Short biography sample

Standish Lawder

American artist and filmmaker, –

Standish Dyer Lawder ( – 21 June ) was an American artist, art historian and inventor, who contributed to the structural film movement in the late s and early s.[1][2]

Biography

Born in Connecticut in , Lawder attended Williams College and the National Autonomous University of Mexico as an undergraduate, and studied at the Ludwig Maximilian University of Munich.[3] While at the University of Munich, he became a test subject for a neurologist researching phosphenes at around [4] During these experiments, he was injected with measured amounts of LSD, mescaline and psilocybin, and "spent a whole day in the clinic".[4] In this, he became an early subject of psychedelics.[4] Afterwards, he received his doctor of philosophy as an art historian at Yale University.[3] His thesis, which was later published as The Cubist Cinema, examines the correlation between the history of film and its impact on modern art, described as a holistic overview by Anthony Reveaux in Film Quarterly.[5]

For several decades Standish ran a Community Non-Profit Darkroom called the Denver Darkroom.

It began as Standish's dream workspace which he cordially extended to visiting Filmmakers, Artists, Journalists and Friends. It was an artistic hotspot housing a large commercial-size black and white darkroom, studios, a library, a kitchen, a dining room/ gallery and sleeping lofts/ prop storage.

Standish lawder biography sample Standish Dyer Lawder — 21 June was an American artist, art historian and inventor, who contributed to the structural film movement in the late s and early s. It began as Standish's dream workspace which he cordially extended to visiting Filmmakers, Artists, Journalists and Friends. The demand for the community darkroom was huge and it became a non-profit in , accepting paid memberships to cover operating costs. Lawder died on June 21, His body of work is purported to span over 25 films and his literary works encapsulates several essays on experimental film.

The demand for the community darkroom was huge and it became a non-profit in , accepting paid memberships to cover operating costs. Beginning in classes in Photography were offered by Artists and faculty of Metropolitan State College of Denver (now MSU) at the Denver Darkroom.

Lawder's wife, Ursula, was the daughter of Richard Strauss-Ruppel and Frieda Ruppel, who later married Dadaist artist Hans Richter.

Lawder died on June 21,

Filmography

His body of work is purported to span over 25 films and his literary works encapsulates several essays on experimental film.[3] His first endeavors with experimental films started in his basement during a sabbatical of his in the late s and early s.[6] One of his works during this span, Necrology, has been cited by fellow filmmaker Hollis Frampton as "the sickest joke I've ever seen on film".[7]

For the production of his first two films, Runaway and Corridor, Lawder built his own contact printer using an incandescent light bulb housed within a coffee can.[8][9] With it, he would expose his films by manipulating the brightness of the light bulb, then shined the beam it created through the flashlight tube to the film gate of his camera.[8]

Lawder also used s sex education films on Dangling Participle and animated found footage on Runaway, Raindance and Roadfilm (the latter to the tune of The Beatles "Why Don’t We Do It in the Road?").[10][11]

Preservation

The Academy Film Archive has preserved several of Standish Lawder's films, including Necrology, Catfilm For Katy and Cynnie and Raindance.[12]

Selected filmography

  • 3 x 3: A Tic-Tac-Toe Sonata in 3 Moves ()
  • Budget Film ()
  • Catfilm for Ursula ()
  • Construction Job ()
  • Eleven Different Horses ()
  • Headfilm ()
  • Roadfilm ()
  • Runaway ()
  • Specific Gravity ()
  • Corridor ()
  • Dangling Participle ()
  • Necrology ()
  • Color Film ()
  • Prime Time ()
  • Raindance ()
  • Sixty Suicide Notes ()
  • Sunday in Southbury ()
  • Automatic Diaries –73 ()
  • Catfilm for Katy and Cynnie ()
  • Regeneration ()

Bibliography

Books

Essays

References

  1. ^"One Night, Standish Lawder".

    Harvard Film Archive.

    Standish lawder biography sample pdf By providing your information, you agree to our Terms of Use and our Privacy Policy. We use vendors that may also process your information to help provide our services. In a sense this is an inside joke—he first made films in the basement of his home in New Haven; now he works in his basement film studio at Yale where he also teaches. Lawder is better described as an experimental underground filmmaker because of the way in which his films lead the viewer to a particular consciousness of their speculative nature. Necrology , —70, is, paradoxically, both a film containing no camera movement and an important one in the history of camera movement.

    Cambridge, Massachusetts: Harvard University Library. 23 September Retrieved 8 November

  2. ^Screening Room with Standish Lawder & Stanley Cavell - PREVIEW - Documentary Educational Resources on official YouTube channel
  3. ^ abc"Standish Lawder biography".

    The Visual Arts Department at UC San Diego. University of California, San Diego.

  4. Biography sample for work
  5. Standish lawder biography sample template
  6. Short biography sample

    7. 21 June Retrieved 8 November

  7. ^ abcHalter, Ed (4 December ). "Visions of Grandeur". The Village Voice. New York City. Retrieved 7 December
  8. ^Reveaux, Anthony (Summer ).

    Standish lawder biography sample format

    Standish Lawder attended Williams College and the National Autonomous University of Mexico as an undergraduate, studied at the University of Munich, and received his PhD in art history from Yale University where his thesis dealt with relationships between modern art and film during the teens and 20's. He has also written on other aspects of film history, principally Griffith, Eisenstein, and the German Expressionist cinema. As an artist, Lawder worked as a painter until about when he became involved in projected light art, multi-media photography and film. Lawder made about twenty-five films which have been screened at numerous film festivals and museums including the Museum of Modern Art, the Whitney Museum of American Art, the Ann Arbor Film Festival, and others. He conducted research on the nature of optical space and the psychology and physiology of perception with a particular interest in stereoscopy.

    "The Cubist Cinema by Standish D. Lawder". Film Quarterly. 29 (4). Berkeley, California: University of California Press: 27–9. doi/ JSTOR&#;

  9. ^Treasures IV: American Avant-Garde Film, – (Media notes). Los Angeles: Image Entertainment. NATDDVD.

    Free biography sample Afterwards, he received his Doctor of Philosophy as an art historian at Yale University. While at the University of Munich, he became a test subject for a neurologist researching phosphenes at around During these experiments, he was injected with measured amounts of LSD, mescaline and psilocybin, and "spent a whole day in the clinic". In this, he became an early subject of psychedelics. His thesis, which was later published as The Cubist Cinema, examines the correlation between the history of film and its impact on modern art, described as a holistic overview by Anthony Reveaux in Film Quarterly.

    Archived from the original on 3 September Alt URL

  10. ^Gerard, Lillian; Shaw, Elizabeth (3 March ). "Cineprobe presents experimental films by Standish Lawder"(PDF) (Press release). New York City: Museum of Modern Art. Retrieved 8 November
  11. ^ abToscano, Mark (28 November ).

    "A contact printer". Preservation Insanity. Los Angeles: Blogger.

  12. Corridor - Standish Lawder - The Film-Makers' Cooperative
  13. Biography of Standish Lawder
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    16. Retrieved 8 November

  16. ^"Stu Brown Sextet: Dinner Music for a Pack of Hungry Cannibals" (Press release). London: 14 October Retrieved 10 November
  17. ^Artfourm
  18. ^Roadfilm (audio commentary) - Art & Trash on Vimeo
  19. ^"Preserved Projects". Academy Film Archive.

External links