May I add a thought of reflection...
I believe every artist is at one point faced with the issue of his/her
worth in comparison to others. After all the soul searching peace will
come simply in the joy of working. My last correspondence with Jud
indicates to me a measure of resolution for him. What happens now is in
another realm.
Walter Ungerer
On 27July/2013 11:50 AM, Michael Betancourt wrote:
I've curated his work on a couple of occasions, and I have to say I
don't understand why he isn't as readily available as, for example,
Brakhage's film work? (Although I already know the answer to that)
In talking with my students, the cut-off seems to be what they can
find online easily (or in a DVD they can rent) vs what's shown in
galleries or screenings.
This whole situation makes me kinda sad, Jud will be missed.
Michael Betancourt
Savannah, GA USA
michaelbetancourt.com <http://michaelbetancourt.com>
twitter.com/cinegraphic <http://twitter.com/cinegraphic> |
vimeo.com/cinegraphic <http://vimeo.com/cinegraphic>
www.cinegraphic.net <http://www.cinegraphic.net> | the avant-garde
film & video blog
On Sat, Jul 27, 2013 at 7:21 AM, Al Matthews <prolep...@gmail.com
<mailto:prolep...@gmail.com>> wrote:
> plus i dont know if his work is archived
> maybe at MOMA ? anyone know?
Hello all. I do not know and would be interested to hear.
Electronic Arts Intermix has a good set of pages
http://www.eai.org/artistSupportDocs.htm?id=257 , though with less
between 1974 and 2004. I wonder if there's not a repository in Ohio?
> It might be useful to think about the highly uneven reception
some artists get and the reasons for that. Perhaps leaving NYC
has some effect, since most of his later career was in flyover
country, Ohio. Or being a pretty trippy and psychedelic type of
maker in some of his work. Perhaps some of it was not being
written about enough by critics, or curated into shows often
enough, or touring enough. But some of it must have also been
precisely because of his ease in shifting from one medium to
another, and thus not fitting into "experimental film" in a pure
sense because he also was involved in video and electronic music
and image processing. It's less the case now, but for a long time
there was a lot of purism in film circles.
All these reasons seem salient to me as well. Speaking to the
first and the last, Ohio has evolved to host for example
http://accad.osu.edu/, so no doubt we agree that it's more flyover
country in nyc terms than electronic arts terms. Surely there's
some interesting lag visible here in Jud Yalkut's readiness to
hand, between the centralization that is analog television and New
York and the distributed-global arts presence we're arriving at by
now?
I wonder too how much of the anti-artefactual gesture of the video
movement is here in play. Or perhaps that's a broad stroke.
> When I heard of his passing, I wondered how many younger folks
had even heard of him, much less seen some of his work.
Viewing the work seems the harder bit though, isn't it. It's
probably worth raising my hand to say that, while the distribution
channels seem to exist, at least for certain artefacts, those
channels still seem to require a curator, and I cannot quickly
determine if that is for the best.
Corrections appreciated.
--
Al Matthews - http://fatmilktv.com <http://fatmilktv.com/>
Atlanta, GA, US +1 337 214 4688 <tel:%2B1%20337%20214%204688>
On Sat, Jul 27, 2013 at 10:02 AM, Cari Machet
<carimac...@gmail.com <mailto:carimac...@gmail.com>> wrote:
i screened some of his work at some curated shows and i think
he was a kind genius > that was my experience anyway > thanks
for the post about him passing > i dont believe in death per
say only transformation > i dont believe in belief either
so... but it is sad to see a life go > though he is still with
us i think > he is a great spirit art makes shifts in and of
itself without getting accolades from the constituency
perhaps a tribute can be made a memorial like we did with
brakhage in nyc but mark fr the academy can possibly get him
in the tribute they have at the oscars too plus i dont know if
his work is archived > maybe at MOMA ? anyone know?
Cari Machet
NYC 646-436-7795 <tel:646-436-7795>
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On Sat, Jul 27, 2013 at 2:58 AM, Chuck Kleinhans
<chuck...@northwestern.edu <mailto:chuck...@northwestern.edu>>
wrote:
On Jul 26, 2013, at 10:46 PM, David Baker wrote:
How is it possible
on an "Experimental Film Discussion List"
that so little is said in salute
when someone of this singular magnitude
of achievement passes into the cosmic ether
of eternity?
When I heard of his passing, I wondered how many younger
folks had even heard of him, much less seen some of his work.
It might be useful to think about the highly uneven
reception some artists get and the reasons for that.
Perhaps leaving NYC has some effect, since most of his
later career was in flyover country, Ohio. Or being a
pretty trippy and psychedelic type of maker in some of his
work. Perhaps some of it was not being written about
enough by critics, or curated into shows often enough, or
touring enough. But some of it must have also been
precisely because of his ease in shifting from one medium
to another, and thus not fitting into "experimental film"
in a pure sense because he also was involved in video and
electronic music and image processing. It's less the case
now, but for a long time there was a lot of purism in film
circles.
Chuck Kleinhans
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