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Stan VanDerBeek (1927-1984)



Films:

What Who How, 1957
Mankinda, 1957
The Immaculate Contraption or Wheeeels or America on Wheels, Part 1, 1958
Street Meat/Meet, 1959
Astral Man an Illuminated Poem 1959, 2:30 min, color
Dance of the Looney Spoons 1959, 5:01 min, b&w, sound
Wheeeeels No. 2 1959, 7:06 min, b&w, sound
A La Mode 1959, 6:18 min, b&w, sound
Science Friction 1959, 9:46 min, color, sound
Achooo Mr. Kerrooschev 1960, 1:43 min, b&w, sound
The Smiling Workman 1960, 3:43 min, color
Blacks and Whites, Days and Nights 1960, 4:57 min, b&w, sound
Skullduggery Part II 1960-1961, 4:53 min, b&w, sound
Breathdeath 1963, 14:33 min, b&w, sound
Newsreel of Dreams Part 1, 1963–64
Curious Phenomenon No. 1, 1964
Site, 1964
Fluids, 1964
A Dam Rib Bed, 1964–65
Facescapes, 1964–65
The Birth of the American Flag, 1965
See Saw Seams 1965, 9:06 min, b&w, sound
The Human Face is a Monument 1965, 8:50min, b&w, sound
Poemfield No. 2 1966, 5:40 min, color, sound
Vision III, 1966
Spherical Space No. 1, 1966
Image After Image, 1967
Man and His World, 1967
Expo Faces, 1967
Panels for the Walls of the World, 1967
Oh, 1968
Poemfield No. 1 (Blue Version in Full Color)
Poemfield No. 5, 1968
Poemfield No. 7, 1967-8
Superimposition, 1968
Film Form #1, 1968
Moirage, 1970
Symmetricks 1972, 6:12 min, b&w, sound




The following text is from the EAI Online Catalogue (www.eai.org) and reprinted with permission by Electronic Arts Intermix (EAI):


A pioneer in the development of experimental film and live-action animation techniques, Stan VanDerBeek achieved widespread recognition in the American avant-garde cinema. An advocate of the application of a utopian fusion of art and technology, he began making films in 1955. In the 1960s, he produced theatrical, multimedia pieces and computer animation, often working in collaboration with Bell Telephone Laboratories. In the 1970s, he constructed a "Movie Drome" in Stony Point, New York, which was an audiovisual laboratory for the projection of film, dance, magic theater, sound and other visual effects. His multimedia experiments included movie murals, projection systems, planetarium events and the exploration of early computer graphics and image-processing systems.

VanDerBeek was also intimately involved with the artists and art movements of his time; he filmed Happenings and merged dance with films and videos. VanDerBeek was a preeminent thinker, scientist, artist, and inventor who forged new links between art, technology, perception, and humankind. In 1966, he wrote a visionary manifesto about man losing his way in his place on earth and the power of artists to rectify the course.

VanDerBeek wrote: "It is imperative that we quickly find some way for the entire level of world human understanding to rise to a new human scale. The scale is the world" The risks are the life or death of this world. The technological explosion of this last half-century, and the implied future are overwhelming, man is running the machines of his own invention... while the machine that is man... runs the risk of running wild. Technological research, development, and involvement of the world community has almost completely out-distanced the emotional-sociological (socio-"logical") comprehension of this technology. The "technique-power" and "culture-over-reach" that is just beginning to explode in many parts of the earth, is happening so quickly that it has put the logical fulcrum of man's intelligence so far outside himself that he cannot judge or estimate the results of his acts before he commits them. The process of life as an experiment on earth has never been made clearer. It is this danger — that man does not have time to talk to himself — that man does not have the means to talk to other men. The world hangs by a thread of verbs and nouns. Language and cultural-semantics are as explosive as nuclear energy. It is imperative that we (the world's artists) invent a new world language..."

VanDerBeek was born in 1927 and died in 1984. He studied at Cooper Union and Black Mountain College, and was awarded an Honorary Doctorate from Cooper Union in 1972. Among his numerous awards are grants from the Rockefeller Foundation, the Guggenheim Foundation, the Ford Foundation, and the National Endowment for the Arts; and an American Film Institute Independent Filmmaker Award. He was artist-in-residence at WGBH and the University of South Florida, and professor of art at the University of Maryland, Baltimore. His work was the subject of retrospectives at The Museum of Modern Art and the Whitney Museum of American Art in New York.


This film is being made available for noncommercial and educational use only.
All rights to this recorded material belong to the estate of the artist.
© 2008 Estate of Stan VanDerBeek. Used with permission of the Estate of Stan VanDerBeek and Guild & Greyshkul.
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