In Completing a Thought, A Last Word (for now …)
This concluding chapter examines Barbara Hammer's film, Maya Deren's Sink (2011), which deals with the material existence of objects from Maya Deren's life in connection with her films. Starting with Deren's actual sink, the one Deren used during her life on Morton Street in Greenwich Village, Hammer explores the absence of Deren alongside the presence of her things: her sink, various shooting locations, her sewing machine, papers, and other traces of her existence and her work. Ultimately, Hammer draws on the materials of Deren's work life to ask questions about the status of multiple types of realism, liveness, authenticity, and experience as part of a film practice. By considering film fragments in which reality is embedded, as well as material objects in which a more tangible reality asserts itself within imaginative terrain, Hammer points toward a peculiar authenticity in the reality embodied by traces of Deren's work.
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