DAN'S PAPERS, October 17, 2008 Page 62 www.danshamptons.com
Fine Arts/Books
Art Commentary
by Marion Wolberg Weiss
Art On Film At the Hamptons International Film Festival
Fine Line Media, Inc.
Documentaries about art or artists are a tough sell in the commercial market. Lust for Life about Vincent Van Gogh was a popular success, but it was a Hollywood movie after all, with drama and pathos. That’s not to suggest that non-fiction films can’t be dramatic and moving. Even so, Herb and Dorothy, a new work to be shown at the Hamptons Film Festival, can’t be called particularly dramatic either. But it does have heart, primarily due to the Vogels who are well-known art collectors. The movie also has charm, also due to Herb and Dorothy. Thus, the strongest thing going for the film are the Vogels, who become “characters “ of sorts in their own movie. Naturally, what’s also noteworthy is the development of Minimal and Conceptual art works which the Vogels collected when no one else cared. The intersection of the art movements / artists and the collectors makes for a “story” that has historical interest. It should also be noted that many of the artists interviewed have a professional and personal connection to the Hamptons, having shown and / or lived here, including Will Barnet, Chuck Close and Lynda Benglis. The Vogel’s first purchase, in fact, was a John Chamberlain sculpture. (Chamberlain is now a Shelter Island resident). The point is,the film’s director / producer, Megumi Sasaki, was very astute to select local artists for her film. This isn’t to suggest that the movie has limited geographic appeal. The more we think about it, the more we realize that the work serves various purposes, throwing
Herb and Dorothy light on the nature of collecting and collectors as well. For example, Herb and Dorothy are not your stereotypical rich art lovers who live an affluent life. As a matter of fact, the Vogels still live in a cramped rent- controlled apartment where they once stored paintings under the bed and initially took their often-unwrapped purchases home in the subway. It’s also curious to know that Herb was nothing more than a postal worker while Dorothy was a librarian. Yet these two people had a remarkable sense of taste ( they both studied art ) and deeplyfelt appreciation that has given value to many important contemporary works. Where are the other Vogels of the world? Picasso and Braque Go to The Movies is another art documentary playing at the Hamptons Film Festival. While it offers a historical perspective on
cinema’s early development, it also tries to show how film influenced the art of Picasso and Braque. Both producer Martin Scorsese and director / gallery dealer Arne Glimcher have combined their considerable talents and passions to make this informative work, covering a lot of ground from the Lumiere Brothers first 1895 documentaries to Picasso’s and Braque’s Cubist 1914 paintings. The central argument, already developed in an art exhibit at New York’s Pacewilderstein Gallery, evolves around the idea that cinematic movement greatly impacted on both artists as did the breaking up of individual elements in the filmic image. More specific examples are articulated: Picasso’s close-ups of subjects were more than likely evoked by movie close-ups ; magician/ filmmaker Georges Melies cutting apart bodies impacted on Picasso’s concept. of Cubism. Despite these intriguing points, this critic is not convinced that movies played a major part in the artists’ work, although it’s true that Picasso went to the movies a lot. Oddly enough, so did Scorsese. And their influence is compelling on Scorsese’s own films. Maybe if Picasso had written or spoken about cinema as Scorsese did, we would tend to accept its influence. However, we must applaud the film for taking on such a difficult challenge, even though we learned more about film itself than was needed to prove its power on Picasso. Picasso and Braque will be playing on Sat., Oct. 18 at 2 p.m. in East Hampton. Herb and Dorothy will be playing on Sat. Oct. 18 at 5 p.m. in East Hampton.
A Look Back At the HIFF By Marion Wolberg Weiss Film festivals have become a dime a dozen in recent years, which is a good thing, especially if you love movies like I do. They have also broadened their scope, from small town events to international venues. Festivals have taken on political implications as well: consider the 1968 Cannes Festival where wellknown French directors demonstrated in the streets, withdrawing their participation from the competition. Film festivals serve many purposes, too, providing exposure for independent and industry movies, entertainment for the audience and networking for professionals. My favorite times were spent every two years at an international student festival in Karlsbad (the Czech Republic) where lifetime relationships were established between filmmakers, students, and cinema professors from around the world. Forget the professional connections we would make; the important lesson we learned was that we were not alone in our passion for and pursuit of the movies. In many ways, the Hamptons Film Festival fulfills the same purposes. Yet it was not always so, When the Festival was Initiated 16 years ago, I was frankly suspicious. Would this be another high-end promotional event with little substance that often plagued the
East End? Would the Festival simply become known as a party venue with wall-to-wall social events? To be honest, there were lots of parties and receptions in the early days and also feeding frenzies revolving around “celebrities.” But the Festival has grown up over the years, I’m pleased to say. Its aim has expanded greatly, too, and includes not only showcases for independent films but professional workshops, script readings, programs on children’s media, student works and interviews with well-known actors and directors. So what if that last aspect is still a little “rahrah?” Where else do you get a chance to hear Steven Spielberg and Martin Scorsese talk (admittedly, this was several years ago) or see Gena Rowlands? Or renew an acquaintance with Marcia Gay Harden and reminisce about the making of
Pollock? One remarkable aspect of the Hamptons Festival is little known and features an educational component not usually encouraged by similar venues: incorporating films and activities into the public school curriculum. Linda Fuller, an East Hampton Middle School instructor, started such a program which she remembers as including at least 20 different projects. Ms. Fuller is her usual enthusiastic self when she says she selected movies that illustrated a social problem, a locale, or moral lesson, elements which would be appropriate for the Authentic Assessment Program. And what diverse films and activities Ms. Fuller came up with for the students: Seeing Colors Straight Up about inner city youths in Los Angeles (and talking with the actual teenagers who came to the Festival ); viewing Jump ( and engaging in a jump rope contest ); making silent films in class; creating a documentary, Art Take, about the festival itself which was shown the last night of the Festival. It got a standing ovation. That made me so proud,” says Ms. Fuller. “The students who made the movie went to film school. Other students became Festival volunteers. This Festival is right here, on our streets. We should take advantage of it.” Ms. Fuller is certainly right about that.