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.
Marilyn
On 4-Mar-12, at 6:31 PM, Myron Ort wrote:
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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