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By Michele Pierson, David E. James, Paul Arthur
Ken Jacobs has been making cinema for greater than fifty years. besides over thirty movie and video works, he has created an array of shadow performs, sound items, installations, and magic lantern and picture performances that experience remodeled how we glance at and view relocating pictures. he's a part of the everlasting collections at MoMA and the Whitney, and his paintings has been celebrated in Europe and the U.S. whereas his value is well-recognized, this is often the 1st quantity devoted fullyyt to him. It contains essays via famous movie students besides images and private items from artists and critics, all of which testify to the intense kind and effect of his accomplishments. an individual drawn to cinema or experimental arts should be well-rewarded through a better acquaintance with the genius, the innovation, and the optical antics of Ken Jacobs.
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Additional resources for Optic Antics: The Cinema of Ken Jacobs
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Artforum 10, no. 1 (September 1971). In the summer of 1969 Sitney had not yet seen Tom, Tom, and it is not among the films discussed in P. Adams Sitney, “Structural Film,” Film Culture 47 (1969): 1–9. It does, however, feature in the revised version published the following year (“Structural Film,” in Film Culture Reader, ed. P. Adams Sitney [New York: Cooper Square Press, 2000], 326–48). It is also discussed in the second of four lectures on avant-garde film theory delivered at MoMA in 1971 (for a slightly revised transcript of this lecture, see P.
Tom Gunning, “‘Films That Tell Time’: The Paradoxes of the Cinema of Ken Jacobs,” in Films That Tell Time, 9. 82. See Jacobs, “Painted Air,” 46–48. Other three-dimensional shadow plays of this period include East of Chinatown (1972), “Slow is Beauty”—Rodin (1974), and The Boxer Rebellion (1975). For detailed accounts of two- and three-dimensional shadow plays presented in the 1970s, also see Dorothy S. Pam, “The N. Y. Apparition Theatre of Ken Jacobs,” TDR: The Drama Review 19, no. 1 (March 1975): 96–109.
A Panor a ma Compounded of Great Human Suffering It is tempting to believe that any lump of entertainment industry fodder treated in this fashion would yield equally enticing results, but I doubt it. For Jacobs, the choice of materials on which to operate is not arbitrary, first, because only certain types of imagery (content) or visual rhythms seem to engage his attention, and second, because a congruous swath of physical cum psychic (cum metaphysical) concerns keeps emerging from the fray, especially in recent work.