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Showing posts with label art documentaries. Show all posts
Showing posts with label art documentaries. Show all posts

Molly Bernstein's AN ART THAT NATURE MAKES: THE WORK OF ROSAMOND PURCELL


Unclassifiable -- into a single category, at least. That would be Rosamond Purcell, who is, in the words of author Jonathan Safran Foer, an artist, scholar, documentarian and living cabinet of wonder. "Her originality defies category..."  Ms Purcell is yet another of the subjects of these wonderful documentaries -- that seem to debut almost monthly at New York City's Film Forum -- that TrustMovies knew nothing of prior to seeing and thoroughly enjoying the full-length but relatively short movie made about Purcell and her work by Molly Bernstein (who back in 2013 gave us the magical doc on Ricky Jay, Deceptive Practice).

Ms Bernstein, shown at left, has both directed and edited this 75-minute movie, and she's packed it full of oddball wonders and bizarre creations that come from the singular Ms Purcell, whom we meet and view in both current times, below, and way-back-when, shown at bottom. (We also meet her husband of many years, who seems a near-perfect helpmeet.)

A highly intelligent woman who is particularly good at expressing herself (much of what we hear her say here, I believe, has been taken directly from her writings), Purcell tells us right up front regarding her art: "I've stuck with containment, and yet I'm always trying to pick the lock."

Soon we hear from a whole raft of people from Errol Morris to Mr. Jay, as well as museum curators and the like -- each of whom resides at the pinnacle of his or her industry -- and what they have to say about the artist and her work is every bit as intelligent and fascinating as the woman herself.

Just as documentarian Nikolaus Geyrhalter finds immense beauty in desolation in his new documentary Homo Sapiens, Purcell finds hers in weirdness, sickness, death and the discarded. and yet her work does not seem ugly or sleazy. Instead it just seems mysterious. As Mr. Morris says about it: "Her work preserves the mystery of the object."

That work involves photography (in which she uses natural light only), collage, natural history, and lots more, eventually taking us into the realm of Shakespeare! The movie begins in the junkyard of a friend and supplier, whom she calls Bucky, and it finally ends there, too, even as Purcell tells us of Bucky's death and shows us the destruction of the building, the contents of which have been such a source of inspiration.

I would suggest that one viewing is probably not enough to get full measure out of this short documentary. Purcell's work is so strange, encompassing, rich and often, somehow, just out of reach. You have to keep looking. And thinking. And making connections.

From BOND/360, An Art That Nature Makes: The Work of Rosamond Purcell opens this Wednesday, August 10, for only a one-week run at New York City's Film Forum. Also on this program will be an eight-minute short directed by Lisa Crafts, called Season of Wonder.
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Pieter van Huystee's art documentary opens--HIERONYMUS BOSCH: TOUCHED BY THE DEVIL


In art appreciation classes throughout much of the world, and for decades now, I would guess -- this was certainly true in my day, anyway -- it was always the work of Dutch painter Hieronymus Bosch that woke up many of us sleepyheads, who might have nodded off during the lectures on GiottoTitianGoya and, hell, even Rembrandt. But Bosch? Never. That work was just too bizarre -- something like the most imaginative X-rated sci-fi fantasy wonderland of pain and evil you could imagine back then. (Even now, too.) With all the current special CGI effects at their beck and call, I am not sure that today's filmmakers have ever quite outdone old Hieronymus -- the death of whom some 500 years ago we celebrate in 2016.

Which brings us to the new documentary by Pieter van Huystee (shown at right; this is his first time as director, after some 80 producing credits), which is all about that art, the artist, and some of the men and women art experts, archivists and curators who explore, treasure and guard that work today. HIERONYMUS BOSCH: TOUCHED BY THE DEVIL is an informative, occasionally surprising and sometimes slow-moving (sleepyheads who watch it may undergo anew their art-history class experience) look at Bosch's art and the question of its attribution. (There evidently were lots of artists in the Bosch family.)

As we learn via explanatory titles at the film's beginning, only 25 paintings by Hieronymus are known to still exist, and his home town of Den Bosch is celebrating the anniversary with a major exhibition at its Noordbrabants Museum-- except that the city and museum actually possess none of his art. This means running around the world to beg and borrow various works from places such as The Prado in Spain; in Venice, Italy; and larger museums in The Netherlands.

Also on the visitation list is a relatively unknown museum here in the USA, which wonders, via some surprise communication, if it might possess a so-far unheralded work by Bosch. As the documentary unfolds, we meet and spend some time with a few of the art experts who, thanks to the latest technology (they can tell whether a painting was executed by a right-handed or left-handed artist), make pretty good judgment calls as to the authenticity of various pieces of art. The results of of their "calls" will surprise you (as it no doubt did some of the museums who house these would-be Bosches).

The experts are identified by name in the doc, though we don't get to learn very much about them. We are also made privy to some of their conversation -- too much of it, actually -- which is part of what slows the movie down. But we also pick up some interesting info about the artist and the work itself: Bosch's use of owls (thought in that day to be the devil's birds) and how his experience as a child during one of his city's major fire's was expressed so often in his paintings.

There's a little suspense along the way regarding The Prado and the possibility of a "loan" (Italy proves more helpful than Spain in that area), and of course all that authentification business. TrustMovies also learned more than he'd known previously about a certain Bosch triptych and an unfortunate woman who became "The Bearded Saint."

Also, and once again, we're confronted with that nagging question of why hell, along with its enticements and discontents, is so much more interesting and fun than heaven. Bosch painted them both, but he lavished infinitely much more time and detail on the former, while the latter looks mostly -- as usual -- generic.  Somewhat slow and sleepy overall, the documentary is redeemed by its close-up look at the paintings, as well as by what we learn about how these experts accomplish what they do.

From Kino Lorber and running 87 minutes, Hieronymus Bosch: Touched by the Devil, after screening last week at DC's National Gallery of Art, has its U.S. theatrical premiere this Wednesday, July 27, in New York City at Film Forum for a two-week run, then hits Los Angeles at Laemmle's Royal on August 5, with appearances scheduled for ten other cities in the weeks to come. Click here (then click on PLAYDATES) to view all currently scheduled cities and theaters. 
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