AMP: The Happenings | 2022

October 22, 5:00 to 7:00 PM

AMP Closing Party with Scream Along with Billy


Please join us in celebrating 11 wonderful seasons at AMP Gallery! Though the physical space is closing, it is definitely not the end. I will continue to work with many of the artists I've represented over the years via an online presence, occasional shows & happenings. Stay tuned! Meanwhile, thank you ALL so very much for all your support over the years. It has meant so much. XX

September 30, 6:00 PM

Impressions of a Body: How About This, and then We Relax?


Using video projection and transformation of fabric sculptures with dance and movement to a soundscape of unearthly polyrythmic loops remixed live, the non-binary duo of H. Gene Thompson and Arvid Tomayko seek to refocus and embody, shifting energy away from the collective stress of overwork, overstimulation, and theconstant flow of communication and information. Finding where these tensions are held within the body, the performers work to find a radical shift in perspective and draw energetic boundaries in a “spell” to protect us from being scattered into accelerated overwork and help us heal from disorganization and the competing demands of post-industrial capitalist consumer culture. Our energy and personal power is holy, and by reconnecting to reforge it, we strengthen our community bonds in a beautiful and necessary shift of energy away from dissolution and into solidarity.

The closing of the AMP space that has honored this community for years is significant – the end of an era in Provincetown. Although based in New Orleans, the collaborative duo of Thompson and Tomayko has been building community around Provincetown since 2014, teaching workshops and performing events. They have felt honored and privileged to show there among other artists that they share community with and respect greatly. We hope that by setting our intentions of this work that the audience is able to come out, be present or feel our presence in Provincetown working magic and shifting this energy through sonic, visual and embodied performance channeled from our travels.

Arvid Tomayko is an artist of time-based media who’s work investigates both the ephemeral and the ancient. They have built electronic systems to interpret live dance as music and light, and created sonic performances based on the 'deep time’ of billions of years of natural history. They develop specialized audio equipment for musicians and produce high-quality videos of difficult-to-document performance work. Born and raised in Provincetown, MA, Tomayko received a BA in Computer Music/Multimedia and Geological Sciences from Brown University. They have been a New Hazlett Theater CSA artist and a Tough Art resident at the Children’s Museum of Pittsburgh, and performed at Swissnex Boston and SIGGRAPH.

H. Gene Thompson is a queer, non-binary artist born in 1989 in Pittsburgh, PA and based in New Orleans, LA. They have been touring their work and collaborating with community organizations and artist residencies across the country since 2012. Thompson has worked professionally as a performer, muralist, public artist, printmaker, illustrator, and painter. Their current interdisciplinary artistic process involves using somatic and embodied practices, community organizing, and movement workshops. Thompson creates and directs inclusive public art events that connect people and seek to heal by confronting the trauma held in our bodies.

Thompson is a grateful recipient of residencies at The Spectacular House Digital Gallery, Sulfur Studios (Savannah, GA), Pittsburgh Office of Public Art/Bike Pittsburgh, The New Hazlett Theater (Pittsburgh, PA), The Pittsburgh Children's Museum, Laboratory (Spokane, WA), The Kelly-Strayhorn Theater (Pittsburgh), Charles Adams Studio Project (Lubbock, TX), Art In Odd Places (Orlando, FL), AS220 (Providence, RI), and Future Tenant (Pittsburgh). They have taught workshops across the country including Provincetown MA, Pittsburgh PA, New Orleans LA, Truth or Consequences NM, Providence RI, Lubbock TX, Columbus OH, Nashville TN, Savannah GA, Shreveport LA, Dallas TX, Albuquerque NM, Los Angeles CA, UC Davis, and the University of Montevallo.

September 24, 6:30 & 8:00 PM

Fort Point Theater Channel presents "Spirits Teach Us How to Build the Union Valley Sewing Machine in 1862"

Performance | Two Shows: 6:30 & 8:00 PM

Fort Point Theatre Channel ( returns to the AMP Gallery on September 24, 2022 with The Spirits Teach Us How to Build the Union Family Sewing Machine, a segment in repeating episodes from a planned production of John Spear’s The Electric Infant.

John Murray Spear (1804–1887) was an American factory hand, Universalist minister, temperance and gender equality advocate, and proponent of labor and prisoners’ rights. In 1851 he turned to spiritualism, pronouncing himself, his daughter, and various associates as mediums expressing the ideas of deceased luminaries. These “Spirits" would offer us new technologies that could bring on a golden age.

The show dramatizes the process Spear envisioned. It begins with a study of the human hand, accompanied by a song from the Spirits (puppets), during which the machine’s Integralist (mother) is shown different parts of the machine. While she concentrates on them, the Implementists begin immediate modelic actions of different parts, recorded on the whiteboard. Then there is an anointing and serving of the Lemonade (combination of acid and base) while a brief lesson is spoken to the audience by the Communicator. Participants, adopting their defined roles, act out the functions of different sewing machine parts. Two participants dance together, standing in for the impregnation of the Integralist. After a brief dreamlike pause accompanied by chaotic trance music, everyone crowds around and designs the parts on the whiteboard. One of them goes to the work bench and produces the part which, with great rejoicing and music, is placed on the central sewing machine (Rick Dorff’s sculpture "New Model"). A song is given and the episode is over.


The Company

Mitchel Ahern (Producer/Author, Immediate Modelic Action) performed in and wrote the lyrics and narration for our previous AMP show, Serf’s Up. He is a letterpress artist and experimental musician whose first FPTC production was Dahlgren Sunrise, a show based on Samuel R. Delaney’s science fiction.

Danny Gessner (Immediate Modelic Action) is FPTC’s treasurer, conscience. and our most level-headed member. He produced and performed in our last show at the AMP Gallery, Serf’s Up.

Rick Dorff (sculpture, Immediate Modelic Action) created the sculpture that inspired FPTC’s first show at the AMP Gallery, Threw the Keyhole. He has created scenic designs for a number of FPTC productions including Inter-Actions, a show based on kinetic sculpture that he produced in July 2015.

Vanessa LeFevre (invented music and Immediate Modelic Action) has a background in dance. She produced the Salem-based “Sonorium” series, and performed “bleeping and skronking” music in Dahlgren Sunrise and in the groups Viae Ensemble and ALYance.

Shereen Heart Salem (motion coach, Immediate Modelic Action) is a choreographer who offers dance performances as a busker in the Boston area. She provides “visual aid” to audio performers and choreography for multimedia productions. Shereen handled the dance/movement and performed in Dahlgren Sunrise.

Nick Thorkelson (music, puppets, Immediate Modelic Action) is a cartoonist/musician and a founding member of FPTC. He was in Boston’s first reggae band, Jamaica Hylton, and he created the music for the FPTC productions Carny Knowledge, The Good Person of Setzuan, Bohemians, and Dreambook.

September 17, 5:30 PM

Voices of Poetry | Benefit for Planned Parenthood

Readings & Music hosted by Neil Silberblatt

Bob Carr, Martin J. Farawell, Laurel Peterson, Tzynya Pinchback, Heather Treseler, and Ellen Dore Watson

This event is a benefit for Planned Parenthood. We will have a suggested donation of $20, but no one will be denied admission due to lack or shortage of funds. Every cent collected will be donated to Planned Parenthood to help them in their ongoing fight for reproductive freedom.


About the Poets

Bob Carr is the author of Amaranth, published in 2016 by Indolent Books and The Unbuttoned Eye, a full-length 2019 collection from 3: A Taos Press. Among other publications his poetry appears in the American Journal of Poetry, Massachusetts Review, Rattle, Shenandoah and Tar River Poetry. Robert is a poetry editor with Indolent Books and recently retired from a career as Deputy Director for the Bureau of Infectious Disease and Laboratory Sciences at the Massachusetts Department of Public Health.

Martin J. Farawell (he/him/his) directs the Dodge Poetry Program, which includes: the biennial Dodge Poetry Festival, the largest poetry event in North America; Dodge Poets in the Schools, which sends poets into New Jersey high schools and offers poetry discussion groups to New Jersey teachers; and the Dodge Poetry Archive, currently being developed to make audio and video recordings from past Dodge Festivals available online.

Martin’s work at Dodge calls upon his decade of teaching experience and two decades of curating poetry reading series and working in the theater. He is a graduate of New York University’s graduate program in creative writing and the author of Odd Boy, which was a finalist for the Paterson Poetry Prize.

His plays have been produced in theaters from New York to South Africa and Los Angeles.

Laurel Peterson is a Professor of English at Norwalk Community College. Her poetry has been published in many small literary journals. She has two poetry chapbooks: That’s the Way the Music Sounds, from Finishing Line Press (2009) and Talking to the Mirror from The Last Automat Press (2010). She also co-edited a collection of essays on women’s justice titled (Re)Interpretations: The Shapes of Justice in Women’s Experience (2009). Her mystery novel, Shadow Notes, was released by Barking Rain Press (May 2016). A full length collection of poetry, Do You Expect Your Art to Answer You? was released by Futurecycle Press in 2017. She served as poet laureate of Norwalk, CT from April 2016 – April 2019.

Tzynya Pinchback’s poems have appeared or are forthcoming in the American Poetry Journal, the Aurorean, Midnight and Indigo, and Spectrum’s 17 Poets on 2017. She is author of the poetry chapbook, How to Make Pink Confetti (Dancing Girl Press, 2012), and blogs about surviving cancer and mermaids at

Heather Treseler is Associate Professor of English and the Presidential Fellow in Art, Education, and Community at Worcester State University, where she teaches courses in creative writing and American literature. She earned a B. A. in Comparative Literature at Brown University and a Ph.D. in English at the University of Notre Dame.

A poet and essayist, her teaching areas include twentieth-century American poetry, autobiography, poetry writing, and literature and medicine. Her poetry collection Parturition (2020), won the international chapbook prize from the Munster Literature Centre in Cork, Ireland, in 2019 and the Jean Pedrick Award from the New England Poetry Club in 2020.

In 2019, her sequence of ten poems, The Lucie Odes, received The Missouri Review's Jeffrey E. Smith Editors' Prize, and in 2021, her poem Wildlife was selected by Spencer Reece for the W. B. Yeats Prize. Her poems appear (or are forthcoming) in Cincinnati Review, Harvard Review, The Iowa Review, Boulevard, Alaska Quarterly Review, Pleiades, Western Humanities Review, PN Review, and The American Scholar among other journals. Her poem Louisiana Requiem received Frontier Poetry's summer award in 2018 and has been translated into Hindi.

Treseler’s poetry criticism and memoir essays have appeared in Boston Review, PN Review, Harvard Review, The Worcester Review, and the Los Angeles Review of Books, among other journals, as well as in several books: Marbles on the Floor: How to Assemble a Book of Poems (2022), Elizabeth Bishop in Context (2021), Elizabeth Bishop and the Literary Archive (2020), Reading Elizabeth Bishop: An Edinburgh Companion (2018), John Berryman, Centenary Essays (2017), Elizabeth Bishop in the Twenty-First Century (2012), and The Salt Companion to John Matthias (2011).

Recipient of Worcester State’s George I. Alden Award for Excellence in Teaching (2017), Treseler has received support for her writing from the National Endowment for the Humanities, the American Academy of Arts and Sciences, the T. S. Eliot House, the Boston Athenaeum, the Vermont Studio Center, and the Virginia Center for the Creative Arts. In 2021-24, she is a Resident Scholar at Brandeis University’s Women’s Studies Research Center, where she was previously a Visiting Scholar (2017-2020).

Ellen Dore Watson is the author of five full-length collections of poems, most recently, pray me stay eager, from Alice James Books. Earlier works include Dogged Hearts, from Tupelo Press, This Sharpening, also from Tupelo, and two from Alice James Books, We Live in Bodies and Ladder Music, winner of the New England/New York award. Watson’s journal appearances include APR, Tin House, Orion, Field, Ploughshares and The New Yorker.

Among her honors are a Rona Jaffe Writers Award, fellowships to the MacDowell Colony and to Yaddo, and a National Endowment for the Arts Translation Fellowship. She has translated nine volumes from Brazilian Portuguese, most notably the poetry of Adélia Prado, including The Alphabet in the Park (Wesleyan University Press), Ex-Voto (Tupelo), and, most recently The Mystical Rose, from the UK poetry publisher Bloodaxe Books. Watson serves as poetry and translation editor of The Massachusetts Review and core faculty at Drew University’s Low-Residency Master of Fine Arts in Poetry and Translation.

Neil Silberblatt's poems have appeared in numerous journals, including The American Journal of Poetry, Tikkun Daily, Poetica Magazine, The Aurorean, Mom Egg Review, Ibbetson Street Press, Naugatuck River Review, Chantarelle’s Notebook, Canopic Jar, Muddy River Poetry Review, Nixes Mate Review, and The Good Men Project. His work has also selected for various anthologies, including Collateral Damage (Pirene’s Fountain); and Culinary Poems (Glass Lyre Press). His poem, Burnt Offering, was recently selected as Poem of the Moment by Mass. Poetry.

He has published two poetry collections: So Far, So Good (2012), and Present Tense (2013), and has been nominated for a Pushcart Prize. His most recent poetry book, Past Imperfect (Nixes Mate Books, 2018), has received critical acclaim and was nominated for the Mass. Book Award in Poetry. Neil is the founder/director of Voices of Poetry which has organized and presented a series of (more than 200) poetry events, featuring acclaimed poets – including the current or former Poets Laureate of Connecticut, Rhode Island, Vermont & New Hampshire – at various venues in NY, NJ, CT and MA, including The Mount / Edith Wharton’s home in Lenox, MA, and The Rubin Museum of Art in NYC. Since 2014, Neil has also been the host of the Poet’s Corner program on WOMR / WFMR out of Provincetown, MA, for which he has interviewed accomplished and aspiring poets and writers on and off Cape Cod. Since 2016, Neil has also been battling Stage IV colon cancer.

August 27, 7:30 PM

Just a Broadway Baby: Mary Ellen Ashley | Documentary Short by Patrick Adams-Riviere

Introduction & Screening: 23 minutes

Just a Broadway Baby: Mary Ellen Ashley is an award-winning short documentary film about the career and life of Mary Ellen Ashley who made her Broadway debut in 1943 in The Innocent Voyage, followed by the five-year run of the original Broadway production of Annie Get Your Gun, starring Ethel Merman. Her career has spanned 8 decades and includes radio, early TV, film, Las Vegas, tours, regional shows and of course, Broadway.

The film was directed by Provincetown performer, playwright and documentary filmmaker, Patrick Riviere. He met Mary Ellen when they co-starred in the World Premiere of Family Dinner, Off-Broadway and they've been family ever since. The film won Best Picture at its World Premiere Screening at Oregon Documentary Film Festival and has gone on to win Best Documentary Short at Upstate NY Film Festival and Art of Brooklyn Film Festival. It also received an Indie Soul Special Recognition Award at Boston International Film Festival and has also screened at Dam Short Film Festival and Texas Short Film Festival. The screening at AMP will mark the Cape and Islands Premiere of the film.;

Patrick Adams-Riviere has been in the creative sandbox since he had a speaking role in the 1976 Bicentennial Road Show at the age of 10. Since that time he has been a performer, playwright, arts educator and arts administrator. This film marks his directorial debut as a filmmaker. He now resides year-round with his husband in Provincetown.

August 6, 6:30 PM

Tough Girls & Lucid Dreamers XI

Readings, Performance, Music

Katrina del Mar with Mark Adams, Elizabeth Bradfield, Jay Critchley, Monica Falcone, Sarah Greenwood, Billy Hough & Susan Goldberg, Amy Hoffman, Heather Kapplow, Shelley Marlow, Sue Metro & Debbie Nadolney, Eileen Myles, Runn Shayo, Genny Slag, Anne Stott, Betsy Todd, Darlene Van Alstyne, Thalia Zedek, and others to come!

Katrina del Mar and AMP Gallery are thrilled to bring Tough Girls & Lucid Dreamers back after a 2-year Covid-induced hiatus. Hope you'll join us!!

Katrina del Mar is a New York-based photographer, video artist, writer, and award- winning film director. She is perhaps best known for her decades-long work in video and photography, chronicling the reality and illusion of her Lower East Side friends and lovers as punk heroines; or within her girl gang movie world of strictly female population. Creating a family tree indebted equally to B-movies and diaristic photography, del Mar’s defiantly queer photographs and videos are iconic alternatives to the cultural status quo, offering an exuberant, hyper-stylized sexuality, an unapologetic feminist voice, and often guerilla-style production tactics.

Del Mar was awarded the New York Foundation for the Arts / NYFA Fellowship in Video in 2004 for her film “SURF GANG”, shot in Rockaway Beach, the Hamptons and Montauk. It was screened in an exhibition dedicated to Dennis Wilson of the Beach Boys at the CAPC (Museum of Contemporary Art) in Bordeaux, France and at the MoMA Dome in Rockaway Beach, NYC. Her experimental films have screened at film festivals the world over, including Frameline, Outfest, Hamburg Schwule Lesbisch Filmfest, Sydney Mardi Gras, MIX NYC, Chicago Underground Film Festival. Katrina’s photographic and multimedia work has been shown at Participant Inc. in NYC, at AMP Gallery in Provincetown, and at Leslie Lohman Museum’s Prince Street Project Space.

She curates a live series of writers and performance art called Tough Girls and Lucid Dreamers at spaces including The Leslie Lohman Museum, Howl Happening and Participant Inc in NYC, and at AMP Gallery in Provincetown.

Del Mar completed her MFA at Milton Avery Graduate School for the Arts at Bard College, where she presented her Masters Thesis: a feature length documentary titled “An Artist Working as a Letter Carrier.”

In 2019 Katrina founded a punk band called Tracy City; they’ve released two singles with music videos, to international press raves: “Tracy City is equal parts New York no wave and trashy B-movie. Think: Teenage Jesus and The Jerks or Magazine, if they were fronted by The Fabulous Stains or chicks from Jubilee, and directed by Russ Meyer or Ed Wood.” - "Meet Our Fav New NYC Band: Tracy City” Oyster Mag (Australia)

Mark Adams "I write I draw I scan the horizon. Painter, cartographer, human ecologist, elegiac dystopian. 25 years in the Provincetown Hook, 10 years of coastal surveys, 500 paintings, 5000 trail miles jogged, a string of failed relationships, couple hundred friends, a kayak, a bike, a guitar and a killer lamb curry. Just trying to get it right."

Elizabeth Bradfield’s most recent books are Toward Antarctica and Theorem, a collaboration with artist Antonia Contro. Her work has been appeared in The New Yorker, Atlantic Monthly, Poetry, Orion, and her honors include the Audre Lorde Prize and a Stegner Fellowship. Based on Cape Cod, Liz works as a naturalist, teaches at Brandeis University, and runs Broadsided Press.

Jay Critchley is a longtime resident of Provincetown and the shifting dunes, landscape and the sea are his palette. He has utilized sand, Christmas trees, fish skins, plastic tampon applicators washed up on beaches, pre-demolition buildings and selected sites in his work. He is a conceptual and multi-media artist, writer and activist whose work has traversed the globe, showing across the US and in Argentina, Japan, England, Spain, France, Holland, Ireland, Germany and Columbia.

Jay was honored in 2012 by the Massachusetts State Legislature as an artist and founder and director of the Provincetown Community Compact, producer of the Swim for Life, which raises funds for AIDS and women’s health and the community. The 2020 fundraiser is a “Swimming in Place Challenge - our place, your place”, summerlong through September 12 - for a virtual event (

Monica Falcone is originally from New Jersey and started playing guitar at age 13. In the 90's, Mony played among New York's garage scene in the all-female garage-a-billy band, Sit n' Spin, opening for some of their favorite bands such as The Muffs, Link Wray and touring with the 5678's. After 10 years of touring and recording she landed in Brooklyn where she met Tammy Faye Starlite. Over the past 10 years, she's played with Tammy in The Stay-at-Homes (covering the Runaways), Prima Ballerina (covering the NY Dolls) and most recently The Pretty Babies (covering Blondie.) Mony has also filled in on bass guitar for Tammy's Nico performances and frequently duets with Tammy for special events. Monica is now a member of Tracy City with Katrina del Mar.

Susan Goldberg lives in Provincetown. She is well known as "Solid Goldberg" for her awesome bass playing in bands such as "Scream Along with Billy", "Space Pussy", "Fuckery", the "garageDogs" and "Cla de Bossa Nova", and the "Sarah Burrill Band".

Sarah Greenwood is a songwriter and performer, born in Switzerland to British transplants. Graduate of the prestigious Berklee College of Music, Sarah is the recipient of multiple Professional Writing Division Awards for Songwriting from Berklee. She released several well received eponymous EP's including 24 Hour Shift before forming GSX, known for its fiery live performances. Sarah's full length album Manifest was released in 2005 and GSX headlined and played both internationally, notably to a crowd of 50,000 in Reykjavik, Iceland and nationally, at notable venues including the Gramercy Theater and the notorious CBGB’s, where they opened for Joan Jett. The GSX videos Bringin' Me Down and I Got What I Came For directed by Katrina del Mar, both made the Top Ten on LOGO's Click List(MTV Networks).

Billy Hough lives between Provincetown and New York City. He and Susan Goldberg comprise "Scream Along with Billy", a brilliant rock 'n roll stream of consciousness piano and bass duo, now celebrating its 17th year. He also is a member of the punk band "garageDogs", and plays piano and sings at the The Post Office Cabaret & Tin Pan Alley, and is a founding member of the Gold Dust Orphans. Billy has three songs on the film "Rampart" soundtrack, including his own song "Venice", and covers of "Downtown" and Johnny Thunders' "You Can't Put Your Arms Around A Memory". His music is also featured in three films directed by Oren Moverman entitled "Rampart", "Time Out of Mind" and "The Diner".

Amy Hoffman is a writer, editor, and community activist, Amy Hoffman is the author of the novels Dot & Ralfie and The Off Season, and three memoirs—Lies About My Family; An Army of Ex-Lovers: My Life at the Gay Community News; and Hospital Time. An Army of Ex-Lovers was short-listed for a Lambda Book Award, and both An Army of Ex-Lovers and Hospital Time were short-listed for the New York Publishing Triangle Judy Grahn Award.

Amy is currently a freelance editor, writer, and consultant. She was editor in chief of Women’s Review of Books for fourteen years, from 2003 through 2017. She is a faculty member in the Solstice MFA Program at Lasell College. She has been an editor at Gay Community News, South End Press, and the Unitarian Universalist World magazine. She taught writing and literature at the University of Massachusetts and Emerson College and served as development director for the Massachusetts Foundation for the Humanities and the Women’s Lunch Place, a daytime shelter for homeless women. Her creative writing, feature articles, and reviews have appeared in the Boston Review, Gay and Lesbian Review, Women’s Review of Books, and other publications. Amy has a BA in English from Brandeis University and a Master of Fine Arts in creative writing from the University of Massachusetts at Amherst.

Heather Kapplow is a self-trained conceptual artist based in the United States. Kapplow creates participatory experiences that elicit unxpected intimacies using objects, alternative interpretations of existing environments, installation, performance, writing, audio and video.

Kapplow’s work has received support from US, EU, Scandinavian and Slavic governments and from private foundations including The Goethe-Institut, MassMOCA, Barr Foundation, LEF Foundation, Robert Flaherty Foundation, Tanne Foundation and others, and has been commissioned for galleries, film and performance festivals including MIT’s List Center for Visual Art, Ann Arbor Film Festival, ANTI-Festival, Datscha Radio Festival, Illuminus Boston, ISEA International, Kulturmødet Mors Festival, MEM Experimental Art Festival, and Open Engagement Conference.

Kapplow has performed with ensembles at the ARoS Aarhus Kunstmuseum, Guggenheim Museum, Institute of Contemporary Art, Isabella Stewart Gardner Museum, Museo Arte Moderno, Museum of Fine Arts Boston, and the Queens Museum, and within works by La Pocha Nostra, Paul Ramirez Jonas, and On Kawara.

Kapplow is an active member of two international art communities that produce work collectively: Flux Factory and Mobius Artists Group, and an affiliate artist at metaLAB at Harvard University.

Shelley Marlow is the author of Two Augusts In a Row In a Row, a novel, Publication Studio, Portland (2015); and the art editions, Publication Studio, Hudson (2017) and Publication Studio, London, in collaboration with London Centre for Book Arts (2017). Multigenerational communities performed scenes of Two Augusts for book launches at the Bureau of General Services Queer Division, NYC; LCBA, London; and The Tender Center, Rotterdam. Marlow received an Acker Award 2017, NYC, for excellence in avant-garde writing. Marlow's writing and artwork appear in: The St. Petersburg Review; Resist Much/Obey Little Anthology; Altered Bodies catalogue; Brooklyn Rail; LTTR (Lesbians To The Rescue); Evergreen Review; Hyperallergic; The KGB Bar Lit Mag; Lambda Literary; alLuPiNiT, an EnvironMental Magazine; Saint-Lucy; New Observations Magazine; and Zingmagazine. UnKnot Turandot, Marlow's short collaborative opera, was performed at La Mama Theater, NY. Marlow performed an interactive project, International Witch Stories, with Oreste in the Italian Pavilion for the 48th Venice Biennial.

Marlow's new magic realism manuscript The Wind Blew Through LIKE A CHORUS OF GHOSTS, follows gender-non-conforming Swann and their wife Pilar's 2013 adventures from their home in Brooklyn to vacation in the UK, and converges past and present into an alchemy of interconnection through nature, witchcraft and queer resilience across centuries and dimensions.

Sue Metro is a musician, songwriter, recording engineer and singer. Since 1978 she has played in bands such as Surrender Dorothy, Lunch, Acts of Distraction, High Risk Group (with Debbie Nadolney), and Lucky 57. Sue is currently working on new music projects.

Eileen Myles (they/them) came to New York from Boston in 1974 to be a poet, subsequently novelist, public talker and art journalist. A Sagittarius, their 22 books include For Now, evolution, Afterglow, I Must Be Living Twice/new & selected poems, and Chelsea Girls. In 2019 they wrote and directed an 18-minute super 8 film, The Trip, a puppet road film. See it on youtube.

Eileen is the recipient of a Guggenheim, a Warhol/Creative Capital Arts Writers grant, 4 Lambda Book Awards, the Shelley Prize, and a poetry award from the Foundation for Contemporary Arts. In 2016, they received a Creative Capital grant and the Clark Prize for excellence in art writing. In 2019 Myles received a poetry award from the American Academy of Arts & Letters. In 2020 they got the Bill Whitehead Award for Lifetime Achievement from the Publishing Triangle. They live in New York and Marfa, TX.

Debbie Nadolney has been the director, owner and curator of AMP Gallery in Provincetown for the past 11 years. She is also a painter and musician. Beginning in the 1980s she was a songwriter, guitarist and singer in Boston-based bands such as Lunch, Acts of Distraction, Still Life and High Risk Group.

Runn Shayo "I am a time-based, environmental, site-specific film and performance artist. I use film and video to create installations, sometimes combining multiple channel video projections with live art. My background as a dancer and an actor in theater and film has influenced my work a great deal.

The work I produce for the screen range from experimental documentaries to dance films, and to what I define as environmental site-specific performance art film. These pieces explore environmental aspects of landscapes through filmed performances.

My works usually deal with subjects of gender, immigration, or the environment. They explore the struggle of an artist in contemporary contexts. I discover my characters and their stories through researching archived popular TV shows, classic history films, and archived documentation of conceptualized contemporary performance art. The ancient form of storytelling is what I ultimately honor, yet, in the center of my exploration is the meaninglessness of words, the out-cast, the sidekick; a voice of a mute preacher."

Runn was born and raised in Israel, and moved to New York 19 years ago to attend school. He has lived here ever since.

Genny Slag Genny “Bam Bam” Slag is a punk poet, songwriter, singer and drummer. She formed her first band “Slag” when she was 14 years old and hasn’t stopped making music since, in genres ranging from hardcore to punk, to rap and country. Genny is also a member of Tracy City with Katrina del Mar.

Her acting credits include the Mechanic in Katrina Del Mar’s cult classic film "Hell on Wheels Gang Girls Forever." Originally from South Florida she now resides in Brooklyn where she makes her living as a dyke contractor, rehabbing the homes of the rich and famous with her company Rock Star Renovation.

Anne Stott to come...

Betsy Todd is an actress and writer, known for Katrina del Mar's "Hell on Wheels Gang Girls Forever" (2012), "Gang Girls 2000" (1999) and "Heavy Eyeliner Basketball". She is also blessed with a killer voice.

Darlene Van Alstyne is an actor and singer. She has performed in several theater productions. She also known for her band Fuckery with Monica Falcone and Susan Goldberg, and performs regularly with Billy Hough & Susan Goldberg to the delight of everyone!

Thalia Zedek is an artist of immutable stature and unceasing vitality. The legendary songwriter’s fiery voice and frank lyricism give her songs both their emotional potency and their stark beauty. Zedek is able to distill complex events into simple, clear, and at times monumentally weighty moments with a singular grace. Through ballads or bluster, Zedek imbues her music with unguarded honesty. New album Perfect Vision examines the anxiety and pain of rising divisions between people both physical and ideological.

Perfect Vision follows Thalia Zedek Band’s 2018 album Fighting Season, created in the midst of growing tensions across the U.S.

Thalia Zedek started her career as a musician in the groups White Women and Dangerous Birds, whose 1982 singles “Alpha Romeo”, "Smile On Your Face", and "Walking Emergency" are rare finds these days. She really made her mark shortly thereafter with Uzi, whose 1986 Homestead release Sleep Asylum was a landmark not only for the Boston region but for the underground in general. It rightfully put Thalia in the company of other challenging female pioneers such as Kim Gordon, and was reissued by Matador in the mid-1990’s to much acclaim. In 1998, a mere two years after Uzi, Thalia broke new ground again with the NYC band Live Skull. The three records that she released with them more than stand the test of time and laid the groundwork for artists who followed such as PJ Harvey. It was with Come that Thalia rose with the swell of popularity. Fueled by the guitar interplay between herself and bandmate Chris Brokaw, Come released four full length records, Eleven-Eleven, Don't Ask Don't Tell, Near Life Experience, and Gently Down The Stream as well as various EP's and singles and toured extensively throughout the 90s.

Along with the Thalia Zedek Bank, she is also playing in other great experimental bands called E and tK with Heather Kapplow. Come is about to embark on a reunion tour.

May 27 through June 22

Films by Barbara Hammer, Brydie O'Connor, and Lynne Sachs

Screenings at AMP

Schedule: Dates are listed below with films. Each film will shown individually and looped throughout the day - come anytime.

Films by Barbara Hammer

May 27 & June 11 | Contribution to Light: 1968, 3:42 min, color, silent, Super 8mm film on HD video. "Contribution to Light is all about my excitement and thrill at seeing reflected and refracted light. I shot the edges of pieces of found broken glass that streamed light rays broken into myriad colors. I saw, years later, a shared aesthetic in Stan Brakhage’s study of a crystal ashtray." — Barbara Hammer

May 28 & June 12 | Multiple Orgasm: 1976, 5:32 min, color, silent, 16 mm film on HD video.

This film was preserved by Electronic Arts Intermix and the Academy Film Archive through the National Film Preservation Foundation’s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation.

May 29 & June 13 | Dream Age: 1979, 10:58 min, color, sound, 16 mm film on HD video. A 70-year-old lesbian feminist, seeing little change in the society after years of work, sends out her 40-year-old self on a journey taking her around the perimeters of the San Francisco Bay.

“During her quest she encounters aspects of her personality: the guardian angel who has all that she needs; the seductress who leads her astray; the wise woman of secrets who she meets underground. The film culminates in a visual crescendo ascending a tower as the heroine’s hair is painted white by her counterparts. A dream vision film.” — Barbara Hammer

May 30 & June 14 | Pond and Waterfall: 1982, 15 min., color, silent, 16 mm film on video. An underwater exploration of verdant pond growth pulling the viewer into actually being the creature actively exploring.

“Hiking in Point Reyes National Seashore I came upon a vernal pool with an intriguing and mysterious underwater world. I optically printed swimming underwater to slow the movement to a meditative rhythm. I hoped that the appreciation of the clarity and beauty of water would lead us to better protect it.” — Barbara Hammer

“The camera eye is like an amphibian that sees on two levels in its journey from underwater in a safe pond down to a violent, turbulent ocean. Early in the silent film shot north of San Francisco we see an homage to Monet’s Nymphiades in the faded raspberry color of the step-printed underwater lilies. The painterly effects of the printing make the water seem viscous. Pushing through clouds of fish eggs, fronds and algae, the camera establishes a sense of intimacy and connection in a natural ecosystem. But this amiable underwaterscape acquires ominous overtones as the camera/amphibian surfaces. Splashes strike the lens, and the rock of the ocean surf is destabilizing and disorienting. One of the most provocative foreshadowing ambiguities occurs when the half-submerged camera tracks the tip and slosh of the horizon, echoing the mood change from underwater confidence to vulnerability to natural forces, a passage from balance to defiance.” — Kathleen Hulser, “Frames of Passage: Nine Recent Films of Barbara Hammer,” Centre Georges Pompidou

June 1 & June 9 | Place Mattes: 1987, 7:36 min, color, sound, 16 mm film on video. As the figure and ground are presented as two planar relationships, flattened and made two-dimensional through optical printing, so the artist (figure) is unable to touch the natural environment (ground) in Puget Sound, Yosemite and the Yucatan, yet finally comes to rest in the interior space of a restaurant.

Sound Score: Terry Setter

June 2 | No No Nooky T.V.: 1987, 16mm, color and B&W, sound, 12 min. Using a 16mm Bolex and Amiga computer, Hammer creates a witty and stunning film about how women view their sexuality versus the way male images of women and sex are perceived. The impact of technology on sexuality and emotion and the sensual self is explored through computer language juxtaposed with everyday colloquial language of sex.

No No Nooky T.V. confronts the feminist controversy around sexuality with electronic language, pixels and interface. Even the monitor is eroticized in this film/video hybrid that points fun at romance, sexuality, and love in our post-industrial age.

June 3 | Two Bad Daughters: by Barbara Hammer and Paula Levine. 1988, 12:21 min, B&W and color, sound. "...The 'Bad Daughters' reject obedience to the Father in favor of the impish anarchy of self-possession." — Steve Seid, Berkeley Art Museum and Pacific Film Archive

Two Bad Daughters, 1988, is a whirlwind tour of paternal institutions: fatherhood, Lacanian psychoanalysis and bondage. The tape turns on the dominators, using a heavy complement of graphics and manipulated images to collapse control. The stratified surface of Two Bad Daughters is playful, an energetic barrage of text, acrimony and artifice. It is play that proves most subversive. The ‘Bad Daughters’ reject obedience to the Father in favor of the impish anarchy of self-possession.” — Steve Seid, Berkeley Art Museum and Pacific Film Archive

June 4 | Still Point: 1989, 9:14 min, color, sound, 16 mm film on HD video. Still Point whirls around a point of centeredness as four screens of home and homelessness, travel and weather, architecture and sports signify the constant movement and haste of late twentieth century life.

“At the still point of the turning world, that’s where the dance is,” wrote T.S. Eliot in “Burnt Norton,” the first poem of Four Quartets. Hammer seeks a point of quiet from which all else transiently moves.

June 5 & June 20 | Our Grief in Not a Cry for War: 2001, 3:36 min, color, sound. Hammer documents a demonstration and, in so doing, makes her own contribution to the national post–September 11 dialogue.

On October 11, 2001, in Times Square, New York City, an ad hoc group of artists named Our Grief Is Not a Cry for War silently demonstrated for peace at a time when the nation was clamoring for war and sacrificing its own civil liberties.

June 6 & June 19 | Lesbian Whale: 2015, 6:35 min, color, sound, HD video. Lesbian Whale is a video animation of Hammer’s early notebook drawings set to a sound track of commentary by the artist’s friends and peers.

“The script is composed of fragments and stray thoughts – ‘as a feminist I’m very skeptical’; ‘not necessarily physical time but emotional time’ – and it’s not quite clear whether it’s spontaneous, planned, composed by the speakers, or read from Hammer’s notebooks. If Hammer’s artistic influence is well documented, this slippage between voices, authors, and images suggests an ethos of collaboration and conviviality that may prove to be her greatest legacy.” — Andrew Kachel, Artforum

Director/Drawer/Sound Designer: Barbara Hammer. After Effects: JiYe Kim. Post Production: Valery Estabrook.

Voice Participants: A.K. Burns, Heather Cassils, Myrel Chernick, Janlori Goldman, Holly Hughes, Daniel Alexander Jones, Reena Katz, Bradford Nordeen, Liz Rosenfeld, Julia Steinmatz.


Film by Brydie O'Connor

June 8 & June 15-16 | Love, Barbara (documentary; 15 min.)

Love, Barbara is a short documentary about the iconic legacy of pioneering lesbian experimental filmmaker, Barbara Hammer, through the lens and love of her partner of over 30 years, Florrie Burke.

Directed by Brydie O’Connor; Featuring Florrie Burke and Barbara Hammer; Executive Produced by Anne Alexander, Jessica Chermayeff, Ana Veselic, and Brian Doyle; Produced by Brydie O’Connor and Myriam Schroeter; Cinematography by Maria Rusche; Edited by Matt Hixon; Original Score by Bryn Bliska; Color Grade by Sean Dunckley at Light Iron Post; Sound Mix & Design by Jeremy Siegel at Heard City; Supported by : The Future of Film is Female, Women Make Movies, New York State Council on the Arts, and New York Foundation for the Arts


Films by Lynne Sachs

June 10 & June 17-18 | A Month of Single Frames (Made with and for Barbara Hammer; 14 min. color sound 2019)

"In the last few months of filmmaker Barbara Hammer’s life, she asked me to come to her home to discuss something she needed to say in person. I immediately faced a complicated set of emotions. I knew that this tête-à-tête would involve some kind of good-bye, but I had no idea that she had decided to share a part of her personal archive, and thus a part of her being on this earth, with me. As I sat at her side, Barbara vividly described to me her 1998 artist residency in Provincetown, Cape Cod, Massachusetts. For one month, she lived and made her art in a shack without running water or electricity. While there, she shot 16mm film with her Beaulieu camera, made field recordings, and kept a journal. Barbara’s only instructions to me were very simple: “Do absolutely whatever you want with this material.” While writing the text for my own film, the words I placed on the screen came to me in a dream. I quickly realized that this kind of oneiric encounter could become a posthumous continuation of the dialogue I had started with Barbara. Since I would never again be able to speak to her about her life or the ontological nature of cinema or the textures of a sand dune, I would converse with her through A Month of Single Frames. Through my writing, I tried to address Barbara’s celebration of solitude and cinematic embodiment. Ultimately, my text on the screen over Barbara’s images functions as a search for a cinematic experience that brings us all together in multiple spaces at once. It is also an embrace of an ambiguous second person you who might be Barbara herself or might be anyone watching the film."

June 21 | Carolee, Barbara & Gunvor (Super 8mm and 16mm film transferred to digital, 9 minutes, 2018)

From 2015 to 2017, Lynne Sachs visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives. From Carolee’s 18th Century house in the woods of Upstate New York to Barbara’s West Village studio to Gunvor’s childhood village in Sweden, Lynne shoots film with each woman in the place where she finds grounding and spark.


About the Filmmakers

Barbara Hammer | Selected Films

Barbara Hammer (1939-2019) is a feminist filmmaker and pioneer of queer cinema, who made over 90 moving image works as well as performances, installations, photographs, collages, and drawings.

During her lifetime she created two awards for lesbian and queer filmmakers, and had retrospectives at the Museum of Modern Art, the Tate Modern, the Jeu de Paume in Paris, and the Hammer Museum in Los Angeles. The Leslie-Lohman Museum of Gay and Lesbian Art in New York mounted a retrospective of her film, photography, drawings, and sculpture, which New York Times art critic Holland Cotter named one of the best exhibitions of that year.

Hammer’s work is held in several permanent collections, including the Museum of Modern Art in New York, the Centre Pompidou in Paris, the Whitney Museum of American Art, and the Australian Center for the Moving Image in Melbourne. Her complete catalogue of 16 and 8mm film, as well as Super 8, is in the collection of the Academy of Motion Picture Arts and Sciences Film Archive in Los Angeles, and her papers are available for review at Yale University’s Beinecke Rare Book and Manuscript Library in New Haven.


Brydie O' Connor | Documentary film: Love, Barbara

Brydie O'Conner is a Kansas-bred, New York based filmmaker.

Her award-winning work spans the documentary and narrative fields with a focus on women-driven and queer stories. Brydie has directed short documentaries LOVE, BARBARA (2021) which premiered at Academy Award-qualifying Santa Barbara International Film Festival and FRIENDS OF DOROTHY (2020), which premiered in New York at DOC NYC. In 2021, Brydie was selected for The Future of Film is Female Award, and she received a NYSCA grant sponsored by Women Make Movies in addition to a Brooklyn Arts Council grant. In 2019-2020, she workshopped her forthcoming film in the Female Filmmakers Berlin Directing Lab. Much of her work is inspired by archival histories.

Brydie’s producing credits include THE LESBIAN BAR PROJECT with Executive Producer Lea DeLaria, WOMONTOWN for PBS Kansas City, and she has archival produced Season 7 of THE CIRCUS on Showtime in addition to various projects on Left/Right TV’s roster. She is a graduate of The George Washington University.


Lynne Sachs | Films: A Month of Single Frames & Carolee, Barbara & Gunvor

Lynne Sachs is an experimental filmmaker and poet living in Brooklyn. She has produced over 40 films as well as numerous live performances, installations and web projects. In 2019, Tender Buttons Press published Lynne’s first book Year by Year Poems. Working from a feminist perspective, she investigates connections between the body, the camera, and the materiality of film itself. She uses letters, archives, diaries, poetry and music, to take us on a critical journey through reality and memory. Over the years, Lynne has worked closely with fellow filmmakers Craig Baldwin, Bruce Conner, Barbara Hammer, Chris Marker, Carolee Schneemann, and Trinh T. Min-ha. Between 1994 and 2006, she produced five essay films that took her to Vietnam, Bosnia, Israel/ Palestine, Italy and Germany — sites affected by international war — where she looked at the space between a community’s collective memory and her own subjective perceptions. Lynne’s films have screened at MoMA, Tate Modern, Image Forum Tokyo, Wexner Center for the Arts, and festivals such as New York Film Festival, Oberhausen Int’l Short FF, Punto de Vista, Sundance, Vancouver IFF, Viennale and Doclisboa. Retrospectives of her work have been presented at the Museum of Moving Image, Sheffield Doc/Fest, BAFICI, Cork Film Festival, Havana Film Festival.