Robert Huot

“An extraordinary ebbing and flowing, dotting and pulsing ‘abstract’ field film. The filmmaker-painter Huot painted this film by spray painting a 12 minute length of clear film. When projected this single gesture contains a fascinating atomized space.”—Michael Snow

LEADER and SCRATCH are extensions of Huot's early interest in minimalism. They are successful in reducing the number of filmic variables so completely that essential qualities and potentials of the materials of film can be felt. While SCRATCH is nothing more than eleven minutes of dark leader with a continuous handmade scratch, the resulting imagery varies a good deal, depending on how deeply Huot dug into the emulsion: when the scratch is shallow, for example, it seems to bead and move up through the image; when the scratch is deep, it seems to remain within the frame, vibrating horizontally.

Costumed Capers...Fetish and Fantasy...Punk Pleasure...a must for those who enjoy erotic humor.

Zorns Lemma is a 1970 American structuralist film by Hollis Frampton. It is named after Zorn's lemma (also known as the Kuratowski–Zorn lemma), a proposition of set theory formulated by mathematician Max Zorn in 1935. Zorns Lemma is prefaced with a reading from an early grammar textbook. The remainder of the film, largely silent, shows the viewer an evolving 24-part "alphabet" (where i & j and u & v are interchanged) which is cycled through, replaced and expanded upon. The film's conclusion shows a man, woman and dog walking through snow as several voices read passages from On Light, or the Ingression of Forms by Robert Grosseteste.

Film by Robert Huot.

One Year (1970) is a series of forty-nine rolls of 16mm film, nearly all of them unedited except in the camera, and all of them silent. The flares at the beginnings and ends of the rolls are not eliminated and, as a result, become a form of visual punctuation. The rolls are arranged so that, as title implies, we move gradually through an entire year, from winter to winter. The most interesting aspect of the overall organization, however, involves the fact that the first quarter of One Year (1970) is very different from the final three-quarters: this change reflects a fundamental alteration in Huot's approach to film.

A punk spoof with music by Georg Deitl, lyrics by Robert Huot, performed by George A and The Super Connie featuring Bobby Beethoven. Plus electronic music by Brendt Conrad. Starring the beautiful Ama Zeena and sinister Dick Darth.

In this "fourteen-part drill for the camera," Frampton created a portrait gallery of his art-world friends engaging in a variety of ordinary activities.

Film by Robert Huot.

Dark, Scenes from the Barn superimposes bucolic barnyard activities with jarring images of hidden desire

“…(a) serialist comparison-contrast of the variations in nine naked male and female torsos.

The motif of having people slowly approach the camera first appears in Nude Descending the Stairs, an interesting minimalist work made up of three single-take, single-angle black and white silent rolls during each of which one person - in one instance, Huot dressed in a white painter's jumpsuit; in the others, a naked woman (Marie Antoinette) - slowly descends a four storey staircase toward the camera. Because of the camera's upward angle, the descents are translated into level forward motions during which the two people grow larger with each step they take. The film's concern with the manipulation of space and with the details of human motion through it, accounts for both the title and the inscription 'for Duchamp and Muybridge.

In CROSS-CUT--A BLUE MOVIE, Huot presents a minimal passage of intercutting between found footage of a hoochy-coochy dancer and a blue leader, organized as a pair of inversely related geometric progressions. The resulting film is amusing (because of the pun in the title, the speed of the editing, and the funny fast-motion shimmy of the dancer); highly rhythmic (both because of the intercutting itself, and because of the rhythms added by the dancer's movements, the flutter of dust particles on the blue leader, and the waver of scratch marks on the footage of the dancer); and formally interesting because of Huot's creation of a montage which so energetically goes nowhere.

This film is the quadruple superimposition of four faces, two men and two women. These images often appear to be one fantastic undulating face perpetually changing. The images are shot thru a circular mat in an attempt to get away from the dominant rectangular film image (much as earlier filmmakers have done). I have recently added a sound track, on separate cassette tape. It is the Talking Head’s ‘Seen and Not Seen.’ The film can be viewed with or without the track—or first with, then without. (Robert Huot)