The Emerging American Avant-Garde Filmmaker

In 1972, Gunvor Nelson was invited to present a programme of her films at the Carnegie Institute’s Museum of Art in Pittsburgh. The invitation came from the founder and first curator of the museum’s film section, Sally Dixon, who was essential in shaping Pittsburgh’s experimental film culture and actively supported filmmakers and their projects. During Nelson’s weeklong stay, she was given the opportunity to work on the editing of her film Moons Pool on a newly acquired four-plate Steenbeck table in the facilities of PFM (short for Pittsburgh filmmakers), a local film co-op supported by Dixon. Although Moons Pool, known for its complex A/B/C/D roll printing, was not yet completed, Nelson presented an excerpt under the working title A Very Personal Film About Bodies and Water. Local filmmaker J.T. Vale documented her Pittsburgh visit with his 16mm camera, which resulted in the short film Oona Is My Daughter’s Name. The film was long thought to be lost until a 16mm print was discovered in Nelson’s apartment. It captures rare moments of the filmmaker reflecting on her own practice, including her masterfully edited My Name Is Oona with its sound composition built around the looping of her daughter’s voice.

Julia Mettenleiter