374:, a puritan work for children to learn the alphabet. The sentences used had foreboding themes such as "In Adam's fall, we sinned all." The second section is based on a text based work by Carl Andre, which started out with an alphabetical list of words for each letter in the alphabet. Each subsequent list is replaced with a letter until it is just letters. In Zorns Lemma, the concept is reversed. It starts off with a twenty four letter alphabet (I/J and U/V are considered one letter), each letter shown for one second of screentime and then looping. The second cycle replaces each letter with a word that starts with each letter. Gradually the word stills are replaced by an active film shot, such as washing hands or peeling a tangerine until there are only moving images. The third section contains a seemingly single shot of a couple walking across a snowy meadow. The sound is of six women reading one word at a time from Theory of Light. One interpretation of
249:, mathematics) but had not declared a major. He recounted that when he was called in front of the dean after three and a half years of study and 135 hours of credits and asked, once again, if he intended to take a degree, he was told that if so, he needed to take speech, western civilization, and music appreciation. He replied that “I already know how to talk, I already know who Napoleon was and I already like music” and noted that “For that reason I hold no bachelor's degree. I was very sick of school." During this time he had a short-lived radio show on
274:. There, Frampton writes that he was “privy to a most meaningful exposition of the poetic process by an authentic member of the ‘generation of the ‘80’s.’At the same time, I came to understand that I was not a poet.” Early the next year, Frampton moved to New York. He renewed his friendships with Andre and Stella, sharing an apartment first with the two of them and then with Andre only. He began photographing artist friends; early projects included documentation of Andre’s work,
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In
Jenkins & Krane (1984, p. 107), Frampton is described as speaking infrequently as a child but when he was tested at age nine years, eleven months, he was found to have a mental age of eighteen years, six months and was enrolled in classes for gifted children
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As
Frampton's photography moved toward exploring ideas of series and sets, he began to make films. He based a lot of his early films on concepts. All of his very early works were either discarded or lost. His earliest surviving work is
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was that it was a comment on life's stages, the morality of the Bay State Primer being childhood, the sets of numbers representing maturing and interaction with the world, and the third part representing old age and death.
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after becoming interested in the literary generation of the 1880s. In the fall of 1957, he moved to
Washington D.C. where he visited Ezra Pound almost daily at St. Elizabeth’s hospital where Pound was finishing part of his
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is the most well known. Several of these films explored the relation between sound and cinema, an area often disregarded in
American avant-garde film, by demonstrating a disjointed relationship between the two.
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Frampton, "Hollis
Frampton on Hollis Frampton" transcript from course at SUNY at Buffalo, Special Topics: Filmmakers, session on Sept. 16, 1977, pp. 3–4. Cited in Jenkins & Krane (1984), p. 120
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to Nellie Cross
Frampton and Hollis William Frampton. An only child, he was raised primarily by his maternal grandparents John and Fanny Cross. Fanny Cross is the subject of Frampton's 1979 film
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366:(1970), a film which drastically altered perceptions towards experimental film at the time. It is formed in three different sections. The first is a reading (by
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explores a "cinema of the mind", wherein the film takes place in the viewers' imagination(s) as they read title cards. An extremely rare artist book edition of
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Film study, restoration and print availability through
Filmmakers Co-op NY, Anthology Film Archives and NY MoMA. Much of Frampton's work was released by the
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were based on concepts from science, a subject he was knowledgeable of. As he got on, his films gradually increased in scope and ambition. He was seen as a
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Hollis
Frampton married Marcia Steinbrecher in September 1966. The couple separated in 1971 and divorced in 1974. He later married
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Jenkins, Bruce & Krane,Susan (1984), Hollis
Frampton: Recollections-Recreations (p. 120) The MIT Press, Cambridge MA,
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Goldensohn, Barry (1985), Memoir of Hollis
Frampton, in Michelson, Annette, (ed.) Hollis Frampton: A Special Issue October, 32
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was intended to be shown as a calendrical cycle, one film for each day of the year. One film from the cycle,
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on April 26, 2012 as special edition Blu-ray Disc and DVD. His archive is maintained by
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Circles of Confusion: Film, Photography, Video: Texts, 1968–1980
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Michelson, Annette, ed. (1985) Hollis Frampton: A Special Issue
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and ongoing photographic projects with fellow artist and wife
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presented at Hunter College in New York on October 30, 1968
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Scott MacDonald on Hollis Frampton - Artfourm International
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Goldensohn (1980) p. 7; Jenkins & Crane (1984) p. 108
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Interview with Hollis Frampton: The Early Years on JSTOR
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on March 30, 1984, a few weeks after his 48th birthday.
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425:Drafts and fragments
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338:structural filmmaker
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559:Prince Rupert Drops
407:was printed by the
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1169:Zorns Lemma
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898:thereafter.
773:Tony Conrad
598:(nostalgia)
587:(1971) 16mm
578:Zorns Lemma
503:Process Red
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395:(nostalgia)
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376:Zorns Lemma
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304:(nostalgia)
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189:Early years
155:Zorns Lemma
140:digital art
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661:Tiger Balm
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172:Biography
1086:27 April
767:See also
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413:Magellan
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168:(1983).
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247:Chinese
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685:Banner
571:States
382:After
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332:, and
296:cancer
272:Cantos
235:French
231:German
116:Spouse
68:, U.S.
49:, U.S.
1161:Lemon
1153:Films
801:Notes
546:Lemon
370:) of
227:Latin
149:Lemon
99:Lemon
1088:2012
1069:IMDb
1037:ISBN
727:Drum
673:Less
315:Film
282:and
251:WOBC
55:Died
29:Born
1067:at
1030:MIT
253:at
205:in
1215::
991:.
457:.
328:,
286:.
257:.
245:,
241:,
237:,
233:,
1138:e
1131:t
1124:v
1090:.
1015:.
1001:.
966:.
849:.
41:)
37:(
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