Some painters and sculptors approach our art with a kind of chauvinistic arrogance. Their use of film, however interesting as documentation, is fundamentally exploitative. Robert Huot has been one of the most inventive and rigorous of the younger generation of radical painters. He brings the same attributes to film, along with an inquisitiveness that is by no means cautious. He tries, not to exploit film, but to find out what film is. Huot's films will seem 'simple' to many. In fact, he is doing...
Some painters and sculptors approach our art with a kind of chauvinistic arrogance. Their use of film, however interesting as documentation, is fundamentally exploitative. Robert Huot has been one of the most inventive and rigorous of the younger generation of radical painters. He brings the same attributes to film, along with an inquisitiveness that is by no means cautious. He tries, not to exploit film, but to find out what film is. Huot's films will seem 'simple' to many. In fact, he is doing basic work that we film-makers ought to have done for ourselves decades ago, work that is both an addition and a reproach to film art.
Some painters and sculptors approach our art with a kind of chauvinistic arrogance. Their use of film, however interesting as documentation, is fundamentally exploitative. Robert Huot has been one of the most inventive and rigorous of the younger generation of radical painters. He brings the same attributes to film, along with an inquisitiveness that is by no means cautious. He tries, not to exploit film, but to find out what film is. Huot's films will seem 'simple' to many. In fact, he is doing basic work that we film-makers ought to have done for ourselves decades ago, work that is both an addition and a reproach to film art.
