This reminds me of SOP in the filmmaking department of the School of the Art
Institute of Chicago c. 1980. The department's own screening room was closed
at the start of a screening event, and you couldn't enter or leave until an
official break. Late arrivals had to wait outside. No so much
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
Right, I see that point.
btw, One only has to read Stan's chapter on Bruce to get an idea of
the price he paid for that art world notoriety and the consequences
on his health!
In any case, the L.A. museum for that retrospective had special
darkened rooms built in the gallery where you
in the door, you know?
Steve Polta
--- On Sun, 3/4/12, marilyn brakhage v...@shaw.ca wrote:
From: marilyn brakhage v...@shaw.ca
Subject: Re: [Frameworks] experimental film in the art world
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Date: Sunday, March 4, 2012, 11:30 PM
the issue, but I get the
sense that to many it's generally just enough to get in the door, you know?
Steve Polta
--- On Sun, 3/4/12, marilyn brakhage v...@shaw.ca wrote:
From: marilyn brakhage v...@shaw.ca
Subject: Re: [Frameworks] experimental film in the art world
To: Experimental
I don't know how many museums have dedicated theatres with well
maintained projection equipment. That would be good to try to find
out. But for gallery inclusion, it sounds as if this Conner
exhibition sets a good standard that at least gives others some
reference then, as to how it
Myron asked, "how many major museums in the country have such theaters with well maintained projection equipment?"A number still exist. We present programs at museum auditoria, both in 35mm and 16mm (Fischinger and Belson, among other programs). Just in the last 2 months, at SF MoMA and at The
I thought Marilyn Brakhage's response to the Erika Balsom essay was
outstanding, and I hope it will be reprinted in Moving Image Arts Journal so it
circulates more directly where historians and scholars might find it in the
future.
Greybeards like me on the Frameworks listserv can easily add
Thanks for the feedback. It would be interesting to hear more on the
subject from people around at the time -- as well as the latest
experiences other people are having.
Marilyn
On 4-Mar-12, at 2:45 PM, Chuck Kleinhans wrote:
I thought Marilyn Brakhage's response to the Erika Balsom essay
all I know is how impressed I was with the Bruce Conner
retrospective in Los Angeles at MOCA a many few years ago. All of
his modes of working were well presented.
Bruce Conner!
Myron Ort
On Mar 4, 2012, at 6:19 PM, marilyn brakhage wrote:
Thanks for the feedback. It would be
I didn't see that exhibition, unfortunately. But Bruce Conner also
had a gallery/art world history and connections for his work in other
media, aside from film. It's the people who are only filmmakers who
sometimes have more of a struggle with getting their work shown as it
should be.
11 matches
Mail list logo
