#JACK SMITH ART MOVIE#
Warhol’s strategy also shifts our attention from the seemingly frozen figure at the center of the frame to the exuberant, chaotic movement of the film grain itself and the pulse that organizes it, the regular strobing of the projector’s light: the basic factors that make a movie a movie.Ĭiting the influence of Jack Smith’s films and performances on his Ontological-Hysteric Theater, Richard Foreman wrote: “To watch Jack Smith perform was to watch human behavior turn into granular stasis, in which every moment of being seemed, somehow, to contain the seeds of unthinkable possibility” (italics mine).
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The subjects’ stillness and the slow-motion projection place these film-portraits midway on a continuum between painting and photography and, on the other end, documentary movies. Working in a time-based medium, Warhol first chose to make his mark with stillness and duration, through which the people who came before his camera would be denatured by the medium itself. All are projected on film and at the correct speed, which, for the silent films, is sixteen or eighteen frames per secondroughly one-third slower than “real” life. The situation concentrates the mind and body of both the person being filmed and the viewer who, decades later, watches what Callie Angell, in her 2006 introduction to the first volume of the Warhol films’ catalogue raisonné, describes as the “stem cells of Warhol’s portraiture.”Īmong the forty-three films in the retrospective “Andy Warhol≿rom A to B and Back Again,” opening November 12th at the Whitney Museum of American Art, are twelve Screen Tests.
#JACK SMITH ART HOW TO#
Warhol abdicated all decisions about how to fill the time and did nothing to enforce the no-movement rule, which was often broken. The process was only minimally collaborative. Warhol adjusted the tripod and the one or (sometimes) two lights, turned on the battery-operated Bolex, and typically walked away, leaving the subject to his or her own devices for just under three minutes (i.e., the time it took to expose a single roll of 16-mm film). Upon agreeing to be filmed, each one was instructed to sit in front of the camera, look straight into the lens, and try not to move or even blink.
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The subjects were visitors to and regulars at Warhol’s Silver Factory in Midtown Manhattan. Smith continued to develop and work in this style and did not return to realism.THE SURVIVING 472 silent Screen Tests that Andy Warhol shot on black-and-white 16-mm film between 19 constitute the most subversive investigation of portrait-making in the history of visual art. In the 1960s Smith abandoned realism and adopted a brightly coloured, abstract style comparable to those of Wassily Kandinsky and Piet Mondrian incorporating Constructivism and Biomorphism with elements of hieroglyphic and musical notation.
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Workĭuring the 1950s, Smith's early work was in a neo-realist style known as "The Kitchen Sink School" featuring domestic subjects. At the RCA, Smith studied under John Minton, Ruskin Spear and Carel Weight. Smith studied at Sheffield College of Art (1944–1946), Saint Martin's School of Art (1948–1950) and the Royal College of Art (1950–1953). Jack Smith was born in 1928 in Sheffield, Yorkshire.