In 1961, she based The Canyon Cinemanews, a journal for native filmmakers that Stanford College known as “the principle organ of the unbiased 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 data, call-outs and extra” for native filmmakers who lacked entry to Hollywood.
In 1966, the identical 12 months she started learning ethnography on the College of California, Los Angeles (and the identical 12 months 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, by way of a roaming, virtually dancing digital camera, with the faces of her pals 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 grew to become 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 recognized 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 of landmarks of West Coast cinema, together with “Faux Fruit Manufacturing facility,” about ladies who work in a manufacturing unit making picket fruit.
