The Gate Theater and The Black Gate Theater, 1967?. Photo by , Reproduced from ,

[manuscript in progress]

Aldo Tambellini, The Gate and The Black Gate Theaters:
Venues for Experimental Film and Intermedia Performances, New York City Lower East Side in the 1960s

by Amelia Ishmael
2013 – Current

Until now, a comprehensive written history of Aldo Tambellini's alternative-art venues The Gate and The Black Gate Cinema has not existed, though increasing mention in arts publications focusing on Tambellini's oeuvre and those also of the artists who exhibited and performed there has made the need for such a history clear.

Inaugurated with the week-long New Vision Festival, in protest to the elitism and exclusivity of the 4th New York Film Festival at Lincoln Center in September 1966, The Gate Theater was a leading cinema for underground and avant-garde film from 1966-1968. Directed by Elsa Tambellini, former artistic producer of The Bridge, The Gate Theater brought independent films by artists such as George and Mike Kuchar, Jud Yalkut, Takahiko Iimura, Marie Menken, Jack Smith, Robert Downey Sr., Peter Campus, and Bruce Conner to the Lower East Side community, providing a venue for international experimental filmmakers who wouldn't otherwise have a place to share their work, and creating a community that later artists such as the cult film director John Waters would herald.

In March 1967, Aldo Tambellini and Otto Piene founded The Black Gate Theater as New York City's only venue for Electromedia performances. Devoted to works in progress, the theater focused on the emerging fields of expanded cinema, intermedia, and electronic arts. Featuring early performances by artists including Yayoi Kusama, Joe Jones, Takehisa Kosugi, Takahiko Iimura, USCO, Nam June Paik, and Charlotte Moorman.

The history of these artist-run venues offers a history of experimental arts of the late 1960s in New York City's Lower East Side that has been omitted and buried in 50 years of dust. Additionally, this monograph works towards recapturing an expanded view of the Lower East Side arts community that The Gate and The Black Gate Theaters acted within--including Umbra, The Bridge Theater, Group Center, New York jazz, and black off-Broadway theater--as well as the New York years of Aldo Tambellini, a pioneer of intermedia art who has only within the last five years experienced revived international interest. The monograph "The Black Gate Theater: Aldo Tambellini and the Early Histories of Intermedia-Performance Art and Independent Film in New York City in the 1960s, A Historic Revaluation of Experimental-Arts Venues, Including The Bridge Theater and The Gate Theater" will uncover this underground history and reveal new connections to that which we thought we knew.


In order to talk about The Black Gate Theater I have to first talk about The Gate Theater, and to talk about The Gate Theater I have to first introduce The Bridge Theater… but in order to talk about any of these I must first introduce Aldo Tambellini, the artist who I started talking with in 2011 and who ties the histories of these venues together. For history is recovered backwards, and in order to start from the beginning, historians must often invert their itinerary.

The 1960s was a time of vast experimentations in the arts, and artists were as eager then as now to establish their own alternative-arts venues, places where they could develop and premier new theater, new cinema, new dance, new music, and all of the hybrids of intermedia arts in between. Anyone with any interest in the arts of New York City in the 1970s knows about the multiple projections and blasting-rock music of Andy Warhol’s Electric Circus, and of Steina and Woody Vasulka’s intermedia venue The Kitchen. If you are interested in dance, you know of the Merce Cunningham Studio and Judson Dance Workshops. If you are interested in film and video you know of the Film-maker’s Coop and Electronic Arts Intermix. We know these names and places because the venues and their reputations have survived through the trials of history.

But what came before these venues? What has been lost or forgotten? Prompted by conversations with Aldo Tambellini, and an impetus to uncover the lost histories of intermedia arts (frequently omitted from art-history surveys), I ask: What happened? When? Who participated? I began researching. Most of the writings I found that made passing mention of the events had the wrong dates, the wrong names, and the wrong venues. Yet through the arduous process of reading every Village Voice between 1965-1969, I slowly began piecing together the key facts. Each time that I found the correct information and searched further I discovered more exciting details.

This publication offers the result of years of writing and research. Part I focuses Aldo Tambellini and his early career following his move to the Lower East Side in 1959. I describe the arts communities that he participated with and among, including his work with the Umbra poets, Group Center, and his curatorial activities. Part II focuses The Bridge Theater, a venue that opened in 1965 for underground film—as well as experiments in dance, theater, and music—where Aldo Tambellini gave some of the earliest performances of his intermedia performances and screened his films, and where Elsa Tambellini worked as Artistic Coordinator before founding The Gate Theater. Part III focuses on The Gate Theater, a venue for independent and underground film. I provide here a prehistoric context, a full-program list, and chapters based thematically on pertinent issues and events that occurred. Finally, Part IV provides a detailed history of The Black Gate Theater, an Electromedia performance theater located upstairs from The Gate Theater, which Aldo Tambellini founded in 1967 with Otto Piene. I include here a chapter detailing each of the performative events. Within this publication are the first comprehensive histories of each of these three arts venues, accounting for each of their significance and valuable place within the history of new-media art.

Proposed Contents
Part I. Aldo Tambellini and His Community
1. Aldo Tambellini moves to the Lower East Side
2. 10th Street Galleries and Aldo’s Sculpture Park
3. UMBRA and Spiral Group
4. Group Center and Ben Morea
5. Aldo Tambellini and Black
6. Aldo Tambellini, Intermedia Arts, and Expanded Cinema: a Prehistory of Electromedia Theater
7. Kinetic Art and Psychedelic Art in New York Venues
Part II. The Bridge Theater
1. History, and a history of Independent Film venues of NYC in the 1960s
2. Listings
3. The Nightcrawlers Benefit, the Battle with the Department of Licenses
Part III. The Gate Theater
1. A Prehistory, and then a History
2. Listings and Ads
3. The New Vision Festival
4. Angry Arts Week
5. Japanese Experimental Film
6. Experiments in Dance on Film
7. Jack Smith’s Performative Film Screenings
8. The Brothel and Elsa Tambellini’s appeal to the community
9. Theater of the Ridiculous and alternative events
Part IV. The Black Gate Theater
1. The Proliferation of the Sun, Otto Piene; Blackout, Aldo Tambellini
2. Subterrainia, Preston McClanahan
3. Mano Dharma, Takehisa Kosugi
4. Shelter 9999, Takahiko Iimura and Alvin Lucier
5. Openings, USCO
6. Music, dance, shadows, light, film, Mary McKay and Calo Scott, with Cassandra and Mordi Gerstein
7. Self Obliteration, Yayoi Kusama with Joe Jones
8. Come Go Return, Part 1: Nam June Paik, Takehisa Kosugi, and Charlotte Moorman
9. Come Go Return, Part 2: Scandinavian Avant Garde II
10. Black Air, Otto Piene and Aldo Tambellini
11. Toshio Matsumoto and Takahiko Iimura
12. Black Sound, Jacques Bekaert, David Behrman, and Charlotte Warren
Appendix: Black Theater at The Gate