Created entirely from color-timing tapes (the unseen shadow of a release print) of an unnamed Hollywood studio film, Color Correction is both a meditation on what can be used or reused as source material for a feature film and an exploration of our personal relationship to color in film. The overarching program title Interaction of Formats is a direct reference to the 1963 educational text by painter Josef Albers (Interaction of Colors), which presents a number of visual exercises as a way to understand and perceive color. In it he writes, “color is the most relative medium in art.” And while Albers is considering how painted or printed colors interact and influence one another, that concept of color relativity can also be applied to colors presented as projected light. This two-night program seeks to highlight first the relativity of color and what each individual viewer might bring to it, but also considers the specificity of moving-image formats. o-presented with Cinema Project. Night two (December 15) includes the 16mm film Color Aid from artist and former student of Albers, Richard Serra, as well as an homage to Kodachrome
Co-presented with Cinema Project. Night two (December 15) includes the 16mm film Color Aid from artist and former student of Albers, Richard Serra, as well as an homage to Kodachrome motion-picture film from Joshua Bonetta, an exploration of the condition Achromatopsia by Phyllis Baldino, and George’s Barber’s cinematic re-mixing of Andy Warhol’s Marilyn Monroe prints.