[Frameworks] Paul Sharits and Woody Vasulka

Tue Aug 10 15:10:35 UTC 2021

Hi, I am Takahiko iimura, Japanese film/video/artist, 
I know Paul Sharits and Woody Vasulka both of the artists.
> I am Takahiko iimura, Japanese film/video/performance artist from Tokyo who met them as they invited me for a screening and lecture in their class.
> I brought my films there and the students are at first felt the strangeness but later accepted.
> I specially liked Paul Sharits works.


> Since then I was invited there again later.
> Also I liked their film and video so that I asked them later to participate in a Japanese film 
> festival. They accepted and those were screened in Tokyo.

>  specially iked Paul Sharits worksI specially iked Paul Sharits works.
> 
> I specially liked Paul Sharits works.
> 
> That was the beginning of exchange between  Buffalo and Tokyo.
> 
> I am now only remembering them and their works.
> 
> Looking forward to seeing their works, again.
> 
> Takahiko iimura< film/video/performance artist >
> Below is my film/art career and please look at:
> 
> TAKAHIKO IIMURA
> Takahiko Iimura (b. 1937, Tokyo) is an artist and filmmaker who went and back between Tokyo and New York  living in both cities. Presenting screenings at gallery spaces, including the first at
>  Naiqua Cinematheque screenings held at Naiqua Gallery, Tokyo, in 1963, Iimura’s peers mostly consisted of artists rather than filmmakers, which led to several collaborations: Yoko Ono created the sound of “Ai(Love)” (1962-63); Natsuyuki Nakanishi co-directed “On Eye Rape “ (1963), an early Japanese found footage film; and Sho Kazakura performed happenings for the camera in “Dance Party in the Kingdom of Lilliput “(1964). These collaborations influenced the way Iimura presented his films, which led to his early experiments in expanded cinema and, eventually, film and video installations. After winning a group prize at the experimental film festival EXPRMNTL in Knokke-le-Zoute, Belgium, in 1963, Iimura co-founded the Film Independents with the other recipients. Encouraged by a positive review of his film “Ai (Love)” by Jonas Mekas, Iimura relocated to New York in 1966 where he initiated further collaborations, with Alvin Lucier. Returning to Tokyo in 1969, Iimura began immersing himself in video art and, ever since, has been considered a pioneer of expanded cinema, video art and film installation in Japan. His works have been presented at Centre Pompidou, British National Museum, Museum of Modern Art,London, New York,Museum of Modern Art ,Rome ,Dutch Eye Museum. Tokyo Photographic Art Museum, the Museum of Modern Art Tokyo and Tokyo Photographic Museum.
> 
> 
> 
> 
>>  
> 2021/08/10 16:10、Kolberg, Sarah <skolberg at buffalo.edu> のメール：
> 
>> Hi Greg:
>>  
>> Always excited to see people working on Paul’s work – he was a dear friend.  Despite a significant difference in age, in the final years of his life he dated one of my dearest friends so we hung out together quite a lot.  Somewhere in my storage I have a burned dress he made for a “fashion show”.
>>  
>> In any event, I know Woody has passed, but Steina should still be able to be reached at
>> 505-424-8786                                    
>> vasulka at vasulka.org
>>  
>> she may have some recollections that would help you.
>>  
>> all best,
>>  
>>       ~ sarah
>>  
>>  
>> From: Frameworks <frameworks-bounces at film-gallery.org> On Behalf Of Gregory Zinman
>> Sent: Friday, August 6, 2021 8:03 PM
>> To: Experimental Film Discussion List <frameworks at film-gallery.org>
>> Subject: Re: [Frameworks] Paul Sharits and Woody Vasulka?
>>  
>> Many thanks for this, Laura—totally new to me, and fascinating stuff, too.
>>  
>> Greatly appreciated, and all best,
>>  
>> Greg
>>  
>> 
>> 
>> On Aug 6, 2021, at 5:53 PM, Laura McGough <lmcgough at buffalo.edu> wrote:
>>  
>> Greg -
>>  
>> Are you talking about the Color Printing System meant to be built at the Center for Media Study at UB? If so, the answer is no, but there is a dense document created by Tony Conrad in the Vasulka Archive in which  he worked out the specs for the system. I believe Tony and Woody we’re going to collaborate on the construction of this system. 
>>  
>> http://www.vasulka.org/archive/Artists1/Conrad,Tony/ColorPrintingSystem.pdf
>>  
>> Best, 
>>  
>> Laura McGough
>> 
>> 
>> On Aug 6, 2021, at 3:17 PM, Christine Downing <downing.christine at gmail.com> wrote:
>> 
>> 
>> I know he used a Color-Aid packet for color frames in some of his work. I saw it at his house once and asked him about it.  I don't remember seeing the set up, but it could have been shot with an animation stand or taped to a wall. This doesn't address the question about a device Woody made for Paul.
>> https://www.dickblick.com/items/color-aid-paper-packet-4-12-x-6-assorted-pkg-of-220/
>>  
>>  
>>  
>> On Fri, Aug 6, 2021 at 2:55 PM Eric Theise <erictheise at gmail.com> wrote:
>> I hope Greg doesn't mind me horning in on his question but I hope any answers/discussion will cc: frameworks as I'm always interested in learning more about Sharits' ways of working with color.
>>  
>> Thanks, Eric
>>  
>> P.S. Anyone been to/going to Anthology's Razor Blades restoration screenings?http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=8&year=2021#showing-53606
>>  
>>  
>> On Fri, Aug 6, 2021 at 11:36 AM Zinman, Gregory A <gzinman3 at gatech.edu> wrote:
>> Hi Frameworkers,
>>  
>> I am researching Paul Sharits’ working methods for an essay I am writing. Does anyone know anything about a light/color device that Woody Vasulka might have made for Sharits to photograph color images? If anyone has any information, or has a reference, it would be greatly appreciated.
>>  
>> Thanks, and all best,
>>  
>> Greg
>> --
>> Gregory Zinman, Ph.D.
>> Associate Chair and Associate Professor
>> School of Literature, Media, and Communication
>> Georgia Institute of Technology
>>  
>> Curator, 725 Ponce
>>  
>> pronouns: he/him
>>  
>> Making Images Move: Handmade Cinema and the Other Arts (University of California Press, 2020)
>>  
>> Handmade Cinema website
>>  
>> We Are in Open Circuits: Writings by Nam June Paik (The MIT Press, 2019)
>>  
>>  
>>  
>>  
>>  
>> 
>>  
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