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Hollis Frampton (1936-1984)



Manual of Arms (1966)
Heterodyne (1967)
Snowblind (1968)
Artificial Light (1969)
Paindrome (1969)
Zorns Lemma (1970)
Nostalgia (1971)
Ordinary Matter (1972)
Autumnal Equinox (1974)
Winter Solstice (1974)
Noctiluca (Magellan's Toys: #1) (1974)
Interview with Robert Gardner on "Screening Room" (1977)
Adele Friedman Interviews Hollis Frampton (1978)
Matrix [First Dream] (1977-79)
Conversations in the Arts. Interview with Hollis Frampton, Ester Harriott (1978)
Gloria! (1979)


Hollis Frampton on Hollis Frampton:

"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...

In the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film."

RELATED RESOURCES:
Hollis Frampton in UbuWeb Sound



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