A very good friend of mine was instrumental in bringing the Lieberwitz
collection to Perth, he was the Art Curator for the Art Gallery of Western
Australia. Sadly he died not (too) long ago.
I had the fortune of seeing many great works of art in his house including an
original lieberwitz, that was taken of a girl I lived with at the time, his
daughter (she is older than me, nothing freaky)Ari
________________________________
From: Phil Edwards <p...@cinemarts.com>
To: MoPo-L@LISTSERV.AMERICAN.EDU
Sent: Mon, 24 May, 2010 11:46:37 AM
Subject: [MOPO] OT, sort of.... Museums, Institutions and Bizarre "logic" .....
One of the finest collections I have ever seen was donated to a "museum"....
and I use the word loosely.
It has never been seen again.
And then there is the story of another "museum" who received so many donations
of film memorabilia from all over Australia following a TV documentary, they
couldn't keep track of it all and firstly got to a stage where they couldn't
keep up with the incoming inventory, then couldn't keep up with unpacking the
parcels, then couldn't keep up with logging who had sent the items (not
everyone puts a return address on a parcel) then decided they only wanted to
keep material related to Australian films, then decided they need to thin out
the space and returned packages to the wrong people (I know someone who got
three crates of stuff that they had no idea whose it was, all they knew is that
it wasn't what they donated) then decided they wanted to hire someone to sort
the stuff out because no one at the "museum" actually knew how to identify a
daybill from an insert or a window card from a lobby card, or an original from
a re-release.
They figured such an "expert" would be able to do these approximately 200,000
items in 24 hours, maybe 48 at a stretch.
When the "expert" explained that physically, timewise that would be pretty
close to impossible and what they needed to do was what many major such
institutions do and actually work at it as a proper project which would allow
them to trade not-related material with other institutions, sell off excess to
acquire more desirable/collection appropriate pieces and collections (you know,
they way real national galleries do) they thought this was worth talking about
and booked the "expert" on the plane the next day. A 2 hour flight. They even
booked the "expert" into a motel for the night.
Two hours later, they called the "expert" and said they had decided to re-think
the whole thing. Last I heard the same chaos was ongoing. And the reason to can
the trip? Cost... Yep, all $300 (motel included) couldn't be "justified within
the budget".
Museums are great places to go visit on rainy afternoons, and when they are
professionally run museums like the V&A and the Science Museum in London (who
were two of my major clients for some years back then) they can be a delight to
deal with from a professional standpoint, where in those instances the curators
of the relevant departments really knew their stuff and really loved it.
The Art Gallery of NSW is similarly one of the finest institutions of its type.
A few years ago they had a great exhibition of Lawrence Bassoff's film noir
posters to tie in with his book, CRIME SCENES.
More locally, Newcastle Art Gallery has done some great shows, too. The fact
they beat out both the National Gallery in Canberra and the Art Gallery of NSW
a few years back to the major Annie Lieberwitz exhibition was something of a
coup.
However when the Lieberwitz exhibition went to Perth, there were letters to the
newspapers and editorials that the famous shot of John and Yoko should be
removed, not because of the nudity or it being pornographic, but because it was
offensive because it showed a white man in a submissive pose to an Asian woman.
Phil E.
----- Original Message ----- From: "Evan Zweifel" <evanzwei...@comcast.net>
To: <MoPo-L@LISTSERV.AMERICAN.EDU>
Sent: Monday, May 24, 2010 11:09 AM
Subject: Re: [MOPO] So I was just looking at a ramdom box of pressbooks I
have...
> Sure, museum, fine. But before you entomb them, please load digital versions
> onto the internet, so we can all enjoy them.
>
> evan
>
> ----- Original Message -----
> From: "Posteritati" <m...@posteritati.com>
> To: MoPo-L@LISTSERV.AMERICAN.EDU
> Sent: Sunday, May 23, 2010 6:09:36 PM GMT -07:00 US/Canada Mountain
> Subject: Re: [MOPO] So I was just looking at a ramdom box of pressbooks I
> have...
>
> Bruce,
>
>
> These should be in a museum or institution. The amount of potential research
> in them is incredible.
>
>
> regards,
> sam
>
>
>
> On May 23, 2010, at 7:50 PM, Phil Edwards wrote:
>
>
>
>
> Wouldn't a series of books, similar to your poster books series, be worth
> condsidering?
>
> While pressbooks might not be as "sexy" as posters, many great ones are
> marvels of design in themselves.
>
> Alternatively, one terrific book, done like VALLEY OF THE CLIFFHANGERS, would
> be a visual feast, a great reference.
>
> Books like THE LOST ART OF HOLLYWOOD (tarde ad art) and THE INVISIBLE ART
> (matte paining art) show that there is much more than
> posters to the art of film making.
>
> Phil E.
>
>
>
>
>
>
> ----- Original Message -----
>
> From: Bruce Hershenson
> To: MoPo-L@LISTSERV.AMERICAN.EDU
> Sent: Monday, May 24, 2010 3:11 AM
> Subject: [MOPO] So I was just looking at a ramdom box of pressbooks I have...
>
> So I was just looking at a ramdom box of pressbooks I have and I came across
> a bunch of old ones I had forgotten about, and in there was The Lost World
> and Tarzan the Ape Man.
>
> What wonderful posters both those movies had, and isn't it weird that there
> isn't anywhere in the world where you can go (either physically or digitally)
> and look through the contents of those pressbooks, and tens of thousands of
> others?
>
> Bruce
> Visit the MoPo Mailing List Web Site at www.filmfan.com
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