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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.
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..
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.
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.