George Kuchar

This final weather diary travels through some rough inner and outer domains.  Social interactions blend more smoothly than the clash of air masses which threaten to clobber a prairie town in a vortex of violence.

Flashbacks and flashpoints flare-up along with thunderheads that loom and boom with vibrations of doom, their every move charted with vivid vibrancy on videographic maps which detail developing devastation.

Desire and death are in the air along with some aromatic wisps of ethnic edibles, so be sure to sniff it all.

This video diary visits two sites that exhibited my visual works this past year, culminating at the VOLTA ART SHOW in N.Y.C., where I sold some paintings and a photograph.

The underling theme of the diary deals with some bloating, scarring and beefcake exposure while on the road to an acting gig where I'm scheduled to play a BI-SEXUAL, paraplegic in heat.

There are some in depth scenes of me working out the romance/sex routines with a young and attractive, male co-star. The all-girl crew appears to be getting off on the whole thing and I don't blame them!

George Kuchar’s Acid Redux is a raucous journey into the murky domains of mysticism and liminality. Featuring zombie seductresses, erotic interspecies adventures and an animatronic chimpanzee, Acid Redux creates a strange and uncanny world where the familiar falls apart. Meaning and identity become increasingly unstable as the boundaries are blurred between genders, species and even life and dead itself.

— Kyle Riley

Made using voicemails the Kuchar brothers left on her home answering machine, the artist reveals George and Mike in all their candid honesty leading up to and following George’s untimely death in 2011. McGuire floats their voices along a river of digital scribbles and her own voice in singer/songwriter mode. The beauty of the piece lies partly in how the voicemails, used as-is and chronologically, contain an entire narrative about love and loss in a DIY style reminiscent of the Kuchars.

This high octane drama that I made with my students at the San Francisco Art Institute chronicles the moral decline of it's heroine, as the love of a man she obsesses over drives her over something else: a cliff into hell.  It's a free fall all the way to the bottom destination, and there's a heck of a lot of nice looking, young people along for the ride.

In Xmas 1986, George Kuchar’s mother Stella has come to stay with him for the holidays. After a series of dinners with friends, Stella’s repeated discussions about her shingles and Kuchar’s ominous film-noirish narration, Kuchar rescues the morale of a dinner party gone bad thanks to an undercooked ham by presenting his hosts with a very memorable holiday gift.

– Kyle Riley

This turbulent and colorful drama about the proud and the profane was made with an international group of students at the school where I've been teaching for many decades: the San Francisco Art Institute.  Join this attractive assortment of talented youth as they bring to life a complex tale of alien insemination and CEO conflict in a character congested setting of magic, mystery and mangled literacy!  Experience the thrills that only a $600 budget could bring to the screen with such dedicated desperation.  Exalt in the excessive excellence of exhausted funds as they funnel i

George Kuchar has been invited to Francis Ford Coppola’s vineyard for a large family picnic. Walking around the property with a friend, the two look on as a team of workers picks grapes for winemaking. The visual wonder of this setting is not lost on Kuchar, who spends little time filming those in attendance. Instead, Kuchar turns his lens to all things natural, ranging from small goats and swans to the simple beauty of light reflecting off a stream.

In Nibbles, George Kuchar crafts a mini-travelette documenting his adventures around Cape Cod. Shot primarily in Provincetown, Massachusetts, Kuchar visits friends and takes every opportunity to sample the local cuisine. After a power outage at Provincetown’s DNA Gallery, Kuchar returns to his friends’ home once more, this time to view their son’s performance film about Minnie Mouse, and no doubt to eat more of their food.

– Kyle Riley

In The Sodomites of Shalimar, George Kuchar crafts a dizzying psychotronic drama of stilted romance and frustrated ambition replete with carnies, car crashes and calamitous volcano eruptions. Sodomites tells the tale of Amy, a young woman living in the Missouri Ozarks whose calm collected demeanor betrays the passion that rages within her, and her odyssey in search of fame, fortune and excitement following the death of her boyfriend Chester.

In Reunion in Los Angeles, George Kuchar visits his friend, actress Virginia Giritlian. As the two drive around Beverly Hills, Kuchar is treated to the full Los Angeles experience, ranging from sitting next to the writers of Poltergeist at Il Fornaio to considerations of Al Pacino taking part in one of his films.

The Gift of Gab presents the sobering tale of life and death, love and loss, all told through a series of simple everyday exchanges. As a father plays with his son, a family sits down to dinner and a mother breastfeeds by the fire, Kuchar’s use of static and solarization encroaches upon these Hallmark moments, revealing their storybook exchanges to be a fiction.

In Rotten Apples, George Kuchar explores the themes of life, lust, decay and death, all through the act of grinding apples for cider. As Kuchar walks around an orchard with his friends in an attempt to enjoy the natural beauty of their surroundings, his creeping hand gestures make it clear that the threat of destruction is always looming. However, this destruction can also be understood as the simple transformation of a thing’s physical state.

In the first of George Kuchar’s Alumni Series, he braces the unusually volatile weather, contending with torrential rain and flooding on his way to visit the apartment of alumni Peter Van Langen. Van Langen will be remembered for his role as Captain Toby Steel in Kuchar’s La Verbotene Voyage from 1989. Unlike his character’s brooding hostility toward nature, Van Langen and his roommate are much more at ease as they lounge around their loft in hammocks. After talking with Van Langen about his experience working with B-movie director Roger Corman.

At the 'Institute for Metaphysical Research and Spiritual Wellness', crackpots, perverts and guitar strumming UFO abductees struggle with the supernatural and their own carnal needs.

-- Mike Kuchar

In the second installment of George Kuchar’s Alumni Series, he begins with news coverage of the mudslides the month before that had resulted from the flooding documented in his Alumni Series #1. Kuchar next cleans his house in anticipation of a visit from his friend Leslie, but as he mentions not having toilet paper, the threat of mudslides continues to linger. After simulating his guest sloppily using the restroom with the aid of two balloons and some questionable unknown liquid, the two happily lounge around Kuchar’s apartment while discussing cats.

George Kuchar experimented with in-camera editing effects more and more in his later career, and Snapshots is no exception. Using a dizzying array of solarizations, wipes and checker board fadeouts, Kuchar creates an unstable visual space that is at once both comedic and hallucinatory. Shifting from person to person and location to location, Snapshots concludes with footage of an equally absurdist Dali-esque photo shoot.

In Jane and Mike Visit, George Kuchar documents a visit from his brother Mike and their friend and former Kuchar actress Jane Elford. Having appeared in several Kuchar films (perhaps most notably being George’s Pagan Rhapsody from 1970), Jane visits George’s class at the San Francisco Art Institute to help present a screening of one of her films, Mike’s Death Quest of the Juju Cults from 1976.

Revelers at a masquerade ball enter an UnderWorld of guilt, vice, pain, chaos and redemption.

-- Mike Kuchar