Robert Breer’s Perpetual Motion Machine

IF 0.4 3区 艺术学 0 FILM, RADIO, TELEVISION
D. Yang
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引用次数: 1

Abstract

Embodying and balancing the European avant-garde movement of the 1920s and the dialectical U.S. neo-avant-garde aesthetics of the 1960s, Robert Breer encompassed various art forms in his painting, sculpture and film. In doing so, he created a distinct style that embraces both photographic representation and non-figurative abstraction – a heterogeneous assemblage of sorts – to advocate taking an intermediate stance in the act of rendering the relation between artistic tradition and innovation. By looking at A Man and His Dog Out for Air (1957), Fuji (1974) and LMNO (1978), I show three strategies devised by Breer that help generate the vital energy in these animations: metamorphosis, gradational abstraction, and self-moving objects. All three strategies point to Breer’s dualistic endeavour to experiment with the aesthetic and ontological possibilities of moving images and with the animated objects within the frame in spite of photographic, realist and rational confinements.
罗伯特·布里尔的永动机
罗伯特·布里尔在他的绘画、雕塑和电影中融合了20世纪20年代欧洲前卫运动和20世纪60年代辩证的美国新前卫美学,融合了各种艺术形式。在这样做的过程中,他创造了一种独特的风格,包括摄影表现和非具象抽象-各种各样的异质组合-提倡在呈现艺术传统与创新之间关系的行为中采取中间立场。通过观察《一个人和他的狗出去呼吸空气》(1957)、《富士》(1974)和《LMNO》(1978),我展示了布里尔设计的三种策略,这些策略有助于在这些动画中产生重要的能量:变形、分层抽象和自我移动的物体。所有这三种策略都指向Breer的二元努力,即尝试运动图像的美学和本体论可能性,以及框架内的动画对象,尽管有摄影,现实主义和理性的限制。
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来源期刊
Film-Philosophy
Film-Philosophy Multiple-
CiteScore
0.40
自引率
0.00%
发文量
30
审稿时长
52 weeks
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