23rd October 2012

Photo with 32 notes

Robert Breer on Riding Float, c. 1971-72. (via Archives of American Art Journal, Vol. 13, No. 4)

Robert Breer on Riding Float, c. 1971-72. (via Archives of American Art Journal, Vol. 13, No. 4)

Tagged: Robert BreerRiding Floatsculpturefilmmakersphotograph

23rd October 2012

Photo reblogged from J.M.DEMAREE with 57 notes

jodema:

Flaming Creatures (Jack Smith, 1963)

"[Jack Smith] has graced the anarchic liberation of new American cinema with graphic and rhythmic power worthy of the best of formal cinema. He has attained for the first time in motion pictures a high level of art which is absolutely lacking in decorum; and a treatment of sex which makes us aware of the restraint of all previous filmmakers.  He has shown more clearly than anyone before how the poet’s license includes all things, not only of spirit, but also of flesh; not only of dreams and of symbol, but also of solid reality. In no other art but the movies could this have so fully been done; and their capacity was realized by Smith.” - Film Culture

jodema:

Flaming Creatures (Jack Smith, 1963)

"[Jack Smith] has graced the anarchic liberation of new American cinema with graphic and rhythmic power worthy of the best of formal cinema. He has attained for the first time in motion pictures a high level of art which is absolutely lacking in decorum; and a treatment of sex which makes us aware of the restraint of all previous filmmakers.  He has shown more clearly than anyone before how the poet’s license includes all things, not only of spirit, but also of flesh; not only of dreams and of symbol, but also of solid reality. In no other art but the movies could this have so fully been done; and their capacity was realized by Smith.” - Film Culture

Tagged: Flaming CreaturesJack Smith16mmexperimental filmnippleorgy

23rd October 2012

Photo with 20 notes

Adolfas Mekas (left) and Jonas Mekas during the shooting of Guns of the Trees, 1961. (via October, Vol. 29, Summer 1984))

Adolfas Mekas (left) and Jonas Mekas during the shooting of Guns of the Trees, 1961. (via October, Vol. 29, Summer 1984))

Tagged: Adolfas MekasJonas MekasGuns of the Trees16mmexperimental filmNew American Cinema1961filmproduction stills

22nd October 2012

Photo with 41 notes

Stan Brakhage and Peter Kubelka in Central Park. (via Jonas Mekas’ facebook page)

Stan Brakhage and Peter Kubelka in Central Park. (via Jonas Mekas’ facebook page)

Tagged: Stan BrakhagePeter Kubelka16mmexperimental filmcentral parkjonas mekasfilm stripfilmfilm stills

22nd October 2012

Link with 14 notes

Stan Brakhage's Metaphors on Vision →

”’By Brakhage’ should be understood to mean ‘by way of Stan and Jane Brakhage,’ as it does in all my films since marriage. It is coming to mean: ‘by way of Stan and Jane and the children Brakhage’ because all the discoveries which used to pass only thru the instrument of myself are coming to pass thru the sensibilities of those I love. Some day these passages will extend thru the sensibilities of those I now can only imagine loving. Ultimately ‘by Brakhage’ will come to be superflous and understood as what it now ultimately is: ‘by way of everything.’” — SB (wedged between the copyright information and the dedications)

Seriously everyone, this is just as important as the Criterion releases and is an absolute must read.  Now where’s the scan of Brakhage Scrapbook?

Tagged: Metaphors on VisionStan Brakhageebookexperimental filmbooks

20th October 2012

Video with 6 notes

Standish Lawder’s Runaway

Almost forgot about this film until I saw it again at The Filmmakers Coop’s benefit last night… fantastic…

Tagged: Standish LawderRunaway16mmexperimental filmoptical printinganimation

20th October 2012

Video reblogged from tangents with 8 notes

jesusgollonet:

Calculated Movements, by Larry Cuba, 1985 via @v3ga

Tagged: Larry Cubaexperimental animationCalArtscomputer animationexperimental film

16th October 2012

Photo reblogged from **** Streams with 10 notes

tomasramon:

Barbara Rubin (Screen Test, Gerard Malanga)

tomasramon:

Barbara Rubin (Screen Test, Gerard Malanga)

Tagged: Barbara RubinScreen TestAndy WarholGerard Malanga16mmfilm stillsexperimental film

22nd September 2012

Question with 13 notes

smekas-deactivated20140525 said: Hello! My father, Jonas Mekas, happened to come across your post from January 10, 2011 -- a still from Barbara Rubin's 'Caterpillar Changes' event. Do you have any idea the source of that image? We are very curious! Thanks so much, Sebastian

I picked it up off a forum at some point a while back (around when I posted it)… I will try to find the person who posted it and see if they have any idea where it came from… I’m glad to hear Jonas saw the photo on my tumblr! Love your Dad’s work, he’s terrific!  

Here’s a reposting of the photo for everyone who didn’t catch it when I first posted it:

13th June 2012

Photo with 22 notes

Stills from Pasadena Freeway Stills 

Gary Beydler | 16mm | 1974 | 6 minutes | Color | Silent “I had one of my graduate students drive the car, and I filmed 16mm black and white negative driving through these four consecutive tunnels on the Pasadena freeway. I wound up doing about 1400 paper prints from the individual frames in the negative. I mounted a piece of glass in my garage, with a square of tape marked out on it. I sat down behind the glass with a white T-shirt on and started shooting the stills. My wife Sarah shot the first part, and as the shots got shorter and shorter, I shot it myself using a bulb hooked up to the camera that I operated with my foot. I originally meant to shut it off and fade it out to end it, but while I was shooting, I decided instead to reverse the procedure, slowing the shots back down. I called Sarah back to shoot the last part. I always had the idea of sound, but I could never figure out what the heck kind of sound to have in this film.” (Gary Beydler, 2008)"Possibly the most lucid, vivid, and awesome demonstration of the building up of still images to create moving ones, Pasadena Freeway Stills simply, gracefully and powerfully shows us the process by which we are fooled by the movies. By doing so, Gary Beydler mines a very rich vein of associations and metaphor, without the slightest ostentation."Constructed as a thrilling arc of realization and, in a quite moving way, disappointment, the film is a beautiful articulation of our emotional entanglement with moving images, while simultaneously creating a form in which the illusion of cinema is brought into incredible relief as the film we’re watching gradually catches up to the film Gary is holding up to the camera with his hands, one frame at a time." (Mark Toscano)

Rent from Canyon Cinema

Stills from Pasadena Freeway Stills

Gary Beydler | 16mm | 1974 | 6 minutes | Color | Silent

“I had one of my graduate students drive the car, and I filmed 16mm black and white negative driving through these four consecutive tunnels on the Pasadena freeway. I wound up doing about 1400 paper prints from the individual frames in the negative. I mounted a piece of glass in my garage, with a square of tape marked out on it. I sat down behind the glass with a white T-shirt on and started shooting the stills. My wife Sarah shot the first part, and as the shots got shorter and shorter, I shot it myself using a bulb hooked up to the camera that I operated with my foot. I originally meant to shut it off and fade it out to end it, but while I was shooting, I decided instead to reverse the procedure, slowing the shots back down. I called Sarah back to shoot the last part. I always had the idea of sound, but I could never figure out what the heck kind of sound to have in this film.” (Gary Beydler, 2008)

"Possibly the most lucid, vivid, and awesome demonstration of the building up of still images to create moving ones, Pasadena Freeway Stills simply, gracefully and powerfully shows us the process by which we are fooled by the movies. By doing so, Gary Beydler mines a very rich vein of associations and metaphor, without the slightest ostentation.

"Constructed as a thrilling arc of realization and, in a quite moving way, disappointment, the film is a beautiful articulation of our emotional entanglement with moving images, while simultaneously creating a form in which the illusion of cinema is brought into incredible relief as the film we’re watching gradually catches up to the film Gary is holding up to the camera with his hands, one frame at a time." (Mark Toscano)

Rent from Canyon Cinema

Tagged: Gary BeydlerPasadena Freeway StillsPasadena16mmexperimental filmAcademy Film ArchiveCanyon Cinema

27th May 2012

Audio post with 5 notes - Played 11 times

Alvin Lucier’s I Am Sitting in a Room

Tagged: Alvin LucierSoundArtI Am Sitting in a RoomGenerational loss

27th May 2012

Photo with 13 notes

From J.J. Murphy’s Print Generation 
"The film begins with glimpses of a series of shimmering red points of light which, through succeeding generations, begin to reveal the definition of a figure or an object. The sparkling reds - actually the last vestige of light held by a tiny crystal of emulsion - transform into whites, then the shock of blue-green is discovered, separating next into blue and green and combining for secondary colors in what by now is a recognizable representation." - Anthony Bannon, Buffalo Evening News

From J.J. Murphy’s Print Generation 

"The film begins with glimpses of a series of shimmering red points of light which, through succeeding generations, begin to reveal the definition of a figure or an object. The sparkling reds - actually the last vestige of light held by a tiny crystal of emulsion - transform into whites, then the shock of blue-green is discovered, separating next into blue and green and combining for secondary colors in what by now is a recognizable representation." - Anthony Bannon, Buffalo Evening News

Tagged: J.J. Murphyexperimental filmContact Printer16mmPrint Generation

27th May 2012

Photo with 6 notes

From J.J. Murphy’s Print Generation 
Taking one minute of footage and re-printing it fifty times, Murphy pushed the limits of film’s materiality, radically transforming the image to create a profound journey from abstraction to representation and back again. Summing up “concerns that have marked independent filmmaking since the late Sixties: intrinsic film structure and personal diary,” (Mike Reynolds, Berkeley Barb), Print Generation harnesses image and sound deterioration to elegantly address the intricacies of perception, memory and time: how we remember, what we remember and how the fleeting nature of memory itself reveals and recedes.

From J.J. Murphy’s Print Generation 

Taking one minute of footage and re-printing it fifty times, Murphy pushed the limits of film’s materiality, radically transforming the image to create a profound journey from abstraction to representation and back again. Summing up “concerns that have marked independent filmmaking since the late Sixties: intrinsic film structure and personal diary,” (Mike Reynolds, Berkeley Barb), Print Generation harnesses image and sound deterioration to elegantly address the intricacies of perception, memory and time: how we remember, what we remember and how the fleeting nature of memory itself reveals and recedes.

Tagged: J.J. Murphyexperimental filmContact Printer16mmPrint Generation

27th May 2012

Photo with 7 notes

From J.J. Murphy’s Print Generation 
"That ‘Print Generation’ begins with individual, isolated particles of emulsion that slowly cohere into increasingly complex forms may be more than a metaphor for the origin of life and the evolution of species and societies. Since these original, trembling particles are the result of the impact of light on a chemical substance, they seem almost a vestige of the miracle out of which all life and consciousness have developed." - Scott MacDonald

From J.J. Murphy’s Print Generation 

"That ‘Print Generation’ begins with individual, isolated particles of emulsion that slowly cohere into increasingly complex forms may be more than a metaphor for the origin of life and the evolution of species and societies. Since these original, trembling particles are the result of the impact of light on a chemical substance, they seem almost a vestige of the miracle out of which all life and consciousness have developed." - Scott MacDonald

Tagged: J.J. Murphyexperimental filmContact Printer16mmPrint Generation

27th May 2012

Photo with 10 notes

From J.J. Murphy’s Print Generation 
Print Generation by J.J. Murphy is a rarely screened structural gem that harnesses image and sound deterioration to its fullest. Murphy started with sixty one second shots, a one minute film. He then made fifty contact printed copies from each successive version, consciously degrading the film one “generation” at a time. Print Generation is structured so we begin watching obscured images and work toward the original and back again… while the soundtrack of lapping ocean waves does the opposite. The film elegantly addresses the intricacies of memory and time: how we remember, what we remember and how a fleeting ‘home movie’ reveals and recedes.

From J.J. Murphy’s Print Generation 

Print Generation by J.J. Murphy is a rarely screened structural gem that harnesses image and sound deterioration to its fullest. Murphy started with sixty one second shots, a one minute film. He then made fifty contact printed copies from each successive version, consciously degrading the film one “generation” at a time. Print Generation is structured so we begin watching obscured images and work toward the original and back again… while the soundtrack of lapping ocean waves does the opposite. The film elegantly addresses the intricacies of memory and time: how we remember, what we remember and how a fleeting ‘home movie’ reveals and recedes.

Tagged: J.J. Murphyexperimental filmContact Printer16mmPrint Generation