[Frameworks] experimental film in the art world

[Myron Ort]

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 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  
>> 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 to  
>> the main points Marilyn makes about Stan Brakhage per se and about  
>> the commercial and gallery and museum art world of the time.
>>
>> I vividly remember a dinner with Stan Brakhage (and others) at the  
>> University of Oregon perhaps 20 years ago when he was screening  
>> some of his films.  The discussion got into the matter of Turner's  
>> paintings and light, and Brakhage was quite passionate about which  
>> museums had which paintings and had displayed them to best  
>> advantage.  The next morning I ran into him on the main campus  
>> quadrangle, camera in hand, filming what interested him, while he  
>> was waiting for the University Art Museum to open.
>>
>> Two points that others might be able to develop more in dialogue  
>> with Balsom's thesis:
>>
>> a. animation, particularly drawn animation, has always had a more  
>> ambiguous relation to the traditional format/materials art world,  
>> perhaps mostly because almost all its artists have drawing skills  
>> and craft, which is more easily understood.  Most art schools  
>> (used to) have first year drawing course requirements.
>>
>> b. there was a discussion c. 1970, and I think in Canyon  
>> Cinemanews, about establishing the "rare value" of film and its  
>> collectability, by making things such as unique editions of films  
>> (such as S8mm copies that collectors could buy and presumably view  
>> at home) or by making single unique films which would then be sold  
>> to collectors or museums.  Of course this was also part of an art  
>> world discussion/quandary at the time when another mass  
>> reproduceable art--photography--was entering the art market (and  
>> museum collections).
>>
>>
>> Chuck Kleinhans
>>
>>
>>
>>
>>
>>
>>
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