Hamaca paraguaya - Paz Encina, 2006, 35mm
When Jean-François Millet paints two peasants praying in a field and calls it The Angelus, the title matches the reality.--Jean-Luc Godard & Anne-Marie Miéville, The Old Place, 1999.
The Hay Trussers - Jean-François Millet, 1850-51
NÕ - Sharon Lockhart, 2003, 16mm
The Old Place - JLG & Anne-Marie Miéville, 1999, video
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Today you don't see the image, you see what the title says about it. It's modern advertising.--JLG & Anne-Marie Miéville, The Old Place, 1999.
1 comment:
Last grab from The Old Place features Picabia's Portrait of an American Girl in a State of Nudity (1915).
Related: "At Barbara Gladstone [March - April 2003] NO was presented not simply as a movie but as a work of photographic art of equal value with the other works on display. An edition of six prints of NO was listed on sale at $30,000 per print. The idea of paying $30,000 for a print of a thirty-five-minute, 16mm film is rife with irony, even paradox. Of course, to strike a print of NO at a lab would cost a pittance compared with the sale price (though for most critical filmmakers, even established figures like Ernie Gehr or Peter Hutton, the cost of making prints causes considerable stress); and a half-hour 16mm print would rent for $50 to $100. But by refusing to strike more than a few prints, Barbara Gladstone has defied film’s heritage as a mechanically reproducible medium and has synthetically limited its distribution as a film in order to maximize its value as an artifact." (Scott MacDonald, A Critical Cinema 5, 2006, p.314).
[I fear it's the nature of NO's realism that so easily commands a price.]
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