Moving Pictures: American Art and Early Film, 1880 - 1910
Grey Art Gallery
The first impression of the exhibition, “Moving Pictures” at the Grey Art Gallery is that I am amazed by how the painting and film create an intriguing juxtaposition to our eyes. The still painting emphasizes the brushes, the paints, the colors and the strokes along with the film, which expresses the movements and its realistic gestures.
I think that the most essential characteristic of painting is stillness of image and that of moving picture is flow of images. I suggest that the next step of image will be involved with interaction or selection of images
I am especially interested in the tricky film in this exhibition. In the film, when a painter draw hat, he got a real hat after a second and the character in the painting changed his face. I think the magic could be possible because the film was flow of images so that producer could cut, copied and pasted the flow of the still images.
While I consider this effect, which is enabled by the basic characteristic of moving pictures, I think further about what the moving really is? For defining the moving, I explore more examples. At first, even in the case of moving pictures, the film itself doesn’t move before someone run it through a projector. Moreover, if someone take a movie of a chameleon, which doesn’t move but changes its color, audience may say it’s a film. Therefore, most important point in the film is not the physical moving but simply changing the images in the film projector.
As a result, I can say that moving is perception, imagination and operation of the brain. In addition, if we dream in the night, we may feel the moving in the dream. If we close eyes and imagine something, we can make them move in our mind.
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