[Frameworks] Fluid Criticism (was Open Litter)/Context

[gregg biermann]

Thanks Steve -- for the Ramey essay. Recently there was a thread on 
Frameworks about whether art must have a context. This essay provides a 
nice sociological overview of the context and also suggests how this 
relates to aesthetic evaluation in the world of avant-garde/experimental 
films.    
G


Steve Polta wrote:
> "What is the prize in avant-garde film?"
>
> Fred Camper's rhetorical question about the various perceptions of the 
> critic's role reminds me of a recent piece by Kathryn Ramey, published 
> in/on Jump Cut just recently on the "survival strategies" of 
> avant-garde filmmakers. Citing Todd Bayma and Pierre Bourdieu, Ramey 
> discusses "symbolic capital" (along with disavowal of "standard social 
> criteria for success") as an important motivator to many contemporary 
> filmmakers. In her piece, "symbolic capital" translates roughly as 
> fame and/or recognition, specifically within the community in question.
> If you care to, read it here:
> www.ejumpcut.org/currentissue/rameyExperimentalFilm/index.html
>
> I dunno. Maybe this influences some/maybe not. But interesting to read 
> and think about...
>
> Steve Polta
>
>     All of these arguments take on a particular coloring in our list's 
>     rather small world, in which, as far as I know, not one avant-garde 
>     filmmaker has ever been able to make a living from making films.
>     This 
>     is not like the art world where, while most artists can't make a 
>     living at it, some can, and a few get wealthy. What is the prize in 
>     avant-garde film? Some festival shows? A tenured teaching post? I 
>     guess it's natural to crave recognition, but in my own professional 
>     life in this field, I have heard much more anger at lack of 
>     recognition (sometimes accompanied by absurd conspiracy theories)
>     than 
>     the agonized wondering that I would like to think is more the mark
>     of 
>     a genuine artist (albeit often only early on): "Is my work any good? 
>     Is my work getting better? Are these films adding something to the 
>     discourse? How can I break through to something grater?"
>
>     It's worth remembering that Hollis Frampton began making films in 
>     1962. The first film he would ever show was from 1966.
>
>     Fred Camper
>     Chicago
>
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