“In the 1970s, American universities and art schools began to include filmmaking in their curricula. Generally, the charismatic teachers they hired to conduct such courses were a generation of avant-garde filmmakers. They were mostly brilliant autodidacts (such as Stan Brakhage, Ken Jacobs, George Landow a.k.a. Owen Land, Hollis Frampton, Lawrence Jordan, and Ernie Gehr), or, if they had formal educations, they had taught themselves cinema (Robert Breer, Larry Gotheim, Paul Sharits, and Tony Conrad were examples of this).
From these schools there emerged the first generation of artists who had been taught how to make avant-garde films. Most of those who survived as filmmakers became teachers themselves: Saul Levine, Marjorie Keller, Bill Brand, and Louis Hock all came out of the School of the Art Institute of Chicago. They were steeped in the history and aesthetics of American avant-garde cinema; in short, they worked within an artistic tradition.
Coleen Fitzgibbon shared their training at the Art Institute but not their aspirations. She did not see herself as a filmmaker but as an artist who made, or used, cinema among other media.” Continue reading –>