Charlotte Zwerin, 72, Maker of Documentaries on Artists
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'N' Roll: the Rolling Stones in Film
it’s only rock ’n’ roll: the rolling stones in film - artforum.com / ... http://artforum.com/inprint/issue=201209&id=36146 dleopard59 log out ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE follow us search ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM 中文版 DIARY PICKS NEWS VIDEO FILM SLANT A & E IN PRINT NOVEMBER 2012 IT’S ONLY ROCK ’N’ ROLL: THE ROLLING STONES IN FILM SUBSCRIBE recent issues May 2013 April 2013 March 2013 February 2013 Robert Frank, January 2013 Cocksucker Blues, 1972, 16 mm, color and black- December 2012 and-white, sound, 93 November 2012 minutes. Mick Jagger. Archive to 1962 Photo: Photofest. As the “world’s greatest rock ’n’ roll band” celebrates its golden jubilee this year, the Museum of Modern Art in New York pays tribute with a heady cinematic survey: “THE ROLLING STONES: 50 YEARS OF FILM” (NOVEMBER 15–DECEMBER 2). But 2012 marks another anniversary as well. Forty years ago, the Stones embarked on a legendary tour to promote their new album, Exile on Main St., and they engaged two very different filmmakers—Robert Frank and Rollin Binzer—to document the affair on celluloid, producing wildly divergent results: Cocksucker Blues and Ladies and Gentlemen: The Rolling Stones, respectively. Film historian DAVID E. JAMES traces the events that would ultimately transform the band’s extraordinary engagement with the medium—and with the very public on which not only their stardom but their cultural significance depended. WITH THE BEATLES’ FINAL PERFORMANCE on the roof of the Apple Records building at the beginning of 1969, documented in Michael Lindsay-Hogg’s film Let It Be (1970), the Rolling Stones’ claim to being the greatest rock band in the world was now uncontested. -
Hill to Bay, Land and Water: Christo and Jeanne-Claude and American Environmentalism
Hill to Bay, Land and Water: Christo and Jeanne-Claude and American Environmentalism Jobyl A. Boone After four years of planning and preparation, the panels of early 1980s, by which time a more experienced and unified Christo and Jeanne Claude’s Running Fence, Sonoma and environmental movement had adopted more sophisticated Marin Counties, California, 1972-1976 were unfurled. The strategies of operation for greater efficacy in the promotion eighteen-foot tall ribbon of white, nylon fabric wound its of their agenda. way over U.S. Route 101 and meandered more than twenty- It is in the context of these developments that this paper four miles through the rolling hills north of Petaluma, before considers Running Fence and Surrounded Islands through extending into the Pacific Ocean at Bodega Bay (Figure 1). the lens of the growth and maturity of the modern environ- Seven years later, the artists’ Surrounded Islands, Biscayne mental movement in the United States. These two projects Bay, Greater Miami, Florida, 1980-1983 was completed. bracket a moment of significant change in the American For two weeks in May, seven miles of Miami’s Intracoastal environmental movement and in associated attitudes about Waterway were energized by pink polypropylene coronas environmental responsibility and advocacy which occurred encircling eleven small, “spoil islands” sprinkled along the between the early 1970s and the early 1980s. The base bay on a north-south axis between Miami and Miami Beach of the environmental community’s activities shifted in this (Figure -
19.2 Evidence Monk.Pdf
Black Music Research Journal Center for Black Music Research Columbia College Chicago Volume 19, #2 (Autumn 1999) Evidence: Monk as Documentary Subject By Krin Gabbard © 1999 Krin Gabbard Reprinted by permission of the Black Music Research Journal All rights reserved EVIDENCE: MONK AS DOCUMENTARY SUBJECT KRIN GABBARD For those familiar with Thelonious Monk only through recordings, the experience of first seeing him perform on film can be startling. The out- rageous hats, the splayed fingers, the sucked-in cheeks, the spastic danc- ing-all of it suggests a character with a story that goes well beyond the music. Yet for many years, Monk has been consistently presented as an inscrutable figure who could only be known through his music.' At least one filmmaker simply gave up trying to make sense of his puzzling exte- rior: when Bert Stem filmed the 1958 Newport Jazz Festival for Jazz on a Summer's Day (1958), he kept cutting away to shots of yacht races during the pianist's performance of "Blue Monk"; Monk is onscreen for less than thirty seconds. More ambitious filmmakers have extended a more search- ing gaze in three documentaries that provide strikingly different approaches to how Monk might be understood. The title of Matthew Seig's 1991 documentary is itself significant; Thelonious Monk: American Composer presents a dedicated artist and family man who created a spir- 1. With one exception, Monk's English-language biographers and commentators have concentrated more on his music than on his life. Like many books devoted to a single jazz artist, Fitterling's (1997) book is more of an annotated discography than a biography of Monk. -
“Direct Cinema Is Anything but a Fly on the Wall”: a Conversation with Albert
i i i i DOI: 10.20287/doc.d20.en1 “Direct cinema is anything but a fly on the wall”: a conversation with Albert Maysles Frank Verano* Albert Maysles, along with his brother David, was a pioneer in American observational documentary in the early 1960s. Revolutionary technological breakthroughs developed by Maysles, producer Robert Drew, and filmmakers Ricky Leacock and D.A. Pennebaker allowed sound and image to be recorded in complete synchronization independent of any physical connectivity; this provided filmmakers a manageable mobility that positioned them to observe and interact with the world in a new way in pursuit of a new cinematic realism. In 1964, Albert coined a term for their practice, which thus distinguished it from the arbitrarily-applied misnomer cinéma vérité: direct cinema. With Albert behind the camera and David recording sound, the Maysleses sought a modern cinematic expression of both the everyday and the extraordi- nary that emphasized a spontaneous present-ness. Their early work exploring performativity and lives on the run set the stage: (Showman [1963], What’s Happening! The Beatles in the USA [1964], Cut Piece [1965], Meet Marlon Brando [1966] and A Visit With Truman Capote [1966]). Cut Piece was just the beginning of the Maysleses’ new cinematic engagement with modern art, which continued in the 1970s in a series of films with Christo and Jeanne- Claude: Christo’s Valley Curtain (1974), Running Fence (1978) and Islands (1986). Their suite of films in the late 1960s and early ’70s represents a furthe- ring of the concept of direct cinema, with an increased emphasis on reflexivity in each. -
Presentation for Christo and Jeanne Claude
Presentation for Christo and Jeanne Claude I Slide 1 A fun idea: You may want to wrap an object or package before the presentation. You can wrap it in plain fabric, white paper or colored wrapping paper. Make a big show of it and put it in a conspicuous place when you walk into the room on the day of the presentation. Do not mention it or refer to it. Do the students seem curious? How long before someone asks about it? Is the fact that they do not know what is inside intriguing? Does it make the object more interesting? As most of you know, in Art in the Classroom we look at art and discuss works of art. What is art to you? Let the children give their ideas. Some definitions you might suggest: Expression of what is beautiful Use of skill and creative imagination Art is something out of the ordinary, always incorporating new ideas and techniques. If it wasn’t, wouldn’t it be boring? Slide 2 Show Mona Lisa, Monet’s Bridge at Argentueil and “Yellow Store Front” by Christo Which of these is art? Let the children voice their ideas. What if I told you that they are all art? Today we are going on a trip around the world to look at a pair of artists that do very creative work on a very large scale. They transform the ordinary into something that makes people stop and look at things in a different way. Slide 3 Show “Wrapped bottles and cans” and “wrapped object” Can anyone tell me what these objects are? Is this how you normally see them? What is your initial reaction to it? What could be in the package on the right? Does it make you think and wonder? Why would an artist want to express themselves by wrapping or covering something? What comment would they be making? When we look at art, some of the tools we use to talk about it are the Elements of Art: Color, light, line, shape, texture and space (composition). -
Charlotte Zwerin, 72; Worked on Stones Film 'Gimme Shelter' - Los Ang
Charlotte Zwerin, 72; Worked on Stones Film 'Gimme Shelter' - Los Ang... https://www.latimes.com/archives/la-xpm-2004-jan-31-me-zwerin31-stor... Charlotte Zwerin, who was in the vanguard of American documentary filmmaking for four decades as an editor and director and who collaborated with David and Albert Maysles on the landmark “Gimme Shelter,” has died. She was 72. Zwerin, whose documentaries frequently focused on visual artists and jazz legends, died of lung cancer Jan. 22 at her home in Manhattan. Zwerin’s talent for structuring narratives in the editing room earned her a co-director credit after she edited the Maysleses’ documentaries “Meet Marlon Brando” and “A Visit with Truman Capote” (both 1966). “When it comes to editing documentary material, she was the best by far,” Albert Maysles told The Times this week. Zwerin’s most notable collaborations with the Maysles brothers as co-director were “Salesman” (1969), a feature-length chronicle about four Boston-based door-to-door Bible salesmen; and “Gimme Shelter” (1970), a feature-length documentary on the Rolling Stones’ 1969 American tour. The tour ended with the Stones’ notorious free concert at Altamont Speedway in Livermore, Calif., where members of the Hells Angels, serving as security guards, brawled with out-of- control fans in the crowd of 300,000 and stabbed a black teenager to death after the youth charged the stage with a gun. After learning that the Rolling Stones wanted to view footage of the concert, Zwerin suggested to 1 of 5 9/8/2019, 2:11 PM Charlotte Zwerin, 72; Worked on Stones Film 'Gimme Shelter' - Los Ang.. -
November 2013 Master Calendar of Cultural Events & Activities
July 2014 Master Calendar of Cultural Events & Activities Cultural Services Department, City of Albuquerque Richard J. Berry, Mayor ABC Libraries Albuquerque Museum ABQ BioPark Balloon Museum Aquarium KiMo Theatre Botanic Garden Old Town Tingley Beach South Broadway Cultural Center Zoo Special Events CONTENTS Events & Activities – All Venues Pages 1-11 Exhibitions Page 11-12 Library programs - kids, teens, tweens, etc. Page 13-18 Ongoing programs for children and families Page 18 Ongoing events at your library Pages 18-24 Venues – locations and hours Page 24-25 EVENTS & ACTIVITIES – ALL VENUES 1 Main Library Military Research Day Tuesday 10:30 am – 2:30 pm Members of the Albuquerque Genealogical Society will be on hand to help you explore your family’s military history, and you will learn more about the military resources available from the Genealogy Center. This program features a discussion, Q/A session, and the opportunity to do your own research. Come for the whole time, or just drop in for a while. 2 Albuquerque Museum Free Wednesday: Film Series Wednesday 11 am Presented in conjunction with the Christo and Jeanne Claude: The Tom Golden Collection exhibition, please join us for a series of films by acclaimed documentary filmmakers Albert and David Maysies (Gimme Shlelter, Grey Gardens). The films dramatically explore the creation, installation and grandeur of the artists’ large-scale temporary works. The program is free. 2 KiMo Theatre Marilyn!!: Gentlemen Prefer Blondes (1954) Wednesday 7 – 8:30 pm Marilyn Monroe, Jane Russell and Charles Coburn star in this frothy tale of two singers, best friends Lorelei Lee and Dorothy Shaw, who travel to Paris pursued by a private detective hired by Lorelei’s fiancé’s disapproving father. -
The Tom Golden Collection
The Tom Golden Collection 2001.51.1 “Running Fence‐‐Project for Sonoma and Marin Counties." Artist: Christo, 1974. Original drawing collage for Running Fence project. Signed: "CHRISTO, 1974", (lower left above title). L 28 x W 22. 2001.51.2 “Wrapped Walk Ways‐‐Project for Loose Park, Kansas City, Missouri." Artist: Christo, 1978. Original collages photograph by Wolfgang Volz. Signed: "CHRISTO, 1978" (Right 2001.51.3.1 “Surrounded Islands‐‐Project for Biscayne Bay, Greater Miami, Florida." Artist: Christo, 1983. Collage with fabric, pastel, charcoal, pencil, crayon, enamel paint, fabric sample, and aerial photograph. TWO PARTS (A‐B). Signed: "CHRISTO, 1983" (lower right 2001.51.3.2 “Surrounded Island Project for Biscayne Bay, Greater Miami, Florida." Artist: Christo, 1983. Collage with fabric, pastel, charcoal, pencil, crayon, enamel paint, fabric sample, and aerial photography. Two of two parts. Signed: "CHRISTO 1983" (lower right on sample fabric.) 2001.51.4 “The Pont Neuf, Wrapped‐‐Project for Paris." Artist: Christo, 1979. Collages photograph (pencil, enamel paint, crayon, charcoal, and photograph by Wolfgang Volz on paper). Signed: "CHRISTO, 1979" (Lower left). 2001.51.5 "For Tom Sept, 1985 Paris." Original instructional ink sketch is of a lamp post of Christo and Jeanne‐Claude, The Pont Neuf, Wrapped (Project for Paris). Artist: Christo, 1985. Signed across the bottom "For Tom Sept, 1985 Paris CHRISTO." 2001.51.6 "For Tom, With Love, Many Thanks." Artist: Christo, 1985. Original sketch was done to show how four barrel sculptures were to be reassembled in Basel, Switzerland and be photographed for documentation by Eeva‐Enkeri for Christo and Jeanne‐Claude. -
Appendix Screenings and Additional Resources
Appendix Screenings and Additional Resources The analyses of various films and television programmes undertaken in this book are intended to function ‘interactively’ with screenings of the films and programmes. To this end, a complete list of works to accompany each chapter is provided below. Certain of these works are available from national and international distribution companies. Specific locations in the United States, the United Kingdom and Australia for each of the listed works are, nevertheless, provided below. The entries include running time and format (16 mm, VHS, or DVD) for each work. (Please note: In certain countries films require copyright clearance for public screening.) Also included below are further or additional screenings of works not analysed or referred to in each chapter. This information is supplemented by suggested further reading. 1 ‘Believe me, I’m of the world’: documentary representation Further reading Corner, J. ‘Civic visions: forms of documentary’ in J. Corner, Television Form and Public Address (London: Edward Arnold, 1995). Corner, J. ‘Television, documentary and the category of the aesthetic’, Screen, 44, 1 (2003) 92–100. Nichols, B. Blurred Boundaries: Questions of Meaning in Contemporary Culture (Bloomington: Indiana University Press, 1994). Renov, M. ‘Toward a poetics of documentary’ in M. Renov (ed.), Theorizing Documentary (New York: Routledge, 1993). 2 Men with movie cameras: Flaherty and Grierson Nanook of the North, Robert Flaherty, 1922. 55 min. (Alternative title: Nanook of the North: A Story -
MCASD Annualreport FY14 Si
Cover: Liza Lou, Color Field (detaiL), 2010-2013, gLass beads, stainLess steeL, PersPex, 20’ x 20’ (dimensions variabLe). Courtesy the artist. Photo: PabLo mason © Liza Lou 2010-2013 / this Page: LiLiana Porter, el pintor (detaiL), 2007, 3 15/16 x 1 15/16 x 1 15/16 in. ColleCtion museo tamayo arte ContemPoráneo INBA-CONACuLTA. © 2008 LiLiana Porter , image Courtesy of barbara KraKow gallery, boston Table of ConTenTs Letter from the director ............................................................ 4 exhibitions > La Jolla ................................................................... 8 exhibitions > downtown .............................................................10 acquisitions ................................................................................... 12 education Programs ..................................................................28 membership ..................................................................................38 fundraisers .................................................................................. 40 Contributions ...............................................................................42 donors ........................................................................................... 44 board of trustees ...................................................................... 46 staff ................................................................................................ 48 financial statements ................................................................ 50 reflecting -
Hofstra University Film Library Holdings
Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. -
The Inventory of the David Maysles Collection #1763
The Inventory of the David Maysles Collection #1763 Howard Gotlieb Archival Research Center Maysles, David #1763 1/4/10 Preliminary Listing I. Film and Video. Box 1 A. VHS tapes unless noted; may include DVD. [Loose] 1. “The Beatles: The First U.S. Visit - Long Version,” runtime 81:10, 1991. 2. “Celia - Respect - Girls Just Wanna Have Fun – Funky Cold Medina,” n.d. 3. “Christo In Paris,” runtime 58 minutes, 2 copies, 1990; includes English subtitled version. 4. “Christo’s Islands,” runtime 57 minutes, 1986. 5. “Christo’s Running Fence,” runtime 58 minutes, 1978. 6. “Christo’s Umbrellas,” runtime 80 minutes, 1995. 7. “Christo’s Valley Curtain,” 28 minutes, 1974. 8. “Conversation with the Rolling Stones,” runtime 23:45, 1994. 9. “DCM Memorial Piece – Maysles Films,” runtime 18:30, 1/28/87. 10. “DCM Memorial Service,” n.d. 11. “Gimme Shelter: The Rolling Stones,” 2 copies, 1970; includes digitially remastered verison, 2000. 12. “Grey Gardens,” runtime 94 minutes, 2 copies, 1974. 13. “The Independent Film Festival of Boston Celebrates the Career Achievements of Albert and David Maysles,” DVD, 4/23/05. 14. “International Documentary Association 10th Annual Lifetime Achievement Awards - Albert and David Maysles,” 10/28/94. 15. “Music of the Sixties - Pilot, with David and Albert Maysles - Tom Bywaters Productions, Inc.” n.d. 16. “Orson Welles - Spain,” runtime 9:45, 1996. 17. “Primary: A Time/Life Film by Richard Leacock, Albert Maysles, D.A. Pennebaker, T. McCarthy-Filton,” n.d. 18. “Salesman,” n.d. 19. “Showman,” runtime 53 minutes, black and white, 1963. 20. “To The Best: The Men and Women of Chrysler,” n.d.