Lamplightings: Masters of Abstract Animation
Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.
Lamplightings
Masters of Abstract Animation
Various Directors
Sunday, June 7, 1 pm
Free, first come, first served
Throughout the history of cinema, filmmakers have repeatedly sought to push outside of the bounds of the camera’s lens. With the use of animation, artists were able to break away from the photographic image and soon after began to step into the world of abstraction. In this program a selection of exemplary works has been drawn together demonstrating the many methods some of these artists have used to defy representation. Techniques including the use of a mechanical computer (Permutations), collage (Film Nos. 1-5, 7, & 10), drawing directly on film (Color Cry), and meticulous hand-drawn animation (Heavy-Light and Fuji) all produce distinct and irreplicable visual phenomena that can only be translated onto celluloid. A highly direct form of cinematic art, abstract animation is a deeply emotive yet oft overlooked throughline in experimental film. 1952-1980, U.S., 16mm, 61 minutes.
Film Nos. 1-5, 7, & 10 (Early Abstractions)
Directed by Harry Smith
c. 1965, U.S., 16mm, 23 minutes
Fuji
Directed by Robert Breer
1974, U.S., 16mm, 9 minutes
Permutations
Directed by John Whitney
1968, U.S., 16mm, 8 minutes
Color Cry/Rhythm/Free Radicals/Tal Farlow/Particles In Space
Directed by Len Lye
1952-1980, U.S., 16mm, 14 minutes
Heavy-Light
Directed by Adam Beckett
1973, U.S., 16mm, 7 minutes
Lamplightings
Masters of Abstract Animation
Various Directors
Sunday, June 7, 1 pm
Free, first come, first served
Throughout the history of cinema, filmmakers have repeatedly sought to push outside of the bounds of the camera’s lens. With the use of animation, artists were able to break away from the photographic image and soon after began to step into the world of abstraction. In this program a selection of exemplary works has been drawn together demonstrating the many methods some of these artists have used to defy representation. Techniques including the use of a mechanical computer (Permutations), collage (Film Nos. 1-5, 7, & 10), drawing directly on film (Color Cry), and meticulous hand-drawn animation (Heavy-Light and Fuji) all produce distinct and irreplicable visual phenomena that can only be translated onto celluloid. A highly direct form of cinematic art, abstract animation is a deeply emotive yet oft overlooked throughline in experimental film. 1952-1980, U.S., 16mm, 61 minutes.
Film Nos. 1-5, 7, & 10 (Early Abstractions)
Directed by Harry Smith
c. 1965, U.S., 16mm, 23 minutes
Fuji
Directed by Robert Breer
1974, U.S., 16mm, 9 minutes
Permutations
Directed by John Whitney
1968, U.S., 16mm, 8 minutes
Color Cry/Rhythm/Free Radicals/Tal Farlow/Particles In Space
Directed by Len Lye
1952-1980, U.S., 16mm, 14 minutes
Heavy-Light
Directed by Adam Beckett
1973, U.S., 16mm, 7 minutes