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Photograph by Ken Rowe.\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-10431-E5v4t-Pegkk\u0022 data-cbox-img-attrs=\u0022{\u0026quot;title\u0026quot;: \u0026quot;Hollis Frampton: The Meta-historian and the Tool. Photograph by Ken Rowe.\u0026quot;, \u0026quot;alt\u0026quot;: \u0026quot;Hollis Frampton: The Meta-historian and the Tool. Photograph by Ken Rowe.\u0026quot;}\u0022\u003E\u003Cimg class=\u0022image-style-wiki-profile\u0022 src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/styles\/wiki_profile\/public\/hollisframpton.jpg?itok=wUfVQZMS\u0022 width=\u0022360\u0022 height=\u0022360\u0022 alt=\u0022Hollis Frampton: The Meta-historian and the Tool. Photograph by Ken Rowe.\u0022 title=\u0022Hollis Frampton: The Meta-historian and the Tool. Photograph by Ken Rowe.\u0022 \/\u003E\u003C\/a\u003E                   \n               \n              \u003Cfigcaption class=\u0022caption full-caption\u0022\u003EHollis Frampton: The Meta-historian and the Tool. Photograph by Ken Rowe.\u003C\/figcaption\u003E\n                                                        \u003C\/figure\u003E\n      \u003C\/div\u003E\n\u003C\/div\u003E\n\u003Cdiv class=\u0022field field-name-body field-type-text-with-summary field-label-hidden view-mode-full view-mode-full\u0022\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003E\u003Cp\u003E\u003Cstrong\u003EHollis Frampton\u003C\/strong\u003E (1936-1984) was an American avant-garde filmmaker, photographer, writer\/theoretician, and a pioneer of digital art.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EBiography\u003C\/strong\u003E\u003C\/p\u003E\n\u003Ch3\u003EEarly years\u003C\/h3\u003E\n\u003Cp\u003EFrampton was born March 11, 1936 in Wooster Ohio. An only child, he was raised primarily by his maternal grandparents. Jenkins \u0026amp; Krane (1984), p. 107\u003C\/p\u003E\n\u003Ch3\u003ESchool years\u003C\/h3\u003E\n\u003Cp\u003EAt the age of 15 he entered Phillips Academy in Andover, Massachusetts, where he was accepted on full scholarship. At Andover, Frampton\u2019s classmates and friends included the painter Frank Stella and sculptor Carl Andre. Jenkins \u0026amp; Krane (1984), p. 108 Widely read already as a youth, he had a reputation at Andover as a \u201cyoung genius\u201d Goldensohn (1980), p. 8 In Jenkins \u0026amp; 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 thereafter. but was also unpredictable: he failed to graduate from Andover, and thus forfeited a National Scholarship to Harvard University, when he failed his history course on a bet that he could pass the final exam without ever reading the textbook Goldensohn (1980) p. 7; Jenkins \u0026amp; Crane (1984) p. 108. Entering Western Reserve University in 1954, Frampton took a wide variety of classes( Latin, Greek, German, French, Russian, Sanskrit, Chinese, mathematics) but had no declared major. He recounts 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 \u201cI already know how to talk, I already know who Napoleon was and I already like music\u201d and noted that \u201cFor that reason I hold no bachelor\u0027s degree. I was very sick of school.\u0027 Frampton, \u0027Hollis Frampton on Hollis Frampton\u0027 transcript from course at SUNY at Buffalo, Special Topics: Filmakers, session on Sept. 16, 1977, pp. 3-4. Cited in Jenkins \u0026amp; Krane (1984), p. 120 During this time he had a short-lived radio show at Oberlin college.\u003C\/p\u003E\n\u003Ch3\u003EEzra Pound - Washington D.C.\u003C\/h3\u003E\n\u003Cp\u003EIn 1956 Frampton began correspondence with Ezra Pound after becoming interested in the literary generation of the 1880\u2019s. In the fall of 1957 he moved to Washington D.C. where he visited Ezra Pound almost daily at St. Elizabeth\u2019s hospital where Pound was finishing part of his Cantos. There, Frampton writes that he was \u201cprivy to a most meaningful exposition of the poetic process by an authentic member of the \u2018generation of the \u201880\u2019s.\u2019At the same time, I came to understand that I was not a poet.\u201d Artist\u2019s resum\u00e9, c. 1975-1976, p. 2. Cited in Jenkins \u0026amp; Krane (1984), p. 120\u003C\/p\u003E\n\u003Ch3\u003EMove to New York\u003C\/h3\u003E\n\u003Cp\u003EEarly 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\u2019s work,\u003Cem\u003EThe Secret World of Frank Stella\u003C\/em\u003E 1958-1962, and portraits of artists such as Larry Poons and James Rosenquist.\u003C\/p\u003E\n\u003Ch3\u003EFilm\u003C\/h3\u003E\n\u003Cp\u003EAs Frampton\u0027s photography moved toward exploring ideas of series and sets, it was natural that he begin filmmaking. He based a lot of his early films on concepts, which he applied clearly and cleverly. All of his very early works were either discarded or lost. His earliest surviving work was \u003Cem\u003EInformation\u003C\/em\u003E (1966). His early works were reasonably simple in construction. A few of them including \u003Cem\u003EMaxwell\u0027s Demon\u003C\/em\u003E, \u003Cem\u003ESurface Tension\u003C\/em\u003E, and \u003Cem\u003EPrince Rupert\u0027s Drops\u003C\/em\u003E were based on concepts from science, a subject he was well read on. As he got on, his films gradually increased in complexity.\u003C\/p\u003E\n\u003Cp\u003EHis most significant work is arguably \u0027Zorns Lemma\u0027 (1970), a film which drastically altered perceptions towards experimental film at the time. He was seen as a structural filmmaker, a style that focused on the nature of film itself. In an interview with Robert Gardner he stated a discomfort with that term because it was too broad and didn\u0027t accurately reflect the nature of his work.\u003C\/p\u003E\n\u003Cp\u003E\u003Cem\u003EZorns Lemma\u003C\/em\u003E remains the most widely know of this films. It is formed in three different sections. The first is a reading (by \u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/wiki\/artist\/joyce-wieland\u0022\u003EJoyce Wieland\u003C\/a\u003E) of the Bay State Primer, a puritan work for children to learn the alphabet. The sentences used had foreboding themes such as \u0027In Adams fall, we sinned all.\u0027 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. It is an amazing 45 minutes of film. 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.\u003C\/p\u003E\n\u003Cp\u003EOne interpretation of Zorns Lemma was that it was a comment on life\u0027s 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.\u003C\/p\u003E\n\u003Cp\u003EAfter Zorns Lemma, he made the Hapax Legomena films, a series of seven films of which (nostalgia) is the most well known. Several of these films (nostalgia and Critical Mass) explored the relation between sound and cinema, an area often disregarded in American avant-garde film, by demonstrating a disjointed relationship between the two. Poetic Justice explores a \u0027cinema of the mind\u0027, wherein the film takes place in the viewers\u0027 imagination(s) as they read title cards. An extremely rare artist book edition of Poetic Justice was printed by the Visual Studies Workshop.\u003C\/p\u003E\n\u003Cp\u003EHis final major film project was a monumental project called Magellan, named after the explorer who first circumnavigated the world. Magellan was intended to be shown as a calendrical cycle, one film for each day of the year. One film from the cycle, Magellan: Drafts and Fragments, is exemplary of Frampton\u0027s ambition to create a personal \u0027meta-history\u0027 of film; in Drafts and fragments, he remade the cinema of the Lumieres in 51 1-minute films. Although incomplete at his death, the body of films made for Magellan is significant. In some ways, Frampton\u0027s entire oeuvre seems to fit under the Magellan umbrella.\u003C\/p\u003E\n\u003Cp\u003EThe last few years of his life, Frampton taught at SUNY Buffalo, writing, working on Magellan and ongoing photographic projects with fellow artist and wife Marion Faller, and investigating the relationship between computers and art. He did some initial work with video and sound reproducing with an Altair 8800 computer.\u003C\/p\u003E\n\u003Cp\u003EHis writings on film are some of the most lucid and thrilling perceptions any artist has made on the cinema. Alongside \u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/wiki\/artist\/stan-brakhage\u0022\u003EStan Brakhage\u003C\/a\u003E, Hollis Frampton was a leading pioneer of abstract expression in American film, akin perhaps to John Cage and Morton Feldman in contributions to their art.\u003C\/p\u003E\n\u003Cp\u003EFrampton died of cancer in 1984.\u003C\/p\u003E\n\u003Cp\u003EFilm study, restoration and print availability through Filmmakers Co-op NY, Anthology Film Archives and NY MoMA.\u003C\/p\u003E\n\u003Cp\u003ESee also American \u0027structural\u0027 filmmakers \u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/tags\/tony-conrad\u0022\u003ETony Conrad\u003C\/a\u003E, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/wiki\/artist\/paul-sharits\u0022\u003EPaul Sharits\u003C\/a\u003E, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/wiki\/artist\/ernie-gehr\u0022\u003EErnie Gehr\u003C\/a\u003E, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/tags\/george-landow\u0022\u003EGeorge Landow\u003C\/a\u003E, Canadian filmaker and artist \u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/tags\/michael-snow\u0022\u003EMichael Snow\u003C\/a\u003E and European filmmakers \u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/wiki\/artist\/malcolm-le-grice\u0022\u003EMalcolm Le Grice\u003C\/a\u003E (UK), \u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/wiki\/artist\/peter-gidal\u0022\u003EPeter Gidal\u003C\/a\u003E (UK), G\u00e1bor B\u00f3dy (Hungary) and \u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/wiki\/artist\/ivan-ladislav-galeta\u0022\u003EIvan Ladislav Galeta\u003C\/a\u003E (Croatia).\u003C\/p\u003E\n\u003Cp\u003E(Source: Wikipedia)\u003C\/p\u003E\n\u003C\/div\u003E\u003C\/div\u003E\u003C\/div\u003E\u003Csection class=\u0022field field-name-field-nationality field-type-country field-label-inline clearfix view-mode-full view-mode-full\u0022\u003E\u003Ch2 class=\u0022field-label\u0022\u003ENationality:\u0026nbsp;\u003C\/h2\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003EUnited States\u003C\/div\u003E\u003C\/div\u003E\u003C\/section\u003E    \u003C\/div\u003E\n\n          \u003Cnav class=\u0022clearfix\u0022\u003E\u003C\/nav\u003E\n    \n    \n  \u003C\/div\u003E\n\u003C\/article\u003E\n    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n    \u003C\/div\u003E\n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003C\/div\u003E\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__UWPcb-dFIKNMRaI8Dtldc9EKRFR1asHAO8yXpi-RA0Q__FKksr7BiLv_-PIwOA62XSsYR9-TCy3H9SwBNTijA80A__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.js\u0022\u003E\u003C\/script\u003E\n\u003C\/body\u003E\u003C\/html\u003E"}