The Bronx Museum of the Arts, Bronx, NY
Syracuse International Film Festival, Syracuse, NY
White Columns, New York, NY (Curated by Lovett/Codagnone)
Everson Museum of Art, Syracuse, NY
The International Poetic Film Festival, New York, NY (Curated by The Nuyorican Poets Café Film Society)
Syracuse International Film Festival, Syracuse, NY
SUNY Purchase College Film Colloquium, Purchase, NY
BWAC Fall Group photography show, Brooklyn, NY
Museo Nationale del Cinema, Turin, Italy
East Coast Aliens NEW VISION CINEMA series (Curator Michael Parks), Brooklyn, NY
South Bronx Film Festival, Bronx, NY
PS 1 MoMA “Cinema Cavern” Summer Exhibition
Berlin Short Film Festival (Curator Rachel Lowther)
Syracuse International Film Festival
Boston Underground Film Festival
Rockland County Film Festival
Anthology Film Archives, New York, NY
Curator/Organizer for art exhibition of artist/female inmate, SUSAN ATKINS
SASS (Survivors of Sexual Abuse Art Show), Long Island, NY
Millenium Film Workshop (Solo Exhibition)
Ann Arbor Film Festival, Ann Arbor, MI
Syracuse International Film Festival, Syracuse, NY
Robert Beck Memorial, (Solo Exhibition / Curator Lia Gangitano), New York, NY
Royal College of Art, London, England UK
FILM / VIDEO TITLES
I Loving Me, 1994.
I Need You, 1998.
Bubblegum and Razorblades, 1994. The Garbage People, 1999
Girljacker, 1994. Alzheimer’s Dementia and Mr. Clark, 2001.
SIC, 1995. For Robbie, 1997.
Bleed, 1995 (site/land art recording) CAW, a self-portrait, 1996
How to Wanna Kill People, 2003. Extremities 4:Darkest Africa, 2003
D-Blok Snag, 1995. (site/land art) “I really think it’s a BLACK WHITE incident”, 2003.
Episode, 1996. 330.20, 2003.
Len, 1996. The Healing Power of Violence, 2004.
My black ex-husband raped me in the bathroom, 2006.
Missing Green, 2007. Future Cloud, 2006.
Order and Protection, 2007. Nice People, 2008.
HOMEWRECKA, 2010. In Sickness and in Health (Feature Film)2011.
In the Upper Room, 2008. GirlStories (An Afterschool Special), 2012.
No Compassionate Release, 2011. A Bromley Contingent, 2017
SOUND ART WORKS
The Sandy Soundscape Project, 2013. (available on Bandcamp.com)
I’m Not Jesus, 2013.(available on Bandcamp.com)
Fantasizing about having kids in the back seat of a Montecarlo, 2000.(available on Bandcamp.com)
The Life and Times of My Dog Cocker, 2002.(available on Bandcamp.com)
In Service of the Villain, Your Team Ring, 2000.
Letters Not About Love, sound-design for film by Jachi Ochs (Human Arts Association), 1997.
PUBLISHED BOOKS & Published ART DESIGN
Homewrecka, by author Joey Huertas (JanePublicPress). Published 2010. (available on Amazon.com)
In My Garden, by author/poet Joetta Cherry Caldwell. Published 2008.
Darkest Africa, by author Gerard Hourneur. Published 2004.
LIVE PERFORMANCE ART
“ON GRIFFIN ALLEY” Expanded Cinema performance at Five Myles, Brooklyn, NY (Updated live anti-capital punishment performance,”ON GRIFFIN ALLEY”)
“ON GRIFFIN ALLEY” Expanded Cinema performance at Le Petit Versaille, Manhattan, NYC (Live anti-capital punishment performance,”ON GRIFFIN ALLEY”)
“Pro Se” 2013 Theatre Lab, Manhattan, NYC
“WHERE’S THE CHILD?”, Brooklyn, NY, (Live performance, Curator Steve Cossman)
“The Colors of Spring” 15 minute performance art/ hand-processed Super 8mm, Mono No Aware, 2011
“WORD” 5-minute spoken word performance, WORD Bookstore, Brooklyn, NY 2011
“CHOWCHILLA” poetry reading performance, Cornelia Café, NYC, 2009
The Peoples Court, U.S. National Television 2006
SELECTED REVIEWS & ARTICLES
DAZED AND CONFUSED March 2013, magazine interview with artist Paul Noble
“Indiewood Hollywoodn’t” Magazine feature 2013
Sverige Radio/ Sweden Public Radio interview by reporter Lotta Kjellin, 2012.
“WAER FM Public Radio” , reporter Jessika Polumbo, FM Public Radio broadcast interview, NY 2010
“NICE PEOPLE”, David Marc, Syracuse University Press, 2009
CINEASTE, Magazine on Art and Politics of the Cinema, Cinemas of the Future, Rebecca M. Alvin, 2007
“Six Shorts Long on Intensity”, Tim Miller, CAPE CODDER Times Editor, Nov 2006
“Views of the Avante-Garde” Brian Frye, Filmmaker, August 2005
“BRITISH REVIEW”, Ali MacGilp, ROYAL ACADEMY OF ART, London, UK
Experimental Reviews, Adam Zeller, Syracuse University Press, April 2006
Berlin 2, Contemporary, Andreas Schlaegel, August 2003, p.107 – 109
The New School for Social Research
The Center for Contemporary Art, Seattle
MEMBERSHIPS AND ASSOCIATIONS
PADP (Amnesty International’s Program to Abolish the Death Penalty)
Harvard Film Archives
Committee to Protect Journalists CPJ
The Writing Institute (Sarah Lawrence College)
Steven Siegel – SUPPORTING MEMBER
LEGAL EXPERIENCE – Motions in civil and appellate matters before state and federal courts.
SILLS CUMMIS & GROSS, Newark, NJ Litigation Associate January 2015 – current
Associate in a major New Jersey law firm specializing in litigation.
SOKOL, BEHOT & FIORENZO, Hackensack, NJ Litigation Associate 1998 – January 2015 Associate in a law firm specializing in commercial and public interest litigation.
CHAMBERS OF CHIEF JUSTICE DEBORAH T. PORITZ, SUPREME COURT OF NEW JERSEY, Law Clerk 1997-98
EDUCATION COLUMBIA UNIVERSITY SCHOOL OF LAW, New York, NY
Honors: Bretzfelder Constitutional Law Fellowship
Doctoral dissertation is entitled, The Public Role in Establishing Private Residential Communities: Towards a New Formulation of Local Government Land-Use Policies that Eliminate the Legal Requirements to Privatize New Communities in the United States.
NEW YORK UNIVERSITY SCHOOL OF LAW, New York, NY
LL.M. in general legal studies, 1997
Cumulative GPA: 3.7. Course work included land use law, environmental law, constitutional law and legal research and writing projects. Conducted directed research project on state action theory as applied to private residential communities.
NEW YORK LAW SCHOOL, New York, NY
J.D., cum laude, 1992
Class rank: Top 15%.
Honors: Notes and Comments Editor, New York Law School Journal of Human Rights; nominated for teaching fellowship by law school faculty (twice)
American Jurisprudence Award in Civil Procedure.
COLUMBIA UNIVERSITY GRADUATE SCHOOL OF ARCHITECTURE AND PLANNING, New York, NY M.S.U.P., 1981
Completed and successfully defended Masters Thesis concerning urban and regional planning in Staten Island, New York. The thesis was principally devoted to identifying planning and development strategies that would serve to accomplish the sometimes contradictory objectives of the construction of affordable housing and the protection of the environment.
COLUMBIA COLLEGE, New York, NY
B.A. in Urban Studies, 1978 Honors: Dean’s list.
LAW SCHOOL TEACHING POSITIONS RUTGERS UNIVERSITY SCHOOL OF LAW – NEWARK, Adjunct Professor
2002-03 Instructor/Clinician in the Constitutional Litigation Clinic.
SETON HALL UNIVERSITY SCHOOL OF LAW, Adjunct Professor
2001 Instructor in Land Use Law.
ARTICLES AND PUBLICATIONS:
The Promise of a Public Commons in New Communities in the United States: Toward a Qualified Constitutional Right of a Subdivision Developer to Dedicate Streets and Parks to a Municipality as a Means to Challenge Local Government Policies Requiring Privatization of New Subdivisions and as a Means to Ensure Public Streets and Parks in New Communities. 29 J. of Land Use and Environ. L., 279-336 (2014).
A New Paradigm For Common Interest Communities: Reforming Community Associations Through the Adoption of Model Governing Documents that Reject Intricate Rule-Bound Legal Boilerplate in Favor of Clarity, Transparency and Accountability, 40 Real Estate L. J. 27-70 (2011).
The Public Interest And Private Gated Communities: A Comprehensive Approach To Public Policy That Would Discourage The Establishment Of New Gated Communities And Encourage The Removal Of Gates From Existing Private Communities, 55 Loyola L. Rev.805-838 (2009).
The Twin Rivers Case: Of Homeowners Associations, Free Speech Rights and Privatized Mini- Governments, 5 Rutgers J. of Law & Public Policy 729-768 (2008) (co-authored with Professor Paula Franzese)
Trust and Community: The Common Interest Community as Metaphor and Paradox, 72 Missouri L. Rev. 1111-1157 (2007) (co-authored with Professor Paula Franzese)
The Public Role in Establishing Private Residential Communities: Toward a New Formulation of Local Government Land-Use Policies that Eliminate the Legal Requirements to Privatize New Communities in the United States. 38 The Urban Lawyer:
The National Journal on State and Local Government Law 859-948 (2006). Note: The Urban Lawyer is co-published by the American Bar Association and the University of Missouri School of Law.
The Constitution and Private Government: Towards the Recognition of Constitutional Rights in Private Residential Communities Fifty Years after Marsh v. Alabama, 6 William & Mary Bill of Rights Journal, 461-563 (1998).
Ethnocentric Public School Curriculum in a Multicultural Nation: Proposed Standards for Judicial Review, 40 New York Law School Law Review 311-362 (1996).
Race, Education and the Equal Protection Clause in the 1990’s, 74 Marquette Law Review 501- 511 (1991).
BAR ADMISSION: Member of the bar, New York and New Jersey.
OTHER EMPLOYMENT E.I.S., INC, Vice President 1985-97
Served as executive in a New York-based real estate consulting firm that specializes in procuring institutional and governmental financing and tax incentives for affordable housing development projects. Worked closely with other members of the firm in putting together innovative financing packages to ensure the preservation and renovation of affordable housing. Practiced administrative law before New York housing agencies on matters relating to the award and adjustment of real estate tax incentives for housing development and the adjustment of regulated rents in non-profit and for-profit rental housing. Provided consulting services to federal and state agencies on policy issues pertaining to the deregulation of electricity and the potential effect of deregulation on affordable multifamily housing.
Member of the board, 431 West 121st Street Housing Development Fund Corporation, a residential cooperative corporation. Assists in managing a 25-unit apartment house and oversaw its transition from City ownership to cooperative ownership.
Articles and Blogs:
New York Magazine, March 23, 2015 (cover photo)
Kraftfuttermischwerk, “New York in the 1980s through the eyes of Steven Siegel,” 11/18/14 http://www.kraftfuttermischwerk.de/blogg/new-york-in-den-80ern-durch-das-auge-von-steven- siegel/
Fotografia Magazine,“Amazing Pictures of 1980s New York,” 3/21/14, http://fotografiamagazine.com/amazing-pictures-of-1980s-new-york/
Ludlow Supply Co. com/journal, “Steven Siegel: New York in the 80’s,” 3/24/14, http://www.ludlowsupply.com/journal/2014/3/5/steven-siegel-new-york-in-the-80s
Daily Mail, “Life on the rails: Fascinating photographs of the New York City subway as it was 30 years ago,” 11/23/13
The New York Times, “A Clear View of an Unfamiliar City,” 1/13/13 – Metropolitan section
Atlantic.com. Article: “Mementos of NYC’s ‘Missing Limb’,”9/11/12
Shootingfilm.net. “Article: Amazing Color Photos of New York in the 1980’s,” 12/30/13 http://www.shootingfilm.net/2013/12/amazing-color-photos-of-new-york-in.html
Gothamist.com. Article: “Steven Siegel’s Amazing Photos of 1980s New York City,” 1/18/12 http://gothamist.com/2012/01/18/amazing_photos_of_1980s_new_york_ci.php#photo-1
Gothamist.com. Article: “Steven Siegel Tells Us About His 1980s Photography Days, and a Changing NYC,” 1/30/12.
Business Insider.com. Article: “Young People Today Wouldn’t Recognize New York of the 1980s,” 1/24/12
Mashkulture.net. Article: “Steven Siegel’s Photos of 1980s New York,” 1/25/12 http://english.mashkulture.net/2012/01/25/steven-siegels-photos-of-1980s-new-york
O.K. Harris Works of Art, New York, NY
Millennium Gallery, New York, NY
O.K. Harris Works of Art, New York, NY
O.K. Harris Works of Art, New York, NY
Millennium Gallery, New York, NY
Klughaus Gallery, New York, NY 2003
Alfred Lowenherz Gallery, New York, NY
Perkins Center for the Arts, Moorestown, NJ
Gallery 214, Montclair, NJ 1998
Hudson Waterfront Museum, Brooklyn, NY
Association of the Bar of the City of New York, New York, NY
Federal Hall, New York, NY
New York State Museum, Albany, NY
Louis Abrams Art Center, New York, NY
Published Photography: George Washington Bridge: Poetry in Steel, by Michael Aaron Rockland, Rutgers University Press,
2008 (two photographs)
Encyclopedia of New York State, Syracuse University Press
2000 (one photograph)
Manhattan Waterbound, Syracuse University Press
1999 (cover photograph)
The American Marathon, Syracuse University Press
1998 (cover photograph)
Selected photographs published as postcards by Art Unlimited (the Netherlands) and City Sights (Canada)
Getty Images Das Photo (U.K.) Foto Expression International (Canada) New York Public Library
1978-81 Columbia University Graduate School of Architecture and Planning, New York; M.S.U.P.
1974-78 Columbia College, New York; B.A.