On Mar 6, 2012, at 2:52 PM, David Tetzlaff wrote:
> This is why I said the museum model is way more workable for moving
> image work of celluloid 'original'. If you shoot in 1080P, the only
> difference between the 'original' and the 'reproduction' is the
> compression artifacting in the di
Great post Myron!!
Myron wrote:
> The film "commodity" would have to be dealt with in a way that even a great
> piece of photography does not require.
That's a valid point, but I wonder if it might cut both ways. That is, the cost
of maintaining a film might initially be a hurdle for museums s
Two oblique tangents to this interesting discussion:
Conceptual art in the 1960s was an attempt to interrupt the museum/gallery
artworld's expectation of a physical object or performance event. What the
conceptual artists discovered after a while was that their "reputation"
(suitably documente
*
Please join us on Friday for Tejido Conectivo, an evening of
multi-projection compositions from two visiting artists from Barcelona.
*
[image: Inline image 3]
*Luis Macias* and *Adriana Vila* present a night of expanded cinema
focusing on three converging threads:
found footage performances, li
I was probably exaggerating about the work a museum would need to do
to maintain a film work.
Probably no worse than the climate controlled rooms for great
paintings etc. and the budgets for restorations.
The museums could own the orignal work, the internegative, and the
print, and finance t
an inter-negative is still a "reproduction" subject to the qualities
of the film stock and the available technology to make it from the
original. The original is ultimately fugitive and undergoes changes
as does the internegative and certainly the prints. The museum would
need to own and
http://www.nytimes.com/2012/03/02/arts/design/juan-downey-the-invisible-architect-at-bronx-museum.html?_r=1&ref=design
Sculptures That Answer Back
‘Juan Downey: The Invisible Architect’ at Bronx Museum
By MARTHA SCHWENDENER
Published: March 1, 2012
"And here you can see the other reason, besides
> would the galleries have called if she didn't have famous friends?
I can't speak to specific case, but 'famous friends' definitely matter... if
they're "artists." As Shelly says, gallery representation is the key, and
galleries have to have something to sell. The exchange value of an art
comm
CALL FOR ENTRIES
Alchemy Film and Moving Image Festival
26th to 28th October 2012
Hawick, Scottish Borders
We are now inviting entries for short artists’ films, moving image
works and feature films. This year’s festival will be ‘traversing the
wild’ exploring our relationship with the natura
*
Please join us this Friday for Tejido Conectivo, an evening of
multi-projection compositions from two visiting artists from Barcelona.
[image: Inline image 3]
Luis Macias and Adriana Vila present a night of expanded cinema focusing on
three converging threads;
found footage performances, light
An Invitation to all FrameWorkers ...
The Modern Institute and Artprojx Cinema presents:
A Grammar for Listening (Parts 1 – 3) 16mm film and sound created in
collaboration with sound artists Lee Patterson and Toshiya Tsunoda and composer
Éric La Casa
& All Divided Selves
by
Luke Fowler
Fr
gallery representation is the key
On Mar 5, 2012, at 11:41 PM, John Woods wrote:
> >Balsom rightly points out that in the museum world there is a double
> >standard “whereby experimental film-makers are treated with less respect
> >than ‘artists working in film’ – such as Tacita >Dean, Stan Dou
I don't know much of her story either, though yes, she apparently had
art world connections. She seems to work mainly in film, but is
represented by a gallery. Some people on the list must be familiar
with her work? . . . However beautiful or interesting her films may
be, there are certa
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