Everything is coming up Kuchar in San Francisco and beyond right now, with Artists’ Television Access presenting a two-night celebration of Mike and George’s moving pictures, and the publication of The George Kuchar Reader , edited by Andrew Lampert. (Along with V. Vale’s daintier George Kuchar: Interviews and Conversations from last year, the book is a vital addition to Kuchar studies, since George’s autobiography Reflections From a Cinematic Cesspool has not been in print recently.)
It’s hard to overestimate George and Mike’s impact on Bay Area art, and their influence on cult and Hollywood filmmaking also runs deep. After George’s death in 2011, Mike took over the teaching of George’s class at San Francisco Art Institute, and one of his student productions is on the bill of his ATA program, an array of new video works that attest to his prolific creativity—including fantastic homoerotic drawings—in the wake of the deepest kind of familial loss. To build a bridge from the end of that last sentence, anyone who knew George loved him. Two unique filmmakers who were students of George’s, David Enos and Sarah Enid Hagey, recently rejoined forces to create Enos’ The Last Supper of Cretins of Crete, a tender tribute in the form of an homage. Here it is, with info about the ATA nights below:
“Mike Kuchar: New and Recent Works” screens Thursday, September 25 at 8pm. and “George Kuchar: Storm Squatter” screens Friday, September 26 at 8pm at Artists’ Television Access, 992 Valencia, SF.
Johnny Ray Huston has written about film, music, and visual art for 25 years at various newspapers, magazines, and websites, including a 14-year stint as Arts Editor at the San Francisco Bay Guardian when it was an independent publication. He has co-created movies and put together film programs shown at Artists’ Television Access, Yerba Buena Center of the Arts, and the San Francisco International Film Festival, and written and made collage work for exhibitions at [2nd Floor Projects] in San Francisco.