Tuesday, July 22, 2014

National Gallery of Art Features "The Great Confusion: The 1913 Armory Show"



















On Saturday, August 2 at 2:30pm the National Gallery of Art in Washington, D.C. will screen 217 Films' "The Great Confusion: The 1913 Armory Show."

Filmmaker Terri Templeton and leading Armory Show scholar Laurette McCarthy will introduce the film and take questions following the screening.  McCarthy is featured prominently in the film.

"The Great Confusion" will be shown in the West Building Lecture Hall.  More information at this link.

This is the fourth time 217 Films' work has been shown at the National Gallery.  Read more about 217 Films at this link.

View the full screening schedule at this link.

Executive producer, Terri Templeton, on location.

Director Michael Maglaras interviews Armory Show scholar Laurette McCarthy.

Friday, July 18, 2014

Armory Show Film Screened at the Smithsonian American Art Museum


On Wednesday, July 16th, filmmakers Michael Maglaras and Terri Templeton screened their film "The Great Confusion: The 1913 Armory Show" at the Smithsonian American Art Museum.   Hundreds of art enthusiasts turned out to see the film in this truly superb venue.  

Read more about the film at this link.  

The next chance to see "The Great Confusion" in DC is Saturday, August 2 at 2:30 at the National Gallery of Art

For the full screening schedule, visit this link.  

Can't make it to a screening?  Purchase the film on Amazon.  













































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Tuesday, July 15, 2014

Eye Level: Smithsonian American Art Museum Interviews Michael Maglaras







July 15, 2014

On July 16th, the American Art Museum welcomes writer and director Michael Maglaras, who will introduce his documentary,
The Great Confusion: The 1913 Armory Show. The film examines the New York exhibition that exposed Americans to modern art by C├ęzanne, Renoir, van Gogh, and Duchamp, as well works by Americans such as Hartley, Marin, and Sheeler. A special pre-screening tour of the American Art collection, highlighting works by artists who were in the Armory Show, meets in the G St. lobby at 5:30 p.m. The film begins in the McEvoy Auditorium at 6:30 p.m. A light reception will follow the screening and Q&A. Additional details for this event can be found on our museum's calendar. Program Coordinator Alli Jessing discussed the film and the impact of the Armory show with Michael Maglaras for Eye Level.

Eye Level: Of the artists featured in the 1913 show, do you have a favorite artist or artwork?

Michael Maglaras: This is a tough one; with as many as 1,300 works there was much to choose from, and much of it of exceptional quality. I have a soft spot for the painting Family Group by William Glackens, which we feature prominently in the film. Glackens is a singular artist, and it seems to me that this painting has one foot planted firmly in the legacy of 19th century painting, with its particular elegance of spirit (look at the line of the leg leading to the end of his daughter's shoe on the left side of the canvas) and the other foot planted firmly in the 20th century with Glackens' Fauvist-like use of color. It is really a masterpiece of its kind.

EL: The 1913 Armory was quite a pivotal one, and introduced American audiences to a more experimental style. Tell us a little about how the critics and audiences reacted to this unfamiliar visual style.

MM: The reaction was a surprising combination of delight and disgust. The press, of course, had a field day reporting about the varied reactions of the public to the works of Matisse, Gleizes, Duchamp, and others. And it became a kind of social and, for its time, important media event. The public came in droves: 4,000 on the first day and 12,000 on the last. It would be difficult to imagine a reaction today more varied and more provocative at the most basic level than the reaction provoked by the Armory Show in 1913. Of course, the evidence is clear that in 1913 we held strong views about what we liked and didn't about art, and the debate then, pro and con, about Modernism, was seldom tinged by the kind of political correctness we sometimes exhibit today. Three months after the close of the Armory Show, in May of 1913, at the premiere of Igor Stravinsky's The Rite of Spring in Paris, fistfights broke out before the orchestra had finished playing the first page of the score.
Many who came to see the work in the Amory Show had their views changed about what art is and what it should mean to us. In 2014, the way we look at what hangs on a wall, how we perceive its value, whether it speaks to us on multiple levels, and the role of the artist in our society, are all ideas that are a result of the 27 days that the public flocked to the Armory Show in New York.

EL: When you visit an art museum, what kinds of works do you gravitate towards?

MM: I've made five films about American Modernism, and I have to confess that if a museum has works by American painters who were active from about 1900 through the 1950s, I'm immediately drawn to whatever is in that collection. John Marin, for example, is in my view the undisputed poet of American Modernist painting. Whenever I encounter a Marin, all I do is simply stand there and smile at the sheer joy that his work represents to me.

EL: Marcel Duchamp's painting Nude Descending a Staircase (No. 2) famously caused some furor during the show. What were some of the other controversial artworks, and what about them caused such an upset?

MM: Everything in Gallery I, where most of the Cubist work was hung (it was called by the press the "Chamber of Horrors") caused an immediate controversy. From the standpoint of sheer geography, Gallery I was hidden away in the upper left-hand corner of the armory space, and if you had been strolling through the galleries in no particular order, coming upon the contents of that gallery would have taken you completely by surprise. Several works by Matisse hung in Gallery H, including his exquisitely delicious Blue Nude of 1907, which Kenneth Clark called the first painting of the modern era. If you actually made your way through the Armory Show galleries alphabetically (they started with A, B, etc., and ended with the letter R) you would, of necessity, have had an intimate encounter with Blue Nude. Nothing like it had ever been seen before in America by so many people in such a brief span of time. The reaction of the public to the painters of French Modernism was only what it could have been in 1913: a complete shock.

EL: Are you working on any new film projects at the moment?

MM: Our next film is now in production. It's entitled Enough to Live On: The Art of the WPA. This film is in honor of the 80th anniversary of the Federal Art Project of the WPA. As we travel the country deciding which art to use —individual paintings, murals, sculpture— we discover that this will be a film full of surprises: surprises about the overwhelming quality of some of the work, how much of it was created under the auspices of the federal government, and how the making of art was used by Franklin Roosevelt's administration as a tool to reinvigorate our national spirit at a time of national depression.

For additional information about the 1913 Armory Show and to view original source material from that exhibition, take a look at the Smithsonian Archives of American Art's website: 1913 Armory Show: The Story in Primary Resources.

Wednesday, July 9, 2014

Behind the Scenes: "Enough To Live On: The Art of the WPA"

Greta Rybus took these behind the scenes photos of our crew shooting our new film Enough to Live On: The Art of the WPA.  Read more about the shoot and this forthcoming film at this link.





Tuesday, July 1, 2014

American Fine Art Magazine interviews Filmmaker Michael Maglaras


Courtesy American Fine Art Magazine
Follow this link to read the full interview with filmmaker Michael Maglaras in the July/August 2014 issue of American Fine Art Magazine.

Excerpt from the interview:

“There are multiple lessons in the Armory Show. The first lesson:  art can’t and should never be tepid. It should engage, inspire, irritate, provoke. Second lesson: we should understand the Armory Show was all about the right art at the right place at the right time. America in 1913 was at the beginning of its ascendancy in culture, politics, transportation, and God knows in war,” Maglaras says. “To the extent that we feel we have lost a little bit of that ascendency, or that our culture is not what it was, we can look back on the two world events of 1913: the premiere of Igor Stravinsky’s Rite of Spring and then the Armory Show. These two events changed forever the way we see the arts. And one of them happened here.”  
~ Michael Maglaras 

Discover more about Michael Maglaras's film "The Great Confusion:  The 1913 Armory Show" at this link.   

Order a DVD of this film here.  

View the screening schedule here.  

Monday, June 23, 2014

Armory Show Film Summer and Fall Screening Dates

217 Films Announces Summer and Fall Screening Dates for “The Great Confusion:  The 1913 Armory Show”

217 Films has announced the summer and fall screening schedule for its new documentary on the 1913 Armory Show.  

The next screening of The Great Confusion:  The1913 Armory Show” will be held Wednesday, July 16 at the Smithsonian American Art Museum in Washington, D.C.  A special tour and reception with the director will be held just prior to the screening.  More information can be found at:  http://ow.ly/ymTy7

Additional upcoming screenings include:

August 2, 2014
2:30pm
National Gallery of Art
Washington, D.C.

September 3, 2014
7:15pm
Naro Expanded Cinema
Norfolk, VA

October 26, 2014
2:00pm
Gari Melchers Home & Studio at Belmont
Falmouth, VA

The director will introduce each of these screenings and take questions following the film.

New dates are being added frequently and this film tour will continue through 2014.

217 Films' sixth film “Enough to Live On: The Art of the WPA” will be released in 2015 in celebration of the 80th anniversary of the Federal Art Project under Franklin Roosevelt’s New Deal.  Read a recent article about this new film at this link.  

The Sacramento Bee called Michael Maglaras a filmmaker of “Bergman-like gravitas.” His films have been described as “virtuoso filmmaking” (National Gallery of Art) “alive and fresh” (Art New England) “elegiac and insightful” (Naples Daily News) and “unforgettable” (Journal of American History).  David Berona, author of “Wordless Books” has said of “O Brother Man” --“This film is stunning” and Judith Regan of Sirius XM called it “magnificent.” A recent review in The Dartmouth said of “The Great Confusion” that “Michael Maglaras...brought the drama of the original show back to life.” He has recently been featured in a full-length interview on “Conversations from Penn State” on Public Television.

Wednesday, June 11, 2014

Shooting Begins for WPA Documentary







Read original story at this link.

Film makers visit to shoot documentary

PORTLAND — Bob Reynolds came north to tell a story Monday morning. Michael Maglaras came north to hear it.
Maglaras, co-owner of 217 Films, sat with Reynolds in the library on the third floor of the Masonic Temple at 415 Congress St.
"It happened in 1930 when my father came home and said he had lost his job," Reynolds began.
"What happened?" asked Maglaras, getting Reynolds to focus on specific memories of the Great Depression. Such memories are at the heart of 217's documentary film on the Works Progress Administration.
Maglaras and Reynolds are both from Connecticut, but for the sixth time, 217 was in Portland to shoot a movie.
"Its a great crew and a great place to film," Maglaras said. "We have people who can take over a funky space like this."
Planned for release in February 2015, "Enough to Live On: The Art of the WPA," will mark the 80th anniversary of the creation of the agency by President Franklin Roosevelt as part of his New Deal to fight the Depression's economic ravages.
Maglaras and co-owner Terri Templeton have made five movies about American art and artists in the early-20th century. But Maglaras said the WPA's employment of artists, musicians and writers to create public works drew special interest.
"What we've got is a spirit of 'can-do' and 'let's make it work,'" Maglaras said. "Artists are our fellow citizens and they deserve to be employed."
Maglaras's film, set in 1935, will look at how the WPA employed painters including Mark Rothko, Jackson Pollock and Marsden Hartley, as well as photographer Berenice Abbott.
Reynolds, 90, is the author of a memoir titled "What a Life! Footprints in the Sands of Time." But Monday's filming was his first. His memories and the comments of Erika Doss, a history professor at the University of Notre Dame, will provide context for "Enough to Live On."
“I haven't had this much fun since I got married," Reynolds said.
He recounted how his father, a World War I veteran, lost his job, upsetting a comfortable home life that included a nanny and a fashionable 1926 Dodge with leather seats.
Reynolds also remembered going to prep school with Hollywood legend Jack Lemmon, and appearing onstage in drag opposite Lemmon because the school did not admit girls.
Some of those recollections may not make the film's final cut, but Reynolds' ease in front of the camera impressed Maglaras.
"George Clooney, eat your heart out," he said with a laugh.
Maglaras worked through a demanding schedule with help from locals Tom Eichler on sound, production assistant Andrea Nilosek, set decorator Kent Lanigan, and grip Mike Panenka. The crew was hired by 217 production manager Ramsey Tripp, to the delight of Maglaras.
"You build a rapport with people, they can read my mind," Maglaras said.
Maglaras, an insurance consultant and a trained opera singer, has also appeared in his own films. He played Hartley in the first 217 production, "Cleophas and His Own: A North Atlantic Tragedy." The 2005 film is based on an unreleased manuscript, found after Hartley's death in 1943, detailing a family tragedy in Nova Scotia.
Maglaras said the beauty of the WPA was its inclusion. For example, despite the largely segregated era, Roosevelt banned racial discrimination in the WPA's hiring of artists and writers. Today, the visual results adorn walls in post offices and other public buildings throughout the country.
"You can walk up and down Congress Street and see art in windows, but this was about paying American painters, writers musicians to participate in our society," Maglaras said.

David Harry can be reached at 781-3661 ext. 110 or dharry@theforecaster.net. Follow him on Twitter:@DavidHarry8.