From June 7, 2011 At the Little Rock Film Festival there was an excellent panel on independent film distribution (Friday, June 3, 2011). Tim Basham from Paste magazine moderated the discussion with Diana Sperrazza (Executive Producer for Investigation Discovery), Harry Thomason (Director of the festival’s featured film The Last Ride, and Erik Jambor (Director of Indie … Continue reading
From June 7, 2011
Sons of Perdition is a riveting documentary following three teenage boys who escape the right‑wing‑Mormon polygamist sect headed by Warren Jeffs.
The director, Tyler Measom, was present for a Q&A session following the Friday, June 3 screening at the Little Rock Film Festival.
Tyler and his wife worked on the film for five years. During the time when the movie was being made, most escapees fled to a rapidly‑growing city in close proximity to their families.
Since boys in the sect work construction sites from the age of eight, and there was a lot of construction work within the city, their skills allowed them to find employment and earn money.
An audience member asked whether the filmmakers ever felt afraid while they were making the movie?
Tyler said yes. Members from the sect drove white vans; the filmmakers saw white vans driving by their locations. Some of the drivers took photographs. At one point, stones were thrown at them.
Another question was, how did you find these particular boys?
Tyler explained that a number of teenagers were interviewed. Bruce, Joe, and Sam had that “certain something.” Plus they travelled in a group, so their stories were intertwined, and yet they followed different paths. These boys were also outgoing and articulate, and enjoyed being in a movie.
Tyler felt that he could relate somewhat to their difficulties, having left the Mormon Church himself.
He volunteered that, while they were filming Sons of Perdition, they kept true to documentary filmmaking. There were no re‑enactments. The boys were never told “say that again,” or “walk through here.” Said Tyler, “We missed a lot of great stuff, but we also caught a lot of great stuff.
Indeed they did.
Some people still question whether digital work should appear in art exhibitions. As a gallery owner, it’s been a question I’ve had to address.
At first I was resistant. But then, as I mulled art from a historical perspective and questioned my own prejudices, I found myself accepting the new medium.
At one time, even the impressionists we now admire were scoffed at. Paintings during their lives were ranked by subject matter and technique. The most accomplished artists painted historical works. Less accomplished painters made portraits. Those painting landscapes or still lifes were looked down upon, since imitations of nature could never be considered original. An artist who didn’t blend his brush strokes–to the point of being indiscernible–was simply sloppy.
European artists used egg tempera, and then oil paint. But prior to 1800, only 15 oil colors were available. Only when new technologies were introduced were additional colors created. Is it now “cheating” to use the new pigments?
And art is a reflection of the culture it’s born into. The art of some ancient cultures is found etched onto stone or painted onto vessels. Another society created idols; another still illuminated pages. Fast-forward to the 21st century, and we have a highly mobile society with artists creating and transporting images digitally. A to-be-expected evolution.
From June 3, 2011 Art, film, literature. They go hand-in-hand. Last week, I read an article in the Arkansas Democrat Gazette about an upcoming event, the fifth-annual Little Rock Film Festival. Unfortunately, opening night tickets were sold out, so I was unable to attend Wednesday’s red-carpet event. But I did buy a bronze pass online … Continue reading
From April 29, 2011 Yesterday I visited the Arkansas Arts Center to view their new exhibition, The Impressionists and Their Influence and, in my opinion, it deserves a big thumbs-up! I particularly liked the way they grouped the paintings and drawings chronologically, room by room, so that the visitor could see the movement’s often crude … Continue reading
This morning, ran water over images printed with on Canson Infinity Rag Photographique paper (printed with HP Vivera inks). The color didn’t run.
I also tested the paper, both printed and unprinted, in the oven, first at 170 degrees Fahrenheit and then at 220 degrees. Both image and paper appeared undamaged.
I tested both of these papers today. The Arches Velin Museum Rag is too stiff. It will not fold around the roller in my printer, and jams the device every time.
However, I’ll be using the Rag Photographique in the future. The colors closely resemble those of my proofs, which are run on HP Premium Plus Photo Paper. The primary color difference lies in the the blacks. On the HP paper, the blacks are crisp; deep. On the Rag Photographique, they have the sultry richness found in an etching. It should be noted that, on the latter, the blacks don’t reach their full intensity until the print has thoroughly dried.
Legion was good to its word and sent me replacement Somerset Enhanced Velvet. However, I’m still experiencing a pronounced color shift.