Twelve Minute Films by Edward Paolozzi to Be Screened at MOMA

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Twelve Minute Films by Edward Paolozzi to Be Screened at MOMA

he Museum of Modern Art 11 No. 55 est 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modemart Monday, October 5, I96I+ FOR IMMEDIATE RELEASE THE HISTORY OF NOTHING, a 12-minute collage film made by the contemporary British, artist, Eduardo Paolozzi, will be screened at The Museum of Modern Art daily at 2:15 p.m., October 5 through November 10. Paolozzi points out that "this film has no technical innovations; relying mainly on its content, conveyed through elements of surprise — unexpected feelings and strange juxtapositions of image and situation. The language of orthodox surrealism is used in some cases, for example, a collage of machines and objects in rooms. (These collages were done in Hamburg during the period between April i960 and April I96I.) The varied still material is in itself of considerable interest. Certain items have been selected and reinterpreted into screen prints.11 Included are plates from a perforated metal catalogue; views of New York, Sao Paulo and San Remo; a clown and an electronic arm. The accompanying semi-synchronized sound track is drawn from records of church bells, altered jazz, African drums, locomotives, airplanes, etc. The well-known art critic, Dore Ashton, comments that Paolozzi "builds the tex ture of the film in the same way he builds his sculptures. Small details are repeated in slightly different forms throughout. Dominant images, such as an old-walled Italian town perched on a cliff and metamorphosed into a parody of modern war mammoth, are presented at regular intervals, fitted into new circumstances until toward the end they register as parts of a cataclysmic event." The film presented in conjunction with the current Museum of Modern Art exhibi tion of prints and sculpture by Paolozzi, was made in the winter of I96I at the Royal College of Art in London. It is a l6mm black and white film with a running time of 12 minutes. Additional information available from Linda Goldsmith, Department of Public Informatio: The Museum of Modern Art, 11 West 53 Street, New York 10019, N.Y. Circle 5-890O. .

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Eduardo Paolozzi Born Edinburgh, Scotland. 1924 Resident London
Eduardo Paolozzi Born Edinburgh, Scotland. 1924 ResidentLondon Eduardo Paolozziwas visited in London by MT in Octo- really preparedto offer him the kind of freedom or the ber, 1968. When A & T was describedto Paolozzion degreeof accessto their personneland hardwarethat he that occasion,he respondedby expressinginterest in required--thoughthe corporation was equipped techni- working with computers. His work at that time was cally to deal with whatever demandsthe artist might involved in computer-generatedimagery, and thus it was make in the areaof computer graphics.On the evening natural that he should wish to developthese ideas. In after this encounter,Paolozzi telephoned Jane Living- Paolozzi'sletter to us of October 30, he spoke about the ston from his hotel and explainedto her that he saw no areashe visualizedpursuing: point in touring the San Josefacility or bothering It is my intention of bringing a portfolio of schemes further with lBM. Paolozzithen visited Wyle Laborator- in connection with the Los Angelesshow. These ies.He was interviewedby the company's president, schemesare an extension of work concerningimages Frank Wyle [1] ; Gail Scott wrote the following memo and words (ref: the Berkeleycatalogue; Christopher recountingthis event and later discussion: Finch's book Art and Objectsl. You may realizethat I did a certain amount of com- puter researchwhile at Berkeley,but the Art Depart- ment there was unable to extend any of these ideas- which certainly could be realizedwithin the frame- work that we discussedin London during your visit. At the moment, I have an assistantworking on colour mosaicsand endlesspermutations on the grid pattern. This is accordingto my interpretation of current computer literature and can be used in connection with sound experiments.Also the reverse,I under- stand, is possible;which is, soundscan be usedto create patterns.
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