i dont think it is in another realm > i think we are accountable as a
community for what happens going forward in regard to his work

mark is there any info you have on his archive ?? and thanks for posting
this in the first place

Cari Machet
NYC 646-436-7795
carimac...@gmail.com
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On Sat, Jul 27, 2013 at 2:08 PM, Walter Ungerer <w...@roadrunner.com> wrote:

>  May I add a thought of reflection...
> I believe every artist is at one point faced with the issue of his/her
> worth in comparison to others. After all the soul searching peace will come
> simply in the joy of working. My last correspondence with Jud indicates to
> me a measure of resolution for him. What happens now is in another realm.
>
> Walter Ungerer
>
>
>
>
> On 27July/2013 11:50 AM, Michael Betancourt wrote:
>
> I've curated his work on a couple of occasions, and I have to say I don't
> understand why he isn't as readily available as, for example, Brakhage's
> film work? (Although I already know the answer to that)
>
> In talking with my students, the cut-off seems to be what they can find
> online easily (or in a DVD they can rent) vs what's shown in galleries or
> screenings.
>
> This whole situation makes me kinda sad, Jud will be missed.
>
> Michael Betancourt
> Savannah, GA USA
>
>
> michaelbetancourt.com
> twitter.com/cinegraphic | vimeo.com/cinegraphic
> www.cinegraphic.net | the avant-garde film & video blog
>
>
> On Sat, Jul 27, 2013 at 7:21 AM, Al Matthews <prolep...@gmail.com> wrote:
>
>>  > plus i dont know if his work is archived
>> > maybe at MOMA ? anyone know?
>>
>>  Hello all. I do not know and would be interested to hear.
>>
>>  Electronic Arts Intermix has a good set of pages
>> http://www.eai.org/artistSupportDocs.htm?id=257 , though with less
>> between 1974 and 2004. I wonder if there's not a repository in Ohio?
>>
>>   > It might be useful to think about the highly uneven reception some
>> artists get and the reasons for that.  Perhaps leaving NYC has some effect,
>> since most of his later career was in flyover country, Ohio.  Or being a
>> pretty trippy and psychedelic type of maker in some of his work.  Perhaps
>> some of it was not being written about enough by critics, or curated into
>> shows often enough, or touring enough.  But some of it must have also been
>> precisely because of his ease in shifting from one medium to another, and
>> thus not fitting into "experimental film" in a pure sense because he also
>> was involved in video and electronic music and image processing.  It's less
>> the case now, but for a long time there was a lot of purism in film circles.
>>
>>   All these reasons seem salient to me as well. Speaking to the first
>> and the last, Ohio has evolved to host for example http://accad.osu.edu/,
>> so no doubt we agree that it's more flyover country in nyc terms than
>> electronic arts terms. Surely there's some interesting lag visible here in
>> Jud Yalkut's readiness to hand, between the centralization that is analog
>> television and New York and the distributed-global arts presence we're
>> arriving at by now?
>>
>>  I wonder too how much of the anti-artefactual gesture of the video
>> movement is here in play. Or perhaps that's a broad stroke.
>>
>>  > When I heard of his passing, I wondered how many younger folks had
>> even heard of him, much less seen some of his work.
>>
>>  Viewing the work seems the harder bit though, isn't it. It's probably
>> worth raising my hand to say that, while the distribution channels seem to
>> exist, at least for certain artefacts, those channels still seem to require
>> a curator, and I cannot quickly determine if that is for the best.
>>
>>  Corrections appreciated.
>>
>>  --
>>  Al Matthews - http://fatmilktv.com
>>  Atlanta, GA, US  +1 337 214 4688 <%2B1%20337%20214%204688>
>>
>>
>>  On Sat, Jul 27, 2013 at 10:02 AM, Cari Machet <carimac...@gmail.com>wrote:
>>
>>> i screened some of his work at some curated shows and i think he was a
>>> kind genius > that was my experience anyway > thanks for the post about him
>>> passing > i dont believe in death per say only transformation > i dont
>>> believe in belief either so... but it is sad to see a life go > though he
>>> is still with us i think > he is a great spirit art makes shifts in and of
>>> itself without getting accolades from the constituency
>>>
>>>  perhaps a tribute can be made a memorial like we did with brakhage in
>>> nyc but mark fr the academy can possibly get him in the tribute they have
>>> at the oscars too plus i dont know if his work is archived > maybe at MOMA
>>> ? anyone know?
>>>
>>> Cari Machet
>>> NYC 646-436-7795
>>> carimac...@gmail.com
>>> AIM carismachet
>>> Skype carimachet - 646-652-6434
>>> Syria +963-099 277 3243 <%2B963-099%20277%203243>
>>> Amman +962 077 636 9407 <%2B962%20077%20636%209407>
>>> Berlin +49 152 11779219 <%2B49%20152%2011779219>
>>> Twitter: @carimachet <https://twitter.com/carimachet>
>>>
>>> Ruh-roh, this is now necessary: This email is intended only for the
>>> addressee(s) and may contain confidential information. If you are not the
>>> intended recipient, you are hereby notified that any use of this
>>> information, dissemination, distribution, or copying of this email without
>>> permission is strictly prohibited.
>>>
>>>
>>>  On Sat, Jul 27, 2013 at 2:58 AM, Chuck Kleinhans <
>>> chuck...@northwestern.edu> wrote:
>>>
>>>>
>>>>  On Jul 26, 2013, at 10:46 PM, David Baker wrote:
>>>>
>>>>  How is it possible
>>>> on an "Experimental Film Discussion List"
>>>> that so little is said in salute
>>>> when someone of this singular magnitude
>>>> of achievement passes into the cosmic ether
>>>> of eternity?
>>>>
>>>>  When I heard of his passing, I wondered how many younger folks had
>>>> even heard of him, much less seen some of his work.
>>>>
>>>>  It might be useful to think about the highly uneven reception some
>>>> artists get and the reasons for that.  Perhaps leaving NYC has some effect,
>>>> since most of his later career was in flyover country, Ohio.  Or being a
>>>> pretty trippy and psychedelic type of maker in some of his work.  Perhaps
>>>> some of it was not being written about enough by critics, or curated into
>>>> shows often enough, or touring enough.  But some of it must have also been
>>>> precisely because of his ease in shifting from one medium to another, and
>>>> thus not fitting into "experimental film" in a pure sense because he also
>>>> was involved in video and electronic music and image processing.  It's less
>>>> the case now, but for a long time there was a lot of purism in film 
>>>> circles.
>>>>
>>>>  Chuck Kleinhans
>>>>
>>>>    _______________________________________________
>>>> FrameWorks mailing list
>>>> FrameWorks@jonasmekasfilms.com
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>>>>
>>>>
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