viernes, 10 de junio de 2016

Leaving Home, Coming Home: A Portrait of Robert Frank

Este es uno de los vídeos más humanos que se pueden ver, naturalidad ante todo, sobre uno de los grandes fotógrafos del siglo XX.

Leaving Home, Coming Home: A Portrait of Robert Frank 


Se sale de la visión que normalmente vemos de un gran artista. Comenta su vida más que su obra, lo que nos permite ver que el arte está cerca de nosotros, que "solo" tenemos que seleccionarlo como dice en un momento del vídeo la esposa de Robert Frank.

 

....The Robert Frank Collection at the National Gallery of Art is the largest repository of materials related to renowned photographer and filmmaker Robert Frank. Spanning Frank's career from 1937 to 2005..

....For a complete account of photographs, contact sheets, and work prints in the collection, see Robert Frank photographs, contact sheets, and work prints in the collection 

Commissioned work by Robert Frank for broadcast on KQED-TV, San Francisco. From Mugu Brainpan: Aired on KQED TV in 1969, the Dilexi Series represents a pioneering effort to present works created by artists specifically for broadcast. The 12-part weekly series was conceived and commissioned by the Dilexi Foundation, an off-shoot of the influential San Francisco art gallery founded by James Newman. Newman, who operated the Dilexi Gallery from 1958 until 1970, saw this innovative series as an opportunity to extend the influence of the contemporary arts far beyond the closeted environment of the commercial gallery. Formal agreement was reached with KQED in 1968 with the station's own John Coney designated as series producer. No restrictions, regarding length, form or content, were imposed upon the works, except for Newman's stipulation that they be aired weekly within the same time-slot. Upon their completion, the 12 works were broadcast during the spring and summer of 1969.

 Open Culture

In 1971, The Rolling Stones recorded their masterful double album Exile on Main Street, under some fabulous circumstances in the south of France. That same year, they embarked on their first American tour since the 1969 disaster at Altamont tarnished their brand. Photographer Robert Frank was there to film it all, and I mean all, with cameras backstage and everywhere else, wielded by band members, groupies, and roadies. The resulting film, Cocksucker Blues (short clip above)—named after an equally elusive and decadent unreleased single—was embargoed by the band, banned by censors, and only shown in 1979 and then only once every five years thereafter, with Frank present, under a strange agreement negotiated with much legal wrangling by Frank, the band, and the courts.