Pittman remarks: "Being a person who makes reductive work was challenging with this project because I might have been interested in... close-up shots of a wall, any wall... A monochrome painting is a lot different from a monochrome photograph, and I like to use photography to do things I can’t do with my painting. And I guess a lot of times I’d rather take pictures of things than draw them. They’re different stories, photography and painting."
"Feininger was originally reluctant to take up photography, dismissing it as a “mechanical medium.” But he was lured by his neighbor, fellow Bauhaus master and photography pioneer László Moholy-Nagy... Feininger... experimented with extreme cropping, in which the entire context in a photograph is jettisoned, creating a tension between representation and abstraction and conveying immediacy and spontaneity, as seen in this photo of a locomotive in a train yard covered in snow, which seems both looming and playful."
[VIDEO] Jannon Stein writes about the abstract films of painter Hans Richter who "[turned] his talents to film and produces one of the earliest abstract films, Rhythmus 21." Stein's post includes three of Richter's films and also quotes Richter's descriptions of his aims in film-making which could easily describe similar aims in painting:
"The film is a play of relationships of light.
The relationships of light have both qualitative and quantitative character: degree of brightness, proportions, etc., etc.
The true means of construction is light-the intensity and quantity of light.
The task for the whole is to shape the nature of the light-in the sense of a comprehensive perceptibility. . . .
In its sequence of events (its screening), this film communicates very authentically the relationships of tension and contrast in the light. These relationships consist of light and dark, small and large, slow and fast, horizontal and vertical, etc., etc.
An attempt has been made to organize the film such that the individual parts stand in active tension to one another and to the whole, such that the whole remains intellectually [geistig] mobile within itself."
Andrea Kirsh reviews Lech Majewski's The Mill and the Cross, a new biogrphical film about the artist Pieter Bruegel the Elder.
Kirsh writes that "Majewski captures Bruegel's truth that great events occur amidst the shapeless narrative of everyday life. Just as remarkable is the effect he creates of taking us into the actual space of Bruegel's painting. His characters, in perfect period costumes (if a bit too clean) and cast with remarkable fidelity to Bruegel's coarse-featured peasants, move in and out of the painting as landscape settings switch between filmed and painted image."
After screenings at Sundance and the Rotterdam Film Festival the film opens on September 14, 2011 at Film Forum, New York.
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.