The University of California Institute for Research in the Arts supports embedded arts research through critical exchange

The Great Picture: The World’s Largest Photograph & The Legacy Project at UCR Culver Center

Last day: Saturday, October 8th

On Saturday, October 8, the last day of the exhibition, there will be a last opportunity to meet the artists and have your book signed.

Panel Discussion
October 8, 5:00 PM – 6:00 PM, Free Admission
On the last day of “The Great Picture” exhibition, curator Tyler Stallings and artists from The Legacy Project collective will be present todiscuss the making of “The Great Picture” in detail, along with engaging in a broader discussion about the use of analog and digital processes in photography. Book signing to follow panel discussion.

Book Signing
October 8, 6:00 PM – 7:00 PM, Free Admission
The Great Picture: The Making of the World’s Largest Photograph is a uniquely, designed 196-page book, published and distributed by Hudson Hills Press, that accompanies the exhibition with essays by Tyler Stallings, Dawn Hassett, and Lucy R. Lippard, and features photographs documenting this monumental and unprecedented project. A distinctive feature of the book is a 6 mm hole drilled into its slipcase. It references the same-size hole, or aperture, that was drilled into the side of the airplane hanger that was transformed into the world’s largest pinhole camera. A limited number of books are for sale while the exhibition is up. Books may also be ordered from Hudson Hills Press. The book should be in bookstores by late Fall 2011 or early winter 2012. The retail price is $75.

Screening
Lumière and Company, Director: 40 International Filmmakers
Film Screening, October 8 7:00 PM – 9:00 PM, Unrated | 88 minutes, Admission: $9.99 per person,
http://culvercenter.ucr.edu/film/landing.php

Following the panel discussion, there will be a screening of “Lumière and Company,” France, 1995, 88 mins. 40 international directors were asked to make a short film using the original Cinematographe invented by the LumièreBrothers, working under conditions similar to those of 1895. There were three rules: (1) The film could be no longer than 52 seconds, (2) no synchronizedsound was permitted, and (3) no more than three takes. The results run the gamut from Zhang Yimou’s convention-thwarting joke to David Lynch’s bizarreminiature epic. The film is followed by a discussion with “The Great Picture” exhibition curator Stallings and artists behind the making of “The Great Picture.”

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