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In 1961, she based The Canyon Cinemanews, a journal for native filmmakers that Stanford College referred to as “the primary organ of the impartial filmmaking neighborhood” when it bought the journal’s archives in 2010. The journal provided what it described as “a cornucopia of bulletins, letters, classifieds, how-to info, call-outs and extra” for native filmmakers who lacked entry to Hollywood.
In 1966, the identical yr she started finding out ethnography on the College of California, Los Angeles (and the identical yr her son, Eric, was born), Strand offered a three-minute brief, “Angel Blue Candy Wings,” on the New York Movie Competition. The movie captured the luminous, psychedelically coloured panorama of Strand’s second house, in Mexico, via a roaming, virtually dancing digicam, with the faces of her buddies collaged seamlessly over fuzzy our bodies, vegetation and mountains. It was described as “an experimental movie poem in celebration of life and visions” by the Movie-Makers’ Cooperative.
In 1967, Strand helped begin the Canyon Cinema collective with Baillie and the filmmakers Lawrence C. Jordan, Robert Nelson, Lenny Lipton and Ben Van Meter. The group — half pop-up cinematheque, half artists’ cooperative — distributed experimental movies by now-famous administrators like Hammer, Clarke and Peggy Ahwesh. Canyon Cinema later turned a full-time nonprofit, with a lot of its members’ works included into the Nationwide Movie Registry.
By then Strand and her second husband, Neon Park, the artist identified for his imaginative album covers, have been splitting their time between California and Mexico. In Mexico, she started to discover assemblage and ethnography extra formally in her artwork, leading to a number of works now thought-about landmarks of West Coast cinema, together with “Faux Fruit Manufacturing unit,” about girls who work in a manufacturing facility making picket fruit.
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