Pat O'Neill

Television programming takes it on the chin in this ribald spoof of the networks.

During the winter of 1975 in Hawaii, surfing was shaken to its core. A group of young surfers from Australia and South Africa sacrificed everything and put it all on the line to create a sport, a culture, and an industry that is today worth billions of dollars and has captured the imagination of the world. With a radical new approach and a brash colonial attitude, these surfers crashed headlong into a culture that was not ready for revolution. Surfing was never to be the same again.

Les Blank's first documentary cinematography job shooting Drag Racers in Long Beach, CA, driving everything from hopped up "Mercs" to Supercharged "Rail Dragsters". These cars could accelerate to over 220 miles/hour in a mile. The film follows the life of Rick "The Iceman" Stewart as he attempts to grab the world's record. Original score by Canned Heat Blues Band.

In this meditative film the everyday lives of poor Ethiopian peasants are shown using documentary as well as storytelling techniques, with its drama arising out of the timeless yet persistent issues of their lives.

Several well-known and pioneering abstract filmmakers discuss the history of non-objective cinema, the works of those that came before them and their own experiments in the field of visionary filmmaking.

New film by Pat O'Neill

2009 --- Digital Video --- 19 minutes --- Color --- Sound Sound Mix: George Lockwood

"FOREGROUNDS, like SAUGUS SERIES, is devoted almost entirely to carefully constructed spatial ambiguities. The most visceral of these prints a rotating boulder, occupying half of the screen, over a slow lateral pan across the desert (painted by Neon Park). A faint superimposition of leaves on top of the landscape has the effect of pushing its vista farther back in space. Correspondingly, the boulder bulges out of the picture-plane like a Cezanne apple. The effect is so strong that even when O'Neill begins to animate 'scratches' over the image, one's eye refuses to surrender the illusion of volume." - J. Hoberman, The Village Voice

A reflection between nature and man in Los Angeles about the city's surroundings' desertification due to enormous water consumption.

7362 is concerned with dividing and joining together. It begins with two black circles against a white background, knocking together and gradually moving further apart. The circles fade out, and return as white circles against black inside a square. Images similar to Rorschach blots appear. Gradually the viewer realizes that the images were not originally abstract, but were human forms (dancers, gymnasts, etc.), bridges, and others that have been split down the center of the frame, with their mirror images printed on either side of the split. Red, green, and white tints further abstract the images from their original foundations in the natural world, making dancers appear to be amoebas or dividing cells. The accompanying sound track is a mixture of electronic music and musique concrète ("real" recorded sounds manipulated to sound abstract).

The Ambassador Hotel in Los Angeles serves as the backdrop of Pat O’Neill’s artfully-crafted film. Shot in the classic Hollywood style, the movie follows various mysterious characters as they move through the haunted halls of the hotel, exploring along the way the secrets that are held within.

Short film portrait using narration and artworks by Pat O’Neill and edited by Martha Colburn.

A thoughtful treatment of some of the problems we (mankind) have been having in dealing with our fellow species, animal and vegetable. Actually an undercover "structural" film, this one seems at first to be some sort of berserk travelogue. I spent years going to travelogues as a child, and still have a great fondness for visiting natural history museums in strange cities.

The title Horizontal Boundaries refers to frame lines- the boundaries between one image and the next on a roll of motion picture film. These lines, usually hidden by the projector gate, are revealed as subject matter and as a means of dividing the screen into as many as four very wide images, stacked one above the other. They represent many places, and a few people. My intent was to find ways to allow the images to interact in ways not usually possible. The track includes some Irish fiddle solos and intense recycled dialog.

Short film of 7 sections with each one using a different experimental film technique.

"Muscle Beach is a fascinating location for people-watching in the L.A. area, and in 1963, the strangeness of its sights was much more pronounced than today. Pat O’Neill’s first film (made with Robert Abel) progresses from humorous, curious observation to energetic, graphical interaction with the sights and sounds of Santa Monica’s famed beach." —Mark Toscano. Preserved by the Academy Film Archive in partnership with Pat O'Neill in 2007.

A short piece of commercial work done by three legendary L.A. artists. This piece was shown on loop projectors in Sears stores to promote an exciting and new young ladies' clothing line. 16mm print preserved by the Academy Film Archive.

16mm film installation.

Painter and Ball 4-14 is a composite of several simultaneous intentions. The first is a record of the passage of days and seasons: the second is a similar recording made by another artist some thirty years previously: the third, an animation of a headless and limbless homunculus.

2010 --- Digital Video --- 4 minutes --- Color --- Sound Sound: Califone