Doesn't MOMA or the Museum of the Moving Image have a program like this?
Matt
http://www.youtube.com/user/oscarthepug1234
http://www.youtube.com/user/matthelme007
________________________________
From: Nicholas Kovats <nkov...@gmail.com>
To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com>
Sent: Sunday, February 19, 2012 5:16 PM
Subject: Re: [Frameworks] canyon in the news (bad news dept)
Matt,
As an outsider and hybrid filmmaker I find your point regarding value
identification spot on. I was not aware that it is so cheap to rent a print of
let's say a Brakage piece.
I believe that the "democratic" dissemination of avant-garde film works is over
...especially at these rental price points. And as others here have indicated
provide little or no financial compensation for the original film artists.
Well maintained 16mm and 35mm projections in museums is a refreshing idea and
would certainly generate "lines" around the block at least here in Toronto
where one cannot keep up with both original avant-garde film based output and
more "mainstream" venues. Much like Paris we are film crazy up here and film
events representing all levels of works tend to be filled to capacity.
Sent from my iPhone
On 2012-02-19, at 7:30 PM, matt's frameworks address <li...@rodeofilmco.com>
wrote:
I think David's point about identifying value is very important.
>
>Something I have always wondered is whether this level of debate concerning
>format and viewing exisits in other genres or other art forms. Do art history
>teachers and students limit their study only to paintings and sculptures to
>which they have direct access? I don't mean to sound snarky with this
>question- but rather to look at other systems that seem to be doing okay.
>
>I want to see 16mm film exhibition survive, and I fully respect artists who
>choose not to digitize their work. But looking at other art forms, I wonder
>if it is time for experimental cinema to follow a similar path and look to
>museums to archive and exhibit original 16mm film? We don't bat an eye at the
>thought of seeing paintings reproduced in books, on posters, or on slides- in
>fact we can learn a great deal from them. We understand that we are looking at
>a reproduction and not the original, and if we are drawn to the piece we look
>forward to someday seeing the original work- perhaps even go out of our way to
>see that original work. (There is a Rothko retrospective that just opened in
>Portland with lines to get in stretching around the block. I doubt there are
>many pieces in the show that couldn't be found in books or even on the
>internet- yet people clearly care about seeing the original work. Seeing
>reproductions of the work only has made
demand greater)
>
>Couldn't the same art museum model work for most 16mm experimental film?
>Focus the energy on keeping top-notch projection in a few select venues and
>maintain pristine prints that don't rent out for $65? Use the advantages of
>digital to build and educate audiences, and turn 16mm exhibition into a
>destination or very special event?
>
>I am not saying this is ideal, or something I am advocating for. And
>obviously it would take some funds and at least a few eager institutions. But
>is it possible that the accessibility of 16mm prints of the great Avant Garde
>filmmakers is actually a hindrance? If you could rent an original Mark Rothko
>for $75 and show it to art history students every semester would that leave
>any excitement for the big traveling retrospective at the museum?
>
>confused as always...
>-matt
>
>
>
>-------------------------------
>www.rodeofilmco.com
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>
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