DOCSLIB.ORG

Kelley Mike Foul Perfection Es

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kelley Mike Foul Perfection Es FOULPERFECTION The MIT Press Cambridge, Massachusetts London, England MIKE KELLEY FOULPERFECTION essays and criticism EDITED BY JOHN C. WELCHMAN © 2003 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. This book was set in Frutiger by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Kelley, Mike, 1954– Foul perfection : essays and criticism / Mike Kelley ; edited by John C. Welchman. p. cm. Includes bibliographical references and index. ISBN 0-262-11270-1 (hc. : alk. paper) — ISBN 0-262-61178-3 (pbk. : alk. paper) 1. Kelley, Mike, 1954– —Written works. 2. Kelley, Mike, 1954– —Aesthetics. 3. Art criticism. I. Welchman, John C. II. Title. N6537.K423 A35 2003 700′.92—dc21 2002029391 Mike Kelley, Ectoplasm Photograph (1979). Black and white photograph altered with bleach. 30 ϫ 23 ins. Collection of the artist. Preface viii Introduction by John C. Welchman ix SECTION I Urban Gothic (1985) 2 Empathy, Alienation, the Ivar (1985) 14 Foul Perfection: Thoughts on Caricature (1989) 20 Hollywood Filmic Language, Stuttered: 40 Caltiki the Immortal Monster and Rose Hobart (1992) Filmic Regression: The Baby and Baby Huey (1992) 50 From the Sublime to the Uncanny: 58 Mike Kelley in Conversation with Thomas McEvilley (1993) Playing with Dead Things: On the Uncanny (1993) 70 Cross-Gender/Cross-Genre (1999) 100 CONTENTS SECTION II Mekanïk Destruktï^ Kommandöh: Survival Research 122 Laboratories and Popular Spectacle (1989) Death and Transfiguration [on Paul Thek] (1992) 138 Dyspeptic Universe: Cody Hyun Choi’s Pepto-Bismol Paintings (1992) 150 Marcel Broodthaers (1992) 154 Myth Science [on Öyvind Fahlström] (1995) 158 Shall We Kill Daddy? [on Douglas Huebler] (1997) 178 David Askevold: The California Years (1998) 194 Go West [on the art of John Miller] (1999) 206 Artist/Critic? [on the writings of John Miller] (2002) 220 Index 227 PREFACE This series of books comes as a surprise to me. I was shocked to discover just how much paper I have covered with ink. In my youth I aspired to become a novelist, until I realized I was no good at writing fiction and wisely, I believe, chose to pursue my interests in the visual arts instead. I came to writing through the back door, so to speak—first by writing short statements about my artworks, which developed into “performance art” monologues and, finally, into essays. The es- says were not labors of love, rather they were a response to my dissatisfaction with the way my work was being written about critically. I decided I had to write about my own work if my concerns were to be properly con- veyed. Also, I was not pleased with how contemporary art history was being constructed, so I felt it was my duty to raise my voice in protest and write my own version—whenever I could. In a sense, then, much of my writing was reactive. It never truly seemed that the decision to write was my own. If it weren’t for the urging of my friend John Welchman, this book would not exist. Special thanks to Patrick Painter for his generous support for the provision of illustra- tions. Sadly, though, many of the images that originally accompanied these essays couldn’t be presented here. John and I would also like to thank the following for their assistance in preparing this volume, or for kindly agreeing to allow images of their artworks to be reproduced here: David Askevold, Cody Choi, Darcy Huebler, John Miller, Sharon Avery-Fahlström, Plaster Foundation, Sebastian, Sixth Street Studios, Survival Research Laboratories, Eleanor Antin, John Waters; Emi Fontana, Glenn Bray, Nancy Youdelman, Mimmo Rotella, Catherine Sullivan, Rita Gonzalez, Julia Dagostino, Farhad Sharmini, Tim Martin, Metro Pictures, Alexander and Bonin, Regen Projects, viii the Paul Thek Foundation. Thanks also to the journals, publishers, or institutions that commis- sioned and/or published first or subsequent versions of these writings: Artforum, Grand Street, Parkett, Texte zur Kunst, More & Less, Spectacle, PAJ: A Journal of Performance and Art, C31; Sonsbeek, Arnhem; Steirischer Herbst, Graz; Castello di Rivara, Turin; Deitch Projects, New York; Galerie Hauser & Wirth, Zurich; Cantz Verlag, Ostfildern, and Gesellschaft für Aktuelle Kunst, Bremen; Confederation Centre Art Gallery and Museum, Charlottetown, Prince Edward Island; Palais des Beaux-Arts, Brussels; Magasin, Centre National d’Art Contemporain, Grenoble; JRP Editions, Geneva; and Les presses du réel, Dijon. Mike Kelley, Los Angeles, 2001 INTRODUCTION This is the first of three projected volumes assembling for the first time a diverse selection of Mike Kelley’s writings in the numerous genres, idioms, and styles he has taken on (or invented) during the last quarter of a century. Kelley’s generic range is quite remarkable: it includes “creative” and critical essays for art and alternative journals, essays for exhibition catalogues, artist “statements,” scripts for sound sculptures, libretti, dialogues (real and imagined), performance scripts, mani- festos, numerous interviews (as both interviewer and interviewee), polemics, panel presentations, screening introductions, radio broadcasts, public lectures, CD liner notes, invented case histories, and poster texts. The variety of subjects and issues about which he has written, noted, and talked is equally broad, ranging from commentaries on and additions to his own work and that of teachers, friends, colleagues, and heroes, to meditations on contemporary music, science fiction, and popular culture. He has produced important reflections on the nature of caricature and contemporary dialogues with it; on ideas and effects of the uncanny; and on UFOs, gender-bending, pop psychology, adolescence, repressed memory syndrome, and architecture. Among other issues, his interviews discuss the De- troit underground in the late 1960s, conceptual art, feminism, sexuality, rock music, formalism, the relation between New York and Los Angeles, politics, and the pathetic. And writing itself. I have organized this profusion of vehicles and themes in a manner that I hope is both useful and accessible, but that also acknowledges some of the play, irony, and overlap that abound in Kelley’s work, whether written, performed, videoed, drawn, or installed. The present volume surveys two of the leading aspects of Kelley’s writing, collecting his major critical texts on art, cinema, and the wider culture; and his essays, mostly commissioned for ix exhibition catalogues, on the artists (or art groups) David Askevold, Öyvind Fahlström, Douglas Huebler, John Miller, Survival Research Laboratories, and Paul Thek. Volume II will concentrate on pieces that were integral to Kelley’s own art practices from the mid-1970s to 2002, including his most influential statements and “manifestos”; texts from photo- editions and posters; a sequence of humorous pseudo-psychological interpretations and quasi- fictions; introductions to videos; and writings on architecture and Ufology. A projected third volume will collect, edit, and annotate a selection of scripts for the celebrated series of performances Kelley wrote, directed, and performed or co-performed in the concentrated burst of activity between 1976 and the mid-1980s that established his reputation as one of the most innovative contemporary artists working on the West Coast. Even three volumes will accommodate only part of Kelley’s writings. There is no space for his signature essays, liner notes, and panel discussions of contemporary music, or the large and ex- citing body of interviews, recorded conversations, and broadcasts. While not really known as a writer by many in the art world (in large part because of the multiple geographic and media loca- tions of this work), considering volume alone Kelley takes his place alongside the theory-oriented abstractionists of the historical avant-garde (Wassily Kandinsky, Piet Mondrian, Kazimir Malevich) as one of the most productive artist-writers of the twentieth century—ironic company, perhaps, for an artist engaged in projects in the conceptual vernacular who is “staunchly against the whole idea of nonrepresentational art.”1 This volume begins with “Urban Gothic” (1985), written just a couple of years before Kelley virtually abandoned live performance. With its distinct aural qualities (“spoken word rather than written text”)2 and persona-driven incantations, the piece bears explicit traces of the styles and methodologies Kelley used to develop his performative work, reminding us that from the start his writing took on experimental folds and complexities that matched the material and thematic over- lays of the performances, drawings, and installations. But while the style and form of Kelley’s criti- cal writing modulated after 1985 into a combination of first-person critical opinion, contextual observation, and historical and thematic revisionism, what he once termed the “library work”3 that underwrites almost all of his projects in different media remains a constant resource—“It’s just like doing a research paper,” he once remarked.4 Indeed, Kelley’s commitment to research, compilation, x and citation—what we can term his archival impulse—and its reassemblage, dismantling, or explo- sion comes as close as anything to a center for his intergeneric activities; and the notion of “poetic” concentration, or condensation, emerges as the key figure of this continuity in “idea generation.”5 So while it was never abrupt, the shift from speaking, singing, chanting, or ranting—first improvised, then based on a performance script—to writing texts for publication demanded new forms of attention and reference, as well as a turn in Kelley’s orientation to research. Owing partly to teaching duties in the graduate Fine Arts program at Art Center College of Design, Pasadena,6 he was conscious, in particular, of a move in the mid- and later 1980s from what had been a ha- bitual involvement with historical and avant-garde literature to reading in art history and criticism and cultural theory.
Load more

Recommended publications
  • EM Forster's Howards End and Virginia Woolfs Mrs. Dalloway
    The Metropolis and the Oceanic Metaphor: E.M. Forster's Howards End and Virginia Woolfs Mrs. Dalloway Melissa Baty UH 450 / Fall 2003 Advisor: Dr. Jon Hegglund Department of English Honors Thesis ************************* PASS WITH DISTINCTION Thesis Advisor Signature Page 1 of 1 TO THE UNIVERSITY HONORS COLLEGE: As thesis advisor for Me~~'Y3 ~3 I have read this paper and find it satisfactory. 1 1-Z2.-03 Date " http://www.wsu.edu/~honors/thesis/AdvisecSignature.htm 9/22/2003 Precis Statement ofResearch Problem: In the novels Howards End by E.M. Forster and Mrs. Dalloway by Virginia Woolf, the two authors illwninate their portrayal ofearly twentieth-century London and its rising modernity with oceanic metaphors. My research in history, cultural studies, literary criticism, and psychoanalytic theory aimed to discover why and to what end Forster and Woolf would choose this particular image for the metropolis itselfand for social interactions within it. Context of the Problem: My interpretation of the oceanic metaphor in the novels stems from the views of particular theorists and writers in urban psychology and sociology (Anthony Vidler, Georg Simmel, Jack London) and in psychoanalysis (Sigmund Freud, particularly in his correspondence with writer Romain Rolland). These scholars provide descriptions ofthe oceanic in varying manners, yet reflect the overall trend in the period to characterizing life experience, and particularly experiences in the city, through images and metaphors ofthe sea. Methods and Procedures: The research for this project entailed reading a wide range ofhistorically-specific background regatg ¥9fSter, W661f~ eity of I .Q~e various academic areas listed above in order to frame my conclusions about the novels appropriately.
    [Show full text]
  • Works on Giambattista Vico in English from 1884 Through 2009
    Works on Giambattista Vico in English from 1884 through 2009 COMPILED BY MOLLY BLA C K VERENE TABLE OF CON T EN T S PART I. Books A. Monographs . .84 B. Collected Volumes . 98 C. Dissertations and Theses . 111 D. Journals......................................116 PART II. Essays A. Articles, Chapters, et cetera . 120 B. Entries in Reference Works . 177 C. Reviews and Abstracts of Works in Other Languages ..180 PART III. Translations A. English Translations ............................186 B. Reviews of Translations in Other Languages.........192 PART IV. Citations...................................195 APPENDIX. Bibliographies . .302 83 84 NEW VICO STUDIE S 27 (2009) PART I. BOOKS A. Monographs Adams, Henry Packwood. The Life and Writings of Giambattista Vico. London: Allen and Unwin, 1935; reprinted New York: Russell and Russell, 1970. REV I EWS : Gianturco, Elio. Italica 13 (1936): 132. Jessop, T. E. Philosophy 11 (1936): 216–18. Albano, Maeve Edith. Vico and Providence. Emory Vico Studies no. 1. Series ed. D. P. Verene. New York: Peter Lang, 1986. REV I EWS : Daniel, Stephen H. The Eighteenth Century: A Current Bibliography, n.s. 12 (1986): 148–49. Munzel, G. F. New Vico Studies 5 (1987): 173–75. Simon, L. Canadian Philosophical Reviews 8 (1988): 335–37. Avis, Paul. The Foundations of Modern Historical Thought: From Machiavelli to Vico. Beckenham (London): Croom Helm, 1986. REV I EWS : Goldie, M. History 72 (1987): 84–85. Haddock, Bruce A. New Vico Studies 5 (1987): 185–86. Bedani, Gino L. C. Vico Revisited: Orthodoxy, Naturalism and Science in the ‘Scienza nuova.’ Oxford: Berg, 1989. REV I EWS : Costa, Gustavo. New Vico Studies 8 (1990): 90–92.
    [Show full text]
  • Northern Gothic: Werner Haftmann's German
    documenta studies #11 December 2020 NANNE BUURMAN Northern Gothic: Werner Haftmann’s German Lessons, or A Ghost (Hi)Story of Abstraction This essay by the documenta and exhibition scholar Nanne Buurman I See documenta: Curating the History of the Present, ed. by Nanne Buurman and Dorothee Richter, special traces the discursive tropes of nationalist art history in narratives on issue, OnCurating, no. 13 (June 2017). German pre- and postwar modernism. In Buurman’s “Ghost (Hi)Story of Abstraction” we encounter specters from the past who swept their connections to Nazism under the rug after 1945, but could not get rid of them. She shows how they haunt art history, theory, the German feuilleton, and even the critical German postwar literature. The editor of documenta studies, which we founded together with Carina Herring and Ina Wudtke in 2018, follows these ghosts from the history of German art and probes historical continuities across the decades flanking World War II, which she brings to the fore even where they still remain implicit. Buurman, who also coedited the volume documenta: Curating the History of the Present (2017),I thus uses her own contribution to documenta studies to call attention to the ongoing relevance of these historical issues for our contemporary practices. Let’s consider the Nazi exhibition of so-called Degenerate Art, presented in various German cities between 1937 and 1941, which is often regarded as documenta’s negative foil. To briefly recall the facts: The exhibition brought together more than 650 works by important artists of its time, with the sole aim of stigmatizing them and placing them in the context of the Nazis’ antisemitic racial ideology.
    [Show full text]
  • Early Paintings by Frederic Edwin Church
    Bibliography for The American Landscape's "Quieter Spirit": Early Paintings by Frederic Edwin Church Books and a bibliography of additional sources are available in the Reading Room of the Dorothy Stimson Bullitt Library (SAM, Downtown). Avery, Kevin J. and Kelly, Franklin. Hudson River School visions: the landscapes of Sanford R. Gifford (New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2003). Carr, Gerald L. and Harvey, Eleanor Jones. The voyage of the icebergs: Frederic Church's arctic masterpiece (Dallas: Dallas Museum of Art; New Haven: Yale University Press, 2002). _____. Frederic Edwin Church: the icebergs (Dallas: Dallas Museum of Fine Arts, 1980). _____. In search of the promised land: paintings by Frederic Edwin Church (New York: Berry-Hill Galleries, Inc., 2000). Cock, Elizabeth. The influence of photography on American landscape painting 1839- 1880 (Ann Arbor: UMI Dissertation Services [dissertation], 1967). Driscoll, John Paul et al. John Frederick Kensett: an American master (New York: Worcester Art Museum, 1985). Fels, Thomas Weston. Fire & ice : treasures from the photographic collection of Frederic Church at Olana (New York: Dahesh Museum of Art; Ithaca: Cornell University Press, 2002). Glauber, Carole. Witch of Kodakery: the photography of Myra Albert Wiggins, 1869- 1956 (Pullman: Washington State University Press, 1997). Harmon, Kitty. The Pacific Northwest landscape: a painted history (Seattle: Sasquatch Books, 2001). Hendricks, Gordon. Albert Bierstadt: painter of the American West (New York: H. N. Abrams, 1974). Howat, John K. The Hudson River and its painters (New York: Viking Press, 1972). Huntington, David C. The landscapes of Frederic Edwin Church: vision of an American era (New York: G.
    [Show full text]
  • Apatoons.Pdf
    San Diego Sampler #3 Summer 2003 APATOONS logo Mark Evanier Cover Michel Gagné 1 Zyzzybalubah! Contents page Fearless Leader 1 Welcome to APATOONS! Bob Miller 1 The Legacy of APATOONS Jim Korkis 4 Who’s Who in APATOONS APATOONers 16 Suspended Animation Special Edition Jim Korkis 8 Duffell's Got a Brand New Bag: San Diego Comicon Version Greg Duffell 3 “C/FO's 26th Anniversary” Fred Patten 1 “The Gummi Bears Sound Off” Bob Miller 4 Assorted Animated Assessments (The Comic-Con Edition) Andrew Leal 10 A Rabbit! Up Here? Mark Mayerson 11 For All the Little People David Brain 1 The View from the Mousehole Special David Gerstein 2 “Sometimes You Don’t Always Progress in the Right Direction” Dewey McGuire 4 Now Here’s a Special Edition We Hope You’ll REALLY Like! Harry McCracken 21 Postcards from Wackyland: Special San Diego Edition Emru Townsend 2 Ehhh .... Confidentially, Doc - I AM A WABBIT!!!!!!! Keith Scott 5 “Slices of History” Eric O. Costello 3 “Disney Does Something Right for Once” Amid Amidi 1 “A Thought on the Powerpuff Girls Movie” Amid Amidi 1 Kelsey Mann Kelsey Mann 6 “Be Careful What You Wish For” Jim Hill 8 “’We All Make Mistakes’” Jim Hill 2 “Getting Just the Right Voices for Hunchback's Gargoyles …” Jim Hill 7 “Animation vs. Industry Politics” Milton Gray 3 “Our Disappearing Cartoon Heritage” Milton Gray 3 “Bob Clampett Remembered” Milton Gray 7 “Coal Black and De Sebben Dwarfs: An Appreciation” Milton Gray 4 “Women in Animation” Milton Gray 3 “Men in Animation” Milton Gray 2 “A New Book About Carl Barks” Milton Gray 1 “Finding KO-KO” Ray Pointer 7 “Ten Tips for Surviving in the Animation Biz” Rob Davies 5 Rob Davies’ Credits List Rob Davies 2 “Pitching and Networking at the Big Shows” Rob Davies 9 Originally published in Animation World Magazine, AWN.com, January 2003, pp.
    [Show full text]
  • Double Embodiments
    6 DOUBLE EMBODIMENTS Felix Gonza lez-To rres's Certifi cate s AKING A SHEET OF PAPER OR A WRAPPED candy from a stack or pile by Felix Gonzalez-Torres ranks among T the most iconic contemporary art experiences (fig. 81). Even when one is told that the artist wanted viewers to break the "no touch" rule defining museum and gallery spaces, part ici­ pation feels transgressive . At least one viewer described feeling crimina lly complicit, nervously "scanning the exhibition space for surveillance cameras ."1 Others take candies by the handfu l (teenage boys are particularly eager). Audiences familiar with the story behind "Untitled" (Portrait of Ross in L.A.) take candy reverently, as if paying their respects to a grave in reverse. When the paper stacks are low, viewers sometimes take a sheet only to return it later, as if unwilling to deny someone else the oppor­ tunity of engagement. Massed into neat stacks or herded into a comer, the paper stacks and candy spills recall the rigorous geom­ etry of Minimalist sculpture. The rigor promises us, as critic Jennifer Doyle writes of museum and gallery experiences, free­ dom from "the burdens of an emotional life."2 But as the piles 191 FIGURE 8 1 Foreground: Felix Gonzalez-Torres , "Untitled," 19 89/90 . Print on paper, endless copies . 26 inch es (at ideal height) x 29 x 23 inches (original paper size). Background: Felix Gonzalez-Torres, "Untitled" (ForJ eff), 1992. Billboard , dimensions variable. Installation view: "Felix Gonzalez-Torres: This Place," Metropolitan Arts Centr e, Belfast, 2015-2016. © Felix Gonzalez-Torres Foundation.
    [Show full text]
  • PDF Free Rip Kirby Volume 1
    Register Free To Download Files | File Name : Rip Kirby Volume 1 PDF RIP KIRBY VOLUME 1 Tapa dura 1 diciembre 2009 Author : Alex Raymond Descripcin del productoCrticas"A treasure not to be missed." --ScoopBiografa del autorAlex Raymond (1909-1956) is regarded, with Milton Caniff and Hal Foster, as one of the three giants of newspaper adventure strip artists. Raymond apprenticed with Chic Young on Blondie, and Lymon Young on Tim Tyler's Luck. The year 1934 was a major turning point in his career: he illustrated X- 9, a new detective comic strip written by Dashiell Hammett, and then created Flash Gordon and Jungle Jim. Rip Kirby, created in 1946, signaled a grand departure, both thematically and artistically, from the science fiction classic. He promulgated a new art style--one of cinematic photo-realism--that influenced such artists as Stan Drake, Leonard Starr, Al Williamson, and Neal Adams. Great art, good printing IDW produced another great book, beautifully crafted, with an interesting essay on Alex Raymond and Rip Kirby. Every effort was made to find the best sources for the dailies: it's a pity that they are not - apparently - syndicated proofs; very few are from original art (the first week and some others); the bulk is made of pretty good reproductions, some from second generation sources; some are not so good... I wonder: where are the KFS proofs?Forgive my English Five Stars Presenting the first volume of Alex Raymond's modernist classic Rip Kirby from its start in 1946. Created by Alex Raymond when he was deactivated from the Marines after World War II, Rip Kirby was a fresh approach to the genre, a departure from the prevailing hard-boiled style of detective fiction.
    [Show full text]
  • Sito STORIA2 RS INGLESE REVISED
    You may download and print this text by Roberta Serpolli, solely for personal use THE PANZA COLLECTION STORY “The Panza Collection is entirely a couple’s affair. When my wife Giovanna and I discover works by a new artist, I look at her and she looks at me. I can see in her eyes if she wants to buy or not. So even between my wife and me, ‘looking’ is an issue.” Giuseppe Panza, 20091 Giuseppe Panza di Biumo, along with his wife Giovanna, is recognized as one of the world’s foremost collectors of contemporary art. The collection, originally composed of around 2,500 works of art, is mainly representative of the most significant developments in American art from post- World War II to the 21st century. Along with a need to fulfill spiritual and inner quests, both intuition and reflection have inspired the collectors’ choice that would demonstrate, retrospectively, their far- sightedness. By devoting themselves to an in-depth focus on emerging artists and specific creative periods, the Panzas contributed to acknowledging the new art forms among both the general public and the art market. The Beginnings of the Collection: On the Road to America The collection ideally began in 1954 when Giuseppe, at the age of thirty years, traveled to South America and the United States, from New York to Los Angeles, where he discovered the continents’ captivating vitality of economy and culture. Upon his return to Milan, he felt the need to take part in the international cultural milieu. In 1955, shortly after his marriage with Giovanna Magnifico, Giuseppe purchased his first work of art by Italian abstract painter Atanasio Soldati.
    [Show full text]
  • Lackawanna Valley
    MAN and the NATURAL WORLD: ROMANTICISM (Nineteenth-Century American Landscape Painting) NINETEENTH-CENTURY AMERICAN LANDSCAPE PAINTING Online Links: Thomas Cole – Wikipedia Hudson River School – Wikipedia Frederic Edwin Church – Wikipedia Cole's Oxbow – Smarthistory Cole's Oxbow (Video) – Smarthistory Church's Niagara and Heart of the Andes - Smarthistory Thomas Cole. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm), 1836, oil on canvas Thomas Cole (1801-1848) was one of the first great professional landscape painters in the United States. Cole emigrated from England at age 17 and by 1820 was working as an itinerant portrait painter. With the help of a patron, he traveled to Europe between 1829 and 1832, and upon his return to the United States he settled in New York and became a successful landscape painter. He frequently worked from observation when making sketches for his paintings. In fact, his self-portrait is tucked into the foreground of The Oxbow, where he stands turning back to look at us while pausing from his work. He is executing an oil sketch on a portable easel, but like most landscape painters of his generation, he produced his large finished works in the studio during the winter months. Cole painted this work in the mid- 1830s for exhibition at the National Academy of Design in New York. He considered it one of his “view” paintings because it represents a specific place and time. Although most of his other view paintings were small, this one is monumentally large, probably because it was created for exhibition at the National Academy.
    [Show full text]
  • Department of Film and Video Archive
    Department of Film and Video archive, Title Department of Film and Video archive (fv001) Dates 1907-2009 [bulk 1970-2003] Creator Summary Quantity 200 linear feet of graphic material and textual records Restrictions on Access Language English Kate Barbera PDF Created January 20, 2016 Department of Film and Video archive, Page 2 of 65 Carnegie Museum of Art (CMOA) established the Film Section (subsequently, the Section of Film and Video and the Department of Film and Video) in 1970, making it one of the first museum-based film departments in the country. As part of the first wave of museums to celebrate moving image work, CMOA played a central role in legitimizing film as an art form, leading a movement that would eventually result in the integration of moving image artworks in museum collections worldwide. The department's active roster of programmingÐfeaturing historical screenings, director's retrospectives, and monthly appearances by experimental filmmakers from around the worldÐwas a leading factor in Pittsburgh's emergence in the 1970s as ªone of the most vibrant and exciting places in America for exploring cinema.º (Robert A. Haller, Crossroads: Avant-garde Film in Pittsburgh in the 1970s, 2005). The museum also served as a galvanizing force in the burgeoning field by increasing visibility and promoting the professionalization of moving image art through its publication of Film and Video Makers Travel Sheet (a monthly newsletter distributed to 2,000 subscribers worldwide) and the Film and Video Makers Directory (a listing of those involved in film and video production and exhibition) and by paying substantial honoraria to visiting filmmakers.
    [Show full text]
  • Une Bibliographie Commentée En Temps Réel : L'art De La Performance
    Une bibliographie commentée en temps réel : l’art de la performance au Québec et au Canada An Annotated Bibliography in Real Time : Performance Art in Quebec and Canada 2019 3e édition | 3rd Edition Barbara Clausen, Jade Boivin, Emmanuelle Choquette Éditions Artexte Dépôt légal, novembre 2019 Bibliothèque et Archives nationales du Québec Bibliothèque et Archives du Canada. ISBN : 978-2-923045-36-8 i Résumé | Abstract 2017 I. UNE BIBLIOGraPHIE COMMENTÉE 351 Volet III 1.11– 15.12. 2017 I. AN ANNOTATED BIBLIOGraPHY Lire la performance. Une exposition (1914-2019) de recherche et une série de discussions et de projections A B C D E F G H I Part III 1.11– 15.12. 2017 Reading Performance. A Research J K L M N O P Q R Exhibition and a Series of Discussions and Screenings S T U V W X Y Z Artexte, Montréal 321 Sites Web | Websites Geneviève Marcil 368 Des écrits sur la performance à la II. DOCUMENTATION 2015 | 2017 | 2019 performativité de l’écrit 369 From Writings on Performance to 2015 Writing as Performance Barbara Clausen. Emmanuelle Choquette 325 Discours en mouvement 370 Lieux et espaces de la recherche 328 Discourse in Motion 371 Research: Sites and Spaces 331 Volet I 30.4. – 20.6.2015 | Volet II 3.9 – Jade Boivin 24.10.201 372 La vidéo comme lieu Une bibliographie commentée en d’une mise en récit de soi temps réel : l’art de la performance au 374 Narrative of the Self in Video Art Québec et au Canada. Une exposition et une série de 2019 conférences Part I 30.4.
    [Show full text]
  • Cartooning America: the Fleischer Brothers Story
    NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms.
    [Show full text]