Michael Zryd - Hollis Frampton

OCTOBER Files

Rosalind Krauss (founding editor), Annette Michelson (founding editor), George Baker, Yve-Alain Bois, Benjamin H. D. Buchloh, Leah Dickerman, Devin Fore, Hal Foster, Denis Hollier, David Joselit, Carrie Lambert Beatty, Mignon Nixon, and Malcolm Turvey, editors

Richard Serra, edited by Hal Foster with Gordon Hughes

Andy Warhol, edited by Annette Michelson

Eva Hesse, edited by Mignon Nixon

Robert Rauschenberg, edited by Branden W. Joseph

James Coleman, edited by George Baker

Cindy Sherman, edited by Johanna Burton

Roy Lichtenstein, edited by Graham Bader

Gabriel Orozco, edited by Yve-Alain Bois

Gerhard Richter, edited by Benjamin H. D. Buchloh

Richard Hamilton, edited by Hal Foster with Alex Bacon

Dan Graham, edited by Alex Kitnick

John Cage, edited by Julia Robinson

Claes Oldenburg, edited by Nadja Rottner

Louise Lawler, edited by Helen Molesworth with Taylor Walsh

Robert Morris, edited by Julia Bryan-Wilson

John Knight, edited by Andr Rottmann

Isa Genzken, edited by Lisa Lee

Hans Haacke, edited by Rachel Churner

Michael Asher, edited by Jennifer King

Mary Kelly, edited by Mignon Nixon

William Kentridge, edited by Rosalind Krauss

Bruce Nauman, edited by Taylor Walsh

Sherrie Levine, edited by Howard Singerman

Michael Snow, edited by Annette Michelson and Kenneth White

Carrie Mae Weems, edited by Sarah Elizabeth Lewis with Christine Garnier

Donald Judd, edited by Annie Ochmanek and Alex Kitnick

Hollis Frampton, edited by Michael Zryd

edited by Michael Zryd

essays and interviews by Hollis Frampton, Peter Gidal, Annette Michelson, Barry Goldensohn, Christopher Phillips, Bruce Jenkins, Allen S. Weiss, Brian Henderson, Federico Windhausen, Melissa Ragona, Michael Zryd, Lisa Zaher, George Derk, and Ken Eisenstein

The MIT Press

Cambridge, Massachusetts

London, England

2022 Massachusetts Institute of Technology

All works of art by Hollis Frampton the Estate of Hollis Frampton. Frame captures from The Birth of Magellan: Cadenza I, Critical Mass, Gloria!, (nostalgia), Poetic Justice, Straits of Magellan: Drafts and Fragments, and Zorns Lemma, are from A Hollis Frampton Odyssey (The Criterion Collection, 2012), the Estate of Hollis Frampton.

All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher.

This book was set in Bembo Std by New Best-set Typesetters Ltd.

Library of Congress Cataloging-in-Publication Data

Names: Zryd, Michael, editor.

Title: Hollis Frampton / edited by Michael Zryd ; essays and interviews by Hollis Frampton, Peter Gidal, Annette Michelson, Barry Goldensohn, Christopher Phillips, Bruce Jenkins, Allen S. Weiss, Brian Henderson, Federico Windhausen, Melissa Ragona, Michael Zryd, Lisa Zaher, George Derk, and Ken Eisenstein.

Description: Cambridge, Massachusetts : The MIT Press, [2022] | Series: October files ; 27 | Includes bibliographical references and index.

Identifiers: LCCN 2021016759 | ISBN 9780262543576 (paperback)

Subjects: LCSH: Photographic criticism. | Motion picturesAppreciation. | Avant-garde (Aesthetics)United States. | Frampton, Hollis, 19361984Appreciation.

Classification: LCC TR187 .H66 2022 | DDC 777dc23

LC record available at https://lccn.loc.gov/2021016759

10987654321

d_r0

For Marion Faller and Annette Michelson

OCTOBER Files addresses individual bodies of work of the postwar period that meet two criteria: they have altered our understanding of art in significant ways, and they have prompted a critical literature that is serious, sophisticated, and sustained. Each book thus traces not only the development of an important oeuvre but also the construction of the critical discourse inspired by it. This discourse is theoretical by its very nature, which is not to say that it imposes theory abstractly or arbitrarily. Rather, it draws specific ways in which significant art is theoretical in its own right, on its own terms and with its own implications. To this end we feature essays, many first published in OCTOBER magazine, that elaborate different methods of criticism in order to elucidate different aspects of the art in question. The essays are often in dialogue with one another as they do so, but they are also as sensitive as the art to political context and historical change. These files, then, are intended as primers in signal practices of art and criticism alike, and they are offered in resistance to the amnesiac and antitheoretical tendencies of our time.

The Editors of OCTOBER

A number of texts were first published in October, no. 32 (Spring 1985), a special issue that marked Framptons death the previous year: Peter Gidals Interview with Hollis Frampton (conducted May 24, 1972, in London); Annette Michelsons Poesis/Mathesis (the introduction to the special issue); Barry Goldensohns Memoir of Hollis Frampton; Christopher Phillipss Word Pictures: Frampton and Photography (a review of Hollis Frampton: Recollections/Recreations, an exhibition of Framptons photography, film, and work in other media at Albright-Knox Art Gallery, Buffalo, New York, September 30November 25, 1984); Bruce Jenkinss The Red and The Green; Allen S. Weisss Framptons Lemma, Zorns Dilemma; Brian Hendersons Propositions for the Exploration of Framptons Magellan; Annette Michelsons Framptons Sieve; and Hollis Framptons A Complete Filmography. Parts of Gidals interview were first published in Peter Gidal, ed., Structural Film Anthology (London: British Film Institute, 1976). Several texts were first published in a dossier on Frampton in October, no. 109 (Summer 2004): Federico Windhausens Words into Film: Toward a Genealogical Understanding of Hollis Framptons Theory and Practice; Melissa Ragonas Hidden Noise: Strategies of Sound Montage in the Films of Hollis Frampton; and Michael Zryds History and Ambivalence in Hollis Framptons Magellan. Lisa Zahers Re-framing Photographic Subjectivity: Hollis Framptons The Secret World of Frank Stella was first published in Shifter, no. 17 (2011) and also in Rethinking Marxism 23, no. 2 (2011). George Derks Make It Old: Hollis Frampton contra Ezra Pound was published in October, no. 164 (Spring 2018). Ken Eisensteins The Archives of Our Memory: Hollis Framptons Marmoreal Mammary was first published in The Moving Image: The Journal of the Association of Moving Image Archivists 12, no. 1 (Spring 2012).

I am grateful to all of the authors (or their families) for their permission to include their texts in this collection. I am very grateful to Will Faller, the executor of Framptons estate, who has been extremely generous in supporting the production of this collection, especially in providing images and text and image permissions. Thanks to Patricio Dvila, Biff Henrich, and Anthology Film Archives for their assistance with images. Special thanks to fellow Frampton scholars for their support over many years: Anne Breimaier, Ken Eisenstein, Giles Fielke, Bruce Jenkins, Scott Puccio, and Lisa Zaher. The excellent folks at the MIT Press have given expert assistance: Malcolm Turvey, George Baker, Tom Weaver, Adam Lehner, Gabriela Gibbs, Judy Feldmann, and Natalie Jones. Special thanks to Kenneth White for prompting and encouraging this volume. Finally, my most profound thanks, as always, to Tess Takahashi.