>Balsom rightly points out that in the museum world there is a double standard “whereby experimental film-makers are treated with less respect than ‘artists working in film’ – such as Tacita >Dean, Stan Douglas or Matthew Buckingham – whose work is never subject to such transpositions.” She goes on to say that “recent exhibition practices have demonstrated the persistent
And what was it that put the work of these people into their vaunted status in the museum world? Gallery representation? Art school cred? Press manipulation (publicity stunts, etc.)? Is that what a filmmaker needs to do to be taken seriously? I guess that seems to mostly work for Hollywood.
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