Sharits Galleries- Gregory Leigh Sharits


1975 Xmas present to Aunt V. Greg L. Sharits 1976 B/W Greg L. Sharits 1975 "Viet Nam" Gregory L. Sharits	GREGORY L. SHARITS 1945-1980 Gregory L. Sharits' Filmography (Respectfully borrowed from Canyon Cinema) "The late Greg Sharits is another filmmaker whose work deserves to be more widely recognized than it has been. The younger brother of Paul Sharits, Greg Sharits died violently in 1980 and is the second subject of the Collective's 'Not Forgotten' series .... Those films of Sharits that I've seen fall into two categories. Some are home movies whose surfaces have been overlaid with all manner of stenciled patterns, creating jumbles of letters, crude wipes, and strobelike flickers. Transfer is the most complex and varied of these, but Sharits' other genre - street films identified only by numbers - are even more impressive. Although hardly documentaries, these percussive, edited-in-camera compositions, superimposing the neon lights and illuminated storefronts of downtown San Francisco with uncanny geometric precision, could only have been shot off-the-cuff with an inconspicuous small-format camera. At once lyrical and rigorous, these meticulously crafted city symphonies are among the most ecstatic avant-garde films I've seen since I began covering the beat ...." - J. Hoberman, The Village Voice . Untitled No. 4 "As he had no editing equipment his movie making strategies were limited to a fairly narrow range. The city streets, Chinatown , beer signs, city lights, the interior of his hotel and various reflecting surfaces from which we often get glimpses of the filmmaker camera-at-eye. I think of these images as having a hermetic quality; we never get a facial study of any person. The people are figures in the cityscape. His in-camera editing style is always fast, always keeping a heartbeat rhythm. Post production consisted of removing the flares and splicing together the various camera rolls. These films he then premiered at open screenings before depositing them in Canyon Cinema. Sometimes he gave away his films as presents, always the originals, so there probably are some which are lost forever." - Carmen Vigil, "Not Forgotten" series, Collective for Living Cinema. Untitled No. 5 A four-movement, double-exposure, lyrical imagistic cinepoem in staccato, single-frame/200M polyrhythms. . Untitled No. 6 R8mm, color/si, 12m (18fps), . Untitled No. 8 Single-exposure lyrical imagistic cinepoem in single-frame rhythms inspired by Domenico Scarlatti harpsichord sonatas. Untitled No. 9 A lyrical-imagistic cinepoem dedicated to my own psychosomatic myopia and the epiphanies of everyday vision. . Untitled No. 10 Greg's last untitled film and, perhaps, my last film altogether. A summing up of my earlier Super 8 films. A beginningless-endingless slice of abstract life via the camera as brush.

1975 Xmas present to Aunt V.
Greg L. Sharits

1976 B/W Greg L. Sharits

1975 "Viet Nam" Gregory L. Sharits

GREGORY L. SHARITS
1945-1980

Gregory L. Sharits' Filmography
(Respectfully borrowed from Canyon Cinema)

"The late Greg Sharits is another filmmaker whose work deserves to be more widely recognized than it has been. The younger brother of Paul Sharits, Greg Sharits died violently in 1980 and is the second subject of the Collective's 'Not Forgotten' series .... Those films of Sharits that I've seen fall into two categories. Some are home movies whose surfaces have been overlaid with all manner of stenciled patterns, creating jumbles of letters, crude wipes, and strobelike flickers. Transfer is the most complex and varied of these, but Sharits' other genre - street films identified only by numbers - are even more impressive. Although hardly documentaries, these percussive, edited-in-camera compositions, superimposing the neon lights and illuminated storefronts of downtown San Francisco with uncanny geometric precision, could only have been shot off-the-cuff with an inconspicuous small-format camera. At once lyrical and rigorous, these meticulously crafted city symphonies are among the most ecstatic avant-garde films I've seen since I began covering the beat ...." - J. Hoberman, The Village Voice .

Untitled No. 4

"As he had no editing equipment his movie making strategies were limited to a fairly narrow range. The city streets, Chinatown , beer signs, city lights, the interior of his hotel and various reflecting surfaces from which we often get glimpses of the filmmaker camera-at-eye. I think of these images as having a hermetic quality; we never get a facial study of any person. The people are figures in the cityscape. His in-camera editing style is always fast, always keeping a heartbeat rhythm. Post production consisted of removing the flares and splicing together the various camera rolls. These films he then premiered at open screenings before depositing them in Canyon Cinema. Sometimes he gave away his films as presents, always the originals, so there probably are some which are lost forever." - Carmen Vigil, "Not Forgotten" series, Collective for Living Cinema.

Untitled No. 5

A four-movement, double-exposure, lyrical imagistic cinepoem in staccato, single-frame/200M polyrhythms. .

Untitled No. 6

R8mm, color/si, 12m (18fps),

. Untitled No. 8

Single-exposure lyrical imagistic cinepoem in single-frame rhythms inspired by Domenico Scarlatti harpsichord sonatas.

Untitled No. 9

A lyrical-imagistic cinepoem dedicated to my own psychosomatic myopia and the epiphanies of everyday vision. .

Untitled No. 10

Greg's last untitled film and, perhaps, my last film altogether. A summing up of my earlier Super 8 films. A beginningless-endingless slice of abstract life via the camera as brush.