Observe Art Is… The Permanent Revolution (2012) Film Online Totally free Flow

Your anger and outrage seized by graphic artists have defined revolutions throughout the centuries. Printmakers have depicted the human condition in all its glories and struggles so powerfully that awareness, attitudes and politics are dramatically influenced. And the value and impact in this art is even more important today. In the new documentary, ART IS… THE PERMANENT REVOLUTION, three contemporary American artists and a master printer help make clear the dynamic sequences connected with social reality and protest. Among the wide variety of 60 artists on display are Rembrandt, Goya, Daumier, Kollwitz, Dix, Masereel, Grosz, Gropper, and Picasso. While their stirring design sweep by, the making of the etching, a woodcut and the lithograph unfolds before our own eyes, as the contemporary performers join their illustrious predecessors inside creating art of cultural engagement.

In “Art Is… the Permanent Revolution, ” etcher Sigmund Abeles, lithographer Ann Chernow, woodcut artist Paul Marcus as well as master printer James Reed expound about the link between print artwork and political protest. But if their fuzy talking heads rarely enlighten, their busy hands, engaged in various complex stages of fabricating art, utterly fascinate. For documaker Manfred Kirchheimer, intercutting among the performers and showcasing some 400 striking instances of politically engaged images coming from Durer to Picasso, a picture is indeed worth 1000 words. Opening at Gothams Quad, “Revolution” may prove ideal to smallscreen play.

Some of the 60 artists whose illustrations parade through the screen might be called the usual suspects; Daumier, Goya and Grosz, all known for their particular acerbic, passionate or grotesque depictions connected with social injustice, are particularly well displayed. Lesser-known figures, like Frans Masereel, Otto Dix or Kathe Kollwitz, here carve their very own niches, particularly in their depictions in the horrors of war.

The film proceeds combined two parallel lines: On the one hands, Kirchheimer presents an endless visual stream of woodcuts, etchings, lithographs, drawings and engravings, loosely grouped by topic or artist and underscored by tragic, militant or triumphal tunes. On the other hand, the helmer includes in-depth interviews with four contemporary artists that are busy plying their build and whose discussions occasionally inform the ongoing montage associated with surveyed art pieces. The interpolated prints, in their sheer quantity, ferocity and brilliance, create a curious counterpoint towards interview subjects slow, methodical processes; not until the designers reveal their finished goods does their political content become crystal-clear as well as the two strands of the film click in a true relationship.

Oddly, since the mediums accessibility and easier reproduction makes print artwork a naturally populist along with propagandistic medium, the artists interviewed are far from young firebrands using state-of-the-art processes of reproduction. Instead, they come off seeing that thoughtful, somewhat elderly individuals engaged in heavily artisanal, low-tech processes, often involving expensive, rare, quasi-extinct materials.

Kirschheimer never really describes this anomaly. But admittedly, there is something immensely satisfying in watching these laborious, hands-on processes. Abeles works with unique tools on different surfaces and dips his birdwatcher plate in acid baths repeatedly before inking and running the finished print. Similarly, Chernow and Reed subject a marble slab for you to multiple washes and coatings as they pass it back and forth in the manufacture of the lithograph.

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