Hollis Frampton Biography. In addition to being an important experimental filmmaker, he was also an accomplished photographer and writer, and in the 1. He is considered one of the pioneers of what has come to be termed structuralism, an influential style of experimental filmmaking that uses the basic elements of cinematic language to create works that investigate film form at the expense of traditional narrative content. Along with Michael Snow and Stan. Brakhage, he is one of the major figures to emerge from the New York avant- garde film community of the 1. Frampton's legendary intellect and equally legendary stubbornness announced themselves early. At the age of 1. 5, he applied on his own volition to the prestigious Phillips Academy and was accepted on a full scholarship. Toward the end of his studies there, he was offered a scholarship to Harvard, only to have it rescinded after he failed to graduate by purposefully failing a required American history class. He spent several years at Western Reserve University in his native Ohio, studying a wide range of subjects but never attaining a degree. In 1. 95. 8, he moved to New York with the intention of becoming a poet, but he soon abandoned that idea in favor of photography. His move to film in the early '6. An Interview with Bruce Baillie From: 'carlos.adriano' To: 'Bruce Baillie' Subject: interview Date: Tue, 22:04:09 Dear Bruce Baillie, Do you remember you've accepted my. The September auction has ended! Winners please visit your shopping cart to complete your purchase. Payment due by September 23. Jonas Mekas (Lithuanian: SATURDAY, SEPTEMBER 17 Presented by KNOW-WAVE. Schedule to be announced. SUNDAY, SEPTEMBER 18 Presented by 8-Ball. Cooper Ray / Tea For Two Jazz and Standards. From roots of bebop and swing era sides thru the early to mid 50s. New York, centered around Jonas. Mekas' Filmmakers Coop. It was Frampton's philosophy that film, at its most fundamental, consists of a series of images that have to be arranged in some way. He saw this as a philosophical problem and believed that arranging images into a narrative was only one of many possible solutions. Instead, he often based the structures of his films on mathematical and scientific concepts. Title Director Cast Genre Notes; 1990 ' 1991 ' 1992: Atostogos: Zefiro Torna: Jonas Mekas: Avant-garde: 1993 ' 1994: Avtobus: 1995: Anna: 1996: Behind the Threshold: Few of Us: The Best In World Cinema - including European, Asian, Silent, documentary, and American Independent titles. Kino Lorber sells videos and dvds directly to customers through its online store and mail order catalog. Prince Ruperts Drops takes its title from an object used in scientific instruction. The title and structure of. Lemma come from. . Frampton was astonishingly well- read, not only in mathematics and science, but in philosophy and literature as well. He was a great admirer of modernist writers Gertrude Stein and James Joyce, and his films reflect a breaking down of film language similar to the revolutionary ways Stein and Joyce reconfigured fictional prose. Like Joyce, Frampton moved from shorter works to much longer ones. After making mostly short films in the '6. Hapax Legomena (which includes his most famous film. Magellan, a 3. 6- hour film meant to be seen at specific intervals over the course of 3. His insights and even. Some. of the tales (related repeatedly, as they were, from memory) perhaps lean toward. The process resulted in satisfaction. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound. That study is far from concluded. Moved to New York in March, 1. People I met there composed the. Began to make still photographs at. Nothing much came of it. First fumblings with cinema began in. Fall of 1. 96. 2; the first films I will publicly admit to making came in early. Worked, for years, as a film laboratory technician. More recently, Hunter. College and the Cooper Union have been hospitable. Moved to Eaton, New York in. I now live (a process enriched and presumably, prolonged, by the. In the case of painting, I believe. I stayed with still photography as long as I did was an attempt. I think, to rid myself of the succubus of painting. Painting. has for a long time been sitting on the back of everyone's neck like a crept. I have seen, in the last year or. I have come to realize are built largely around what I take to. I feel that those films are very foreign to my feeling. As for sculpture, I think a lot of my early convictions about. My experience of sculpture has had a lot to do with my relative. It is a direction- of- endeavor. Something we might call snap cinch retarded this logical. Still photography remains, as. There are, of course, the exceptional. Art; but these do almost certainly center their occasions upon a. In. short, the Art of still photography sits, for the most part, in a rather normal. Romantic trap. The medium itself was almost perfectly designed to approximate. Eureka! Perhaps it was the. Progress which did thus retard the assumptive. The artists did, as always, escape the. Hollis Frampton was never inclined, in this fashion. Romanticism. His temperament must always have demanded. He was never surely temperamentally inclined. Concept was. certainly too huge a consideration for Hollis Frampton to think of it. Concept. must always have been, for him, akin to instantaneous revelation of the. Mathematics. and poetry did surely fascinate him because the assumptive life of both these. Action painting was a natural for his admiration because. The action painters did not often pretend to concept. Hollis had. to exhaust the definite pretensions of still photography for himself. At that time my father was working in a strip coal mine for a dollar and fifteen cents a day. It was. one of the two bottom years of the depression. It was also one of the two times in the history of the U. S. Thirty years later it would make it far easier for me to get a decent job because there are far fewer of me than there are of you so that we're more in demand and, needless to say, the supply being less, the price is higher.! As a child, rarely spoke and was by his own account, . The librarian must have thought it was fairly amusing and anyway she was cordial. While it (the library) was small, it was open stack.. I got hooked off onto hard science at a fairly early age. So that by the time I was nine and they said that they had dropped an atom bomb I had a smattering of what that meant, at least in terms of its physics and technology. The doting uncle gives you, (as) you come downstairs on the Christmas morning of your ninth year, this big, yellow box. It has the little camera in it and a couple rolls of film, MQ developer and hypo and a little tank, etc.. And I really liked it a lot. Still speaks only infrequently: tested at age nine years eleven months and found to have mental age of eighteen years six months. Removed from special education classes and enrolled in classes for gifted children, Wilbur Wright Junior High School. Volunteers at the Cleveland Museum of Natural History. Receives scholarship to classes at Cleveland Museum of Art; studies predominantly life drawing for six semesters. Applies entirely on his own accord to Philips Academy, Andover, Massachusetts; accepted on full scholarship. Classmates included painter Frank Stella ('5. David Behrman ('5. Frederic Rzewski ('5. Carl Andre ('5. 3), who was his roommate the first year. Active in photography club. Interest in art is fostered by painting teacher Patrick Morgan and his wife. Maud, both of whom studied with Hans Hofmann in Munich. Studies German, Latin, then Greek. Introduced by teacher and friend Dudley Fitts to works of Rimbaud, Flaubert. Mallarm. Sees exhibitions of works by action painters and Hans Hofmann at the Addison Gallery of American Art, Phillips Academy. Often goes to New York by train to visit galleries: . She was of course by the mid- early fifties ('5. Street. I made my own first time stop overs in New York at that time.. Seeing Jackson Pollack operating in the flesh was a considerable experience even as far as attitude, not only for an extremely hostile and wickedly smart- ass fifteen- year- old of any persuasion, but for a fifteen- year- old who the year before on his fourteenth birthday had been six feet tall and weighed 1. They agreed to that - I don't know why. Briefly has radio program at Oberlin College. Works for Republic Steel, then Jones and Laughlin Steel Company (in the open hearth). Considers himself a poet . Studies at the Institute of Design, Chicago, in the summers of 1. Becomes interested in literary generation of the 1. Begins correspondence with Ezra Pound in 1. By that time I already had 1. I said that I more or less figured that I would, or something like that. He said in that case I have to tell you that you still have unfulfilled requirements in speech, western civilization, and music appreciation. To which I replied: I already know how to talk, I already know who Napoleon was and I already like music. For that reason I hold no bachelor's degree. I was very sick of school. In fall, moves. to Washington, D. C., where he visits Ezra Pound, then confined to St. Elizabeth's, earned a living by. Washington's only live burlesque theatre - a theatre in. Shakespeare Company that couldn't make it - . Carnegie Library and two blocks from the Greyhound. Station.. I visited Pound nearly every day during this time, while he was. Cantoscalled Section Rock Drill (8. Thrones - and had undertaken, for the benefit of his. At the same time, I came to. I was not a poet. Buchverlag, 1. 92. German anthropologist Leo. Frobenius, a project suggested by Pound (unpublished). Renews correspondence with. Andre, Stella and Rzewski (all now in New York). With Pound's departure. New York in March. Moves to fourth floor walkup apartment at 2. Mulberry. Street, initially shared with Andre and Stella, then with Andre only. My peers were mostly. The people I met were young painters and young sculptors who. Kline and de Kooning had been. Ballantine beer in the Cedar Street Bar.. I finally. decided that while painting was something I respected, and it was very nice that. I didn't like about doing it. It. seemed to be a kind of performance first of all, indeed it certainly was at that. It seemed to have a lot to do with first refining and then expressing (or. The last thing in the world I wanted to do. It is still the last thing. It's almost inevitable. I couldn't entertain the idea of. For awhile I liked the results; I did not. I finally didn't enjoy smearing goo on flat surfaces: it was. Buys Nikon for Christmas. In January, begins to. Andre's work. Works variously as assistant in commercial photo. New York galleries. I liked to. do things with machines so I took up still photography, which seemed to offer. The signature was in such things as framing and tonal scalings. So that one was. not, as it were, the person hovering behind the artifact but rather behind the. And on the other hand, one did not have to.
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