Upcoming & Current Film Projects

Linda’s Room: A Moth can Turn the Balance

September 2018

A Stonedog Production, Directed by Ishmael Annobil

" 'We should never be roused' by the essay...because it 'should lay us under a spell with its first word, and we should only wake, refreshed, with its last',...fixing us in a 'trance which is not sleep but an intensification of of life'."

Thomas Karshan, “What do they know?” TLS, March 22, 2013, quoting Virginia Woolf, on the essay.

Linda Karshan does an impromptu performance in response to her exhibition, Equilibrio: Art Architecture and Sacred Geometry in conversation, at Abbazia Di San Giorgio Maggiore, Venice (August 26 - October 7, 2018). Here Linda walks the 'sacred geometry', effecting a drawing, in response to the magnificent show, curated by Dr. Carmelo Grassi and Rev.

Silhouette in Balance, Linda Karshan at the Abbey of San Giorgio, from Sunrise to Sunset

a film by Marco Agostinelli, Produced by R.O.S.A.M

 Frame of "Silhouette in Balance. Linda Karshan at the Abbey of San Giorgio from Sunrise to Sunset" by Marco Agostinelli

Frame of "Silhouette in Balance. Linda Karshan at the Abbey of San Giorgio from Sunrise to Sunset" by Marco Agostinelli

Stonedog Production - Karshan.jpg

Linda Karshan : Choreographing the Page

A Stonedog Production, Directed by Ishmael Annobil

Choreographing the Page sprang out of an interview for a documentary about the Late Jose Ferez Kuri, the inimitable Lebanese-Mexican curator and agent of Burroughs, Gysin and Yoshida. The trigger was Linda’s assertion, “Jose gave me my Beckett”. Beyond the Beckett nexus, the interview also uncovered Linda’s penchant for classical philosophy and geometry; her eloquent theses on the poetics of the line and the physicality of thought; and, above all, the human body as an intelligent entity that forms and executes ideas, with schooled autonomy. By the end of that interview, director Ishmael Annobil had decided to make a separate, definitive film about Linda Karshan herself. Such is the alchemy of artistic life.

Choreographing the Page is beyond film. It is an organic witness of a great artist whose practice traverses two centuries of art history. It faithfully captures the artistic and scholarly articulacy of this powerful but decidedly non-populist artist and thinker, and establishes a clear timeline of her development: from her first drawing lessons at the Art Institute of Minneapolis, her first sculpture at the age of 9, her seminal tutelage by the influential Bob Reed, at Skidmore College; her studies in France; her psychological training; her artistic turning points; to her legendary numerical/choreographical eureka, and beyond.

But Choreographing the Page does not exist in an art historical vacuum. It nestles within a rich social and family history, suffused with anecdotes from Linda’s near-mythic journey; learned commentary; discourses with alter egos, such as Beckett and Cicero; and the lyricism of Greco-Roman text and geometry.

'Lithography is the call and response of marks through the ages. A bloodline from hand to stone to hand.'
Elizabeth Tomos, in a note to Linda Karshan, February, 2017.
In February 2017 Linda Karshan from New York/London created her first Lithography in Grafikwerkstatt Dresden.

About this experience she notes:

"Making lithographs with Peter Stephan at the Grafikwerkstatt,
– The limestones are 50 million years old, at a guess.
– (add photo) Layers of the stone
– Each layer has markings very like my own
– “The stone remembers”, say Peter, as he prepares it for printing.
Alternate washes of nitric acid and gum arabic are applied.
Tap tap tap,
Twirl, twirl, twirl
The liquids are tapped/patted with a sponge.
The drying between baths is hurried along with a handmade fan.
All the tools and the inks are organic. The stone likes it that way.
“Teaching the stone to ‘play’ between water and fat. It is a

During her drawing on stone Weissraum recorded the process from different views. Please visit website here

Linda Karshan : Handpressendrucke, 2016

by Harald Schluttig / Weissraum

Linda Karshan - The Assigned Figure, 2016

By Harald Schluttig/Weissraum

Shot at Galerie Ursula Walter, Dresden, Germany, February 12, 2016

The Assigned Figure; the moving figure assigned to me

1-2-3-4-5-6-7-8 Turn

1-2-3-4-5-6-7-8 Turn

The moving figure 'assigned to me' has served my artistic purposes on paper, copperplate, the woodblock and lithographic stone since it appeared on 1994. So deeply embodied is this 'choreography' that I can perform it 'on cue', in space and in time.

At the Galerie Ursula Walter in Dresden, 1 December, 2016, my 'Drypoint Woodcut for Dresden' provided the perfect backdrop for the dance. The deeply incised white lines of the woodcut can be understood as my skeleton, or even as a hieroglyph: a sacred carving: hiero/scared; glyph/carving, coming from the Greek Always upright and alert. 'It's a Greek Thing' 'They told me that the Truth of the Universe is inscribed into our very bones. That the human skeleton is itself a hieroglyph.' Saul Bellow, 'Something to Remember Me By: Three Tales (1991) Linda Karshan, 2 March 2017

Linda Karshan did her performance @ Gallery "Ursula Walter", Dresden, Germany, 02.12.2016 video is made by Harald Schluttig / weissraum.info

Linda Karshan: Choreographic Aspect, 2015

By Ishmael Annobil, Stonedog Productions

Shot in Linda Karshan's London studio.

Unique study of Artist Linda Karshan's feet, capturing the choreographic aspect of her practice, during Stonedog's dry-run for the documentary, 'Linda Karshan - Choreographing the Page'.

While sound recordist Nikos Nikolalaios was meticulously recording the sound of Linda's drawing, cinematographer/director Ishmael Annobil placed a handycam on the floor, under Linda's table, to capture this alluring footage.

Linda Karshan - Lines crossed inner spaces, 2014

By L’esprit Du Monde

Linda Karshan : Movements and their Images

by Candida Richardson

A short documentary film recording Karshan's drawing process in her London studio in 2008.