Tuesday, October 28, 2008

Journal

I read an article about specific artists discussing films that have influenced them. The one I read was from the September issue, it was about Babette Mangolte. It didn't list an author for this article, however. She had mentioned that one of the films that influenced her was "Man with a Movie Camera" by Dziga Vertov. She said that this movie inspired her to give up mathematics and apply for film school. She also said how the film "Wavelength" by Michael Snow was the reason she came to New York to make movies. I enjoyed this article because I feel like there is a movie or a few movies for everyone that inspired them to do film. I feel like everyone has a moment when they realized they wanted to do film or be involved with film somehow. I also read an article by Michael Bracewell called "Seeing is Believing". It was about an artist, Bridget Riley, and her research into relationships between form, composition, and visual perception. It discusses paintings she has done which consisted of black and white lines and how it was a result of traumas in her life. I think it's interesting to see art pieces that are so abstract and yet there is alot of meaning behind it and thought, when someone could simply look at it and say its just a bunch of shapes and lines.

1 comment:

Carl Bogner said...

Hey Sarah -
A range of artists and media considered here. Good. In many ways your comments are about the viewer - either those who were influenced by films, or those who are stumped, moved, or unmoved by abstract art. (Different ways of viewers completing the work.)

I'd like to hear more from you in these posts: this is a bit cursory, remains on the surface of the work read. I wouldn't need much more to get a sense of your greater engagement. Regarding Mangolte's comment - and I love that feature of Frieze - what film or films, for instance,have inspired you to study film? (Can one be inspired by something other than film? )

Regarding the Bracewell article, can you detail how the black and white lines relate to, reveal, or mask, the trauma in Riley's life? Why doe she choose abstraction, do you think? What does it make you think of the abstraction in films we have seen in class - like Gatten's or Leuteneker's - or Cauleen Smith's?

I ask these questions as a way of offering models of additional ways for you to consider your readings. For the next round I'd like to see more from you. I respect you find these articles "interesting" but amplify why, take your initial reactions further and engage with the articles more.

Again, I like the range evident in the selection of articles chosen here. Would just like to her more of you.

Carl