Also, in print: In Stan Brakhage's book Telling Time: Essays of a
Visionary Filmmaker (McPherson and Company, 2003), he writes about
Turner in his essay "An Inner Argument," and also in the first section
of the longer essay, "Space As Menace in Canadian Aesthetics: Film and
Painting." (And there are probably more examples elsewhere.)
Marilyn Brakhage
On 27-Feb-14, at 2:26 AM, marilyn brakhage wrote:
More evidence for Brakhage, if needed, on our book shelves at home;
especially the two volume set, The Paintings of JMW Turner by Martin
Butlin and Evelyn Joll, published in 1977 by the Tate Gallery and
Yale University (for when he couldn't see the works directly). He
often spoke publicly about Turner's importance to him. Also spoke
of wanting to go to Petworth -- but never got there.
Marilyn Brakhage
On 27-Feb-14, at 12:55 AM, Chuck Kleinhans wrote:
Moire evidence for Brakhage. About 15 years ago he had a show at
the University of Oregon. Part of his lecture and presentation
involved him talking about Turner and showing at least one slide to
make his point (about light and sky, as I remember). At a meal
afterwards the conversation returned to Turner and Stan was quite
clear and detailed about which London museums had which Turners,
which collection was better, etc. etc. Clearly it wasn't just a
casual knowledge but one deeply thought about, knowledge gained in
those galleries by directly encountering the art work. Which sort
of summarizes what he himself stood for, I think: directly
confronting and experiencing an artwork in all its full presence.
Certainly the best pathway into any of his films.
Chuck Kleinhans
On Feb 26, 2014, at 11:47 AM, Fred Camper wrote:
Not "less known" perhaps, but Brakhage is key here.
He cites Turner as an influence in a list of influences, as
someone mentioned, in my Criterion liner notes. It might be worth
recounting how that list was composed. I asked him on the phone
for his most important influences from writers, painters, and
composers, and added, "You only get two of each." For painters he
chose Turner and Pollock as the two most important. (He also
added, on his own, an additional art, dance.)
"The Text of Light" would be the most important film here. Not
only did he look at Turner, but the variability of light in Turner
is deeply inscribed in that film. He also spoke of "The Text of
Light" in terms of landscape. This aspect of light was explored
even more radically in the "Romans," "Arabics," and "Egyptians."
The imagery in those films is far more removed from ideas of
landscape.
Fred Camper
Chicago
Quoting Aaron Juneau <[email protected]>:
Dear frameworks members,
I'm contacting from Tate Etc. Magazine, London in the hope that
somebody at Frameworks might be able to help me with some
research I'm undertaking with regard to an article we're
publishing in a couple issues time. Essentially the article will
focus on J.M.W Turner's influence on film. I was wondering
whether somebody at Frameworks could advise on some interesting,
perhaps less known filmmakers who have been influenced by him?
I'm really looking at hard fact and solid evidence as opposed to
conjecture.
Any assistance you can offer would be greatly appreciated.
My very best,
Aaron Juneau
Editorial Assistant
TATE ETC. magazine
20 John Islip Street
Millbank
London
SW1P 4RG
T: +44 (0)20 7821 8606
F: +44 (0)20 7887 3940
E: [email protected]
www.tate.org.uk/tateetc
follow us on Twitter: @TATEETCmag
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Chuck Kleinhans
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