Fall 2019 Calendar
The Pollock-Krasner House and Study Center’s public programs are supported in part by grants from the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature, the Suffolk County Office of Cultural Affairs, the Stony Brook University Research Foundation, the Pollock-Krasner Endowment Fund and the Herman Goldman Foundation.
ARTISTS ON FILM SERIES AT THE POLLOCK-KRASNER HOUSE
Hosted by Marion Wolberg Weiss, PhD
Fridays in September at 7 pm. Admission is free.
Made possible by the generosity of our members.
VAN GOGH ON FILM: SEARCHING FOR THE REAL VINCENT
This year's fall film series honors the life and art of Vincent van Gogh, allowing international directors to ask the question, "Who really is Vincent van Gogh?" In this search, various cinematic styles are experienced, along with memorable characters, landscapes, locales and cultures. Yet, is the puzzle involved in van Gogh's existence and contribution to art ever solved? He himself said he loved a "mystery," and the series proves him right: the expressionistic Loving Vincent (the first fully painted animated film); the abstract/impressionistic Vincent: The Life and Death of Vincent van Gogh; the realistic Van Gogh; and the surrealistic At Eternity’s Gate. These works not only bring the painter to life, but illustrate compelling and provocative examples of how art and film become one.
Dorota Kobiela and Hugh Welchman, Loving Vincent, 2017 (95 min)
This Polish-UK co-production is a brilliant experiment featuring hand-painted images in oil on canvas, composed of 65,000 frames and executed by over a hundred painters. Yet regardless of the plot's expressionistic style, the characters seem like real people. The film’s technical experimentation recalls the work of Polish director Roman Polanski, which this series celebrated in 2017. The story (with voice-over by Saoirse Ronan, among others) traces van Gogh's beginnings, evolution and death, especially seeking the truth about his relationship with women and his suicide. But we are left with more questions than answers.
Van Gogh's Bedroom, 1977 (3 min)
While this short by local artist Christa Maiwald was made 42 years ago, and represents a different technological approach than Loving Vincent, it is still ahead of its time with an animated method called "keying" and the use of miniature and human scale. Moreover, the themes of the two films are coincidently similar: the actor playing van Gogh (Eli Wallach's son, Peter) is attempting to discover the hidden dimensions of the artist's bedroom. Thus, a search is an essential part of the action.
Paul Cox, Vincent: The Life and Death of Vincent van Gogh, 1987 (105 min)
Directed by Australian documentarian Paul Cox, this film about van Gogh's life is another kind of experimentation; we never see him, but hear him speak (voiced by actor John Hurt) as he reads his letters to his brother, Theo.
We must imagine what he may be like, just as we had to do in Loving Vincent. Clues are given in the form of his sketches and paintings alternated with abstract nature images and live- action scenes showing daily life. The movie has been called the "most profound exploration of an artist's soul ever to be put on film." (Village Voice)
Maurice Pialat, Van Gogh, 1991 (159 min)
Based on the last sixty-seven days of van Gogh's life, this French film is in many ways a more realistic view of the artist.
Hollywood techniques are often avoided and authentic ambience and details prevail. Tactics like flashbacks and transitions are also not included. Yet, there are episodes that are both realistic and dramatic. For example, the buildup to van Gogh's suicide is not part of the plot. We merely hear the sound of a gun.
It's a slice of life we see unfolding that keeps our attention. The film won the Cesar
Award for Best Actor.
Julian Schnabel, At Eternity's Gate, 2018 (96 min)
In his previous films, Basquiat and Before Night Falls, Julian Schnabel examined the lives of artists facing extremely difficult challenges as societal outsiders. Van Gogh is no exception.
Protagonist Willem Dafoe has also taken on roles about real people who face compelling challenges, most famously in The Last Temptation of Christ. As conceived by Dafoe and Schnabel, van Gogh is more ambiguous than insane, and kinder than usually perceived. However, the director gives him a somewhat surreal edge, with dramatic use of sound, a hand-held camera, long takes, camera pans and raked angles.
ART IN FOCUS
Stony Brook Southampton Library
239 Tuckahoe Road, Southampton
Tuesday evenings at 7 pm. Admission is free.
Illustrated talks by some of the Long Island art world’s most notable personalities.
Made possible by support from the John H. Marburger III Fund of Stony Brook University.
FOCUS: The New York Movement of Contemporary Native American Art
Chair , American Indian Artists Inc.
David will give an overview on Long Island Indian history, the various time periods and their respective characteristics, and some of the more important events in that history. He will also discuss the New York Movement in Contemporary Native American art, its founders and its expression in performing and visual arts media, as well as cross influences among some of the Native American artists and some members of the New York School of abstract expressionists and Pop artists.
David Martine, Chair of American Indian Artists Inc. (AMERINDA), Shinnecock Nation Historic Preservation Officer, educator and artist, is a member of the Shinnecock and Montauk Nations and Fort Sill, Chiricahua Apache tribal heritage. He is the author of No Reservation: New York Contemporary Native American Art Movement, published in 2017. David holds a BFA from the University of Oklahoma, and an M. Ed. in Art from Central State University, OK. He also attended the Institute of American Indian Arts in Santa Fe, NM, and is a former Adjunct Assistant Professor of Art at Dowling College, Oakdale, NY.
FOCUS: Unoccupied Clothing: Skeletons and Skins
Sue Ferguson Gussow
Professor Emerita, School of Architecture, The Cooper Union
The “unoccupied clothing” drawings are a meditation on the memories and inner life of the absent wearer. Its subtext is Sue’s preoccupation with issues of ageing and beauty. In 2003 she set out to draw women “of a certain age” to explore the definition of beauty in women no longer young. One of her subjects was Karin von Aroldingen, once a principal dancer in George Balanchine’s New York City Ballet, who brought with her the only performance dress she still owned in the event the artist might want her to pose wearing it. Sue preferred to draw her in her leotard. But her dress stayed in the studio, suspended on a hanger, and began to assume a life of its own. It insisted on being drawn.
Sue Ferguson Gussow is a figurative artist working in a wide range of drawing and painting media. In addition to teaching the Advanced Drawing Seminal at The Cooper Union, she has taught, lectured or served as a visiting critic at numerous institutions here and abroad, including Harvard, Princeton, Yale, Columbia, RISD, NYU and The Frick Collection. Solo exhibitions of her work have been presented at the New Orleans Museum of Art, Stanford Museum and The Cooper Union, and she is represented in many public and private collections. She is the author of Draw Poker (The Cooper Union, 1997) and Architects Draw (Princeton Architectural Press, 2008).
FOCUS: Lasting Impression—The Essence of a Printmaker
Director, Hampton Editions, Ltd.
Dan’s adventures with numerous artists during his fifty years of printmaking and the creation of his home studio are the subjects of his talk. Tracing his evolution from a purist graphic approach to his present day mixed-media works, he will show recent examples of how he incorporates drawing and painting to create his hybrid works on paper. Since Dan has been at the forefront of alternative methods of making graphic art with health and safety in mind, his pioneering efforts have changed artists’ attitudes toward the printmaking arena.
Dan Welden, a pioneer of Solarplate intaglio printing, is the co-author of Printmaking in the Sun (Watson-Guptill, 2001) . As director of Hampton Editions, Ltd., he has collaborated with many artists, including Willem de Kooning, Eric Fischl, Kiki Smith and Dan Flavin. His exhibitions, lectures, and workshops have taken him to 53 countries, and he has received international residency grants for China, Belgium and New Zealand, as well as several domestic awards, among them a 2016 Lifetime Achievement Grant from A/E Foundation. In 2017 he was named a Professor Emeritus at the Escuela de Beas Artes in Cuzco, Peru. His recent solo exhibition of 94 works on paper was presented at The Cape Cod Museum of Art in Dennis, MA.