March 22, 1895~ First private screening of a projected motion picture

Sortie d’usine (Workers Leaving the Lumière Factory)
by Louis Lumière

1895 / Silent film documentary / Running time: 46 seconds / http://www.institut-lumiere.org/

None of them are dated, the case it seems of most of Lumiéres’ films. A contemporary report talked about the film shot on March 19 featuring a horse, so that rules out one version, which has a dog but sans horse. The other two versions must be judged by which looks more likely to have shot in March, from the workers’ clothes and the shadows they cast. What this uncertainty almost certainly means is that, after making what’s said to be the world’s first film, the Lumière brothers also made the world’s first remake, Fremaux joked.
https://variety.com/2017/film/global/thierry-fremaux-lumiere-artistry-louis-lumiere-unifrance-1201960812/

Sortie d’usine – Lumière – Les 3 versions HD~https://youtu.be/qvgPEiw_q04

Previous March 22 posts:

March 22~ Women’s History Month in visual arts

Randolph Caldecott: Born on March 22, 1846

March 22~

March 22~ Retrospective Edition

March 22~ Broadway Edition

Artist Birthday Quiz for 3/22~

March 31~ Women’s History Month in visual arts

Toba Khedoori (Born 1964), Australian-born American artist known for detailed renderings on wall-size sheets of wax-treated paper     https://www.davidzwirner.com/artists/toba-khedoori/biography

Untitled (rooms) / 2001 / Oil and wax with graphite on two sheets of paper / 144”x144”

 

 

 

 

 

 

 

 

 

 

 

Kara Walker (Born 1969)
African-American contemporary painter, silhouettist, printmaker, installation artist, and filmmaker
https://www.britannica.com/biography/Kara-Walker

The Emancipation Approximation (Scene #18) / 1999-2000 / Screenprint / 44”x33 15/16”

March 29~ Women’s History Month in visual arts

Judy Chicago (Born 1939)
American feminist artist, art educator, and writer known for large collaborative art installations
https://jwa.org/encyclopedia/article/chicago-judy

Female Rejection Drawing from the Rejection Quintet / 1974 / Colored pencil and graphite on paper / 40”x30”

 

Carrie Mae Weems (Born 1953)
African-American photographer, performance artist, activist, filmmaker, and videographer
http://carriemaeweems.net/bio.html

Untitled (Kitchen Table Series) / 1990 / Gelatin silver print / 27 1/4”x27”

February 27~ African-American visual artists

Mark Bradford (Born 1961), African-American painter and mixed-media collage artist
https://www.guggenheim.org/artwork/artist/mark-bradford

Across 110th Street / 2008 / Mixed-media collage on canvas / 102”x144”

 

 

 

 

 

 

 

 

 

Mickalene Thomas (Born 1971), African-American mixed-media artist, filmmaker, and curator
https://nmwa.org/explore/artist-profiles/mickalene-thomas

Tamika sur une Chaise Longue Avec Monet / 2012 / Rhinestones, acrylic, oil, and enamel on wood panel / 108”x144”

 

February 15~ African-American visual artists

Gordon Parks (1912-2006), African-American photographer, writer, composer and filmmaker
http://www.gordonparksfoundation.org/artist/biography

Department Store, Mobile, Alabama / 1956 / 20”x16” / Archival Pigment Print

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Alarm / 1985 / Oil on linen / 52”x64”

Felrath Hines (1913-1993), African-American abstract painter and art conservator
https://www.felrathhines.com/bio/

 

Artist Birthday Quiz for 10/16~

This Italian sculptor completed more than 150 bronze sculptures, primarily of wildlife, working from live animal models at zoos and abandoning a piece if he could not complete it in one sitting.

This American photographer and filmmaker embraced the ideas of modern painting and sculpture but applied it to his photography, making him a pioneer in 20th century avant-garde photography.

Answers here~ https://schristywolfe.com/2015/10/16/october-16/

“Redes” released on July 16, 1936 (Mexico City)


http://www.film-foundation.org/world-cinema

Directed by Emilio Gómez Muriel, Fred Zinnemann
Music by Silvestre Revueltas
Cinematography by Paul Strand

Produced under trying circumstances and for very little money, Redes nevertheless became a classic Mexican film, launched several cinematic careers, and spearheaded a new transnational film movement in the process.

When shooting ended in November 1934, both Strand and Zinnemann returned to the States, leaving Gomez Muriel and Gunther von Fritsch, a boyhood friend of Zinnemann’s who had done some editing in Hollywood, to edit Redes. They faced problems at this stage too. Because Strand’s Akeley was a silent, hand-cranking camera, all the sound had to be added in postproduction, complicating the syncing and delaying the editing. Finally, Redes was released theatrically in 1936, accompanied by an impressive score by Silvestre Revueltas. Though David Alfaro Siqueiros would later call it “a work of dynamic realism, emotional intensity, and social outlook . . . a masterpiece,” it was a box-office disappointment in Mexico.

Its collectivist, pro-union story about the consciousness- raising of exploited fishermen resonated with the left-leaning politics in international artistic circles in the 1930s. As such, it is a fascinating document from an era when artists championed the rights of workers everywhere. For Strand, in particular, it was the realization of the kind of socially aware art he was searching for. (He would go on to be one of the cinematographers on Pare Lorentz’s 1936 Dust Bowl documentary The Plow That Broke the Plains and was director of photography on Native Land, a valiant, semidocumentary defense of unionism that he codirected, cowrote, and coedited in 1942.)

But Redes is cinematically noteworthy as well. As I’ve said, both Strand’s and Zinnemann’s styles were compellingly employed. Strand’s primary goal was to honor the fishermen and villagers, and his careful compositions centering them in the frame convey that. The funeral of Miro’s daughter, near the beginning of the film, is a good example of his deferential style perfectly capturing downbeat emotional content. That scene’s matching bookend— the fishermen’s impromptu procession carrying Miro’s body to the boat—is another. It culminates in one of Strand’s most memorable compositions: an impressive deep-focus shot that stretches from a cactus plant in the foreground to the dramatically placed low horizon line in the far distance.
https://www.criterion.com/current/posts/2989-redes-el-cine-mexicano