One of 150 numbered copies, this one additionally signed on front free endpaper by Frampton. Mint condition in the form of a large (i.e., hardback-book-sized) ‘flip’ book of the images from the film, which (from a recollection of screening it at the London Film Co-op in 1971) was ?a series of tableaux each with a quasi-narrative ‘descriptive’ soundtrack fitting or not fitting or befitting. One imagines what one thinks the images befitting the narrative will or would be and the images are or are not such. About 400 pages of images, printed in gravure black-and-white. Frampton made some great films, including Zorns Lemma, and Lemon, and one or two from the series Hapex Legomena, but he also made a mass of works which were endlessly edited to the point of vacuousness according to an academicised notion of aleatory, or happenstance, structures. After participating for days in the Artworkers coalition against capitalist museum structures, spending nights in jail after anti-Vietnam demos ñ well, after all that, he found himself (as P. Adams Sitney stated to Annette Michelson about the whole Anthology Film Archives avant-garde coterie) ‘wanting to be at the centre of their culture, unlike the Europeans, including the British, who resolutely did not’ (in Artforum, 1975 or thereabouts, in a discussion on the Knokke Experimental Film Festival). Frampton was a roommate in high school (Phillips Academy, Andover) with Carl Andre or Frank Stella. In any case all three were pals, and, of course, the conflicts between fame, power, and money (not to mention masculinity/patriarchy) were at that time a very American (or French? though by no means not a global) phenomenon. Frampton wrote hilarious letters (we have 7 very long unpublished ones) and took issue strenuously with the then current film aesthetico/political antagonisms. He would’ve been (rightly) pleased, in spite of the contradictions, that his beautiful film ‘Lemon’ was at the top of the stairs of the new Museum of Modern Art as one approached, its shadow crescent obliterating the object - and the continuing ‘non-film’ vacant wall adjacent given its formal presence as much as the striking chrome yellow Lemon colour of post Van Gogh is given its. N° de réf. du libraire
Titre : Poetic Justice: a film book by H.F.
Éditeur : Visual Studies Workshop
Date d'édition : 1973
Etat du livre : Mint condition
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