Aggiungi una trama nella tua linguaInterviews with Christo, Chuck Close, Roy Lichtenstein, Judith Malina, James Rosenquist and others help illuminate the life and work of Warhol contemporary Ray Johnson.Interviews with Christo, Chuck Close, Roy Lichtenstein, Judith Malina, James Rosenquist and others help illuminate the life and work of Warhol contemporary Ray Johnson.Interviews with Christo, Chuck Close, Roy Lichtenstein, Judith Malina, James Rosenquist and others help illuminate the life and work of Warhol contemporary Ray Johnson.
- Premi
- 1 vittoria e 2 candidature totali
Joseph Ialacci
- Self - former Sag Harbor Police Chief
- (as Chief Joseph Ialacci)
Mort Janklow
- Self
- (as Morton Janklow)
Buster Cleveland
- Self
- (as Buster Cleaveland)
Clive Philpott
- Self
- (as Clive Phillpott)
Recensioni in evidenza
"How to Draw a Bunny" is a documentary about Raymond Johnson, an eccentric modern artist (isn't that a redundancy?), whose suicide by drowning in early 1995 was thought by many to have been his final and most grandiose act of "performance art." Famous for his trademark "bunny" signature, Johnson made his name primarily as a producer of abstract paintings and collages built on iconic images from the pop culture world around him.
The film provides a generous sampling of Johnson's work, along with interviews with counterculture friends and supporters who often seem more bizarre and "out there" than Johnson himself reportedly was - although in the few video clips we see of Johnson, he really does seem to be operating in his own little different-drummer world. However, one of the problems with choosing Johnson as the subject of a documentary is that he was so innately reticent about himself that it was hard even for people who were close to him to get to know who he really was. Interviewee after interviewee makes this point about him, and yet these were the people who actually knew him! How much more difficult is it for us then - who didn't know him at all or knew him strictly through the work of his we saw and admired - to find out who he was. Thus, right from the get-go, the film faces self-imposed limits on just how revelatory it can end up being. In a similar way, despite all the words uttered about the works themselves by the people being interviewed, the film offers us surprisingly little analysis of the artwork's underlying significance and "meaning." As one of the women interviewed tells us, she never really understood what Raymond was trying to say through his works; she just enjoyed the thrill of experiencing them. And, perhaps, that is the best way to approach "How to Draw a Bunny" itself. Don't go into it expecting a deep and profound examination of all that it is showing us; just enjoy the artwork for its own intrinsic value and sake. That's probably the way Johnson would have wanted it anyway.
The film provides a generous sampling of Johnson's work, along with interviews with counterculture friends and supporters who often seem more bizarre and "out there" than Johnson himself reportedly was - although in the few video clips we see of Johnson, he really does seem to be operating in his own little different-drummer world. However, one of the problems with choosing Johnson as the subject of a documentary is that he was so innately reticent about himself that it was hard even for people who were close to him to get to know who he really was. Interviewee after interviewee makes this point about him, and yet these were the people who actually knew him! How much more difficult is it for us then - who didn't know him at all or knew him strictly through the work of his we saw and admired - to find out who he was. Thus, right from the get-go, the film faces self-imposed limits on just how revelatory it can end up being. In a similar way, despite all the words uttered about the works themselves by the people being interviewed, the film offers us surprisingly little analysis of the artwork's underlying significance and "meaning." As one of the women interviewed tells us, she never really understood what Raymond was trying to say through his works; she just enjoyed the thrill of experiencing them. And, perhaps, that is the best way to approach "How to Draw a Bunny" itself. Don't go into it expecting a deep and profound examination of all that it is showing us; just enjoy the artwork for its own intrinsic value and sake. That's probably the way Johnson would have wanted it anyway.
This movie is absolutely worth watching and anyone who disagrees missed the point entirely. Although not everyone is going to really enjoy this movie because it's a hard point to realize. When I first saw this I wasn't really amazed. A friend of mine thought it was fantastic and so maybe that built it up too much. But I watched it again by myself and was really amazed at how this person had chosen to finish their life. The deleted scenes/interview at the end were also what really blew me away because the stories/reflections about Ray Johnson all describing somebody that was pushing those around him to think about the world in a completely new way. In particular I recommend the mural scene.
Although I am an artist, I hadn't ever even heard of Ray Johnson until I stumbled upon this movie on the Sundance Channel. What a treat. It's interviews with people who "knew" Johnson - I don't think anybody really knew him.
He was very eccentric, e.g., if he was mad at you and you called him, he'd put the phone down without hanging up and go about his business - the caller could hear him moving around in the background. After some time - always varying - he'd pick up the phone, say "hello" and things would go on as if nothing had ever happened.
He really invented "mail art", sending collages to friends. He made up cost lists for his paintings, offering reductions if he cut part of the drawing/painting out.
I loved this film.
He was very eccentric, e.g., if he was mad at you and you called him, he'd put the phone down without hanging up and go about his business - the caller could hear him moving around in the background. After some time - always varying - he'd pick up the phone, say "hello" and things would go on as if nothing had ever happened.
He really invented "mail art", sending collages to friends. He made up cost lists for his paintings, offering reductions if he cut part of the drawing/painting out.
I loved this film.
It is obvious his suicide was planned and it was a work of art. It seems so. I had to watch this film for a abnormal psych class and i'm supposed to determine the diagnosis for this guy, this is something that Ray Johnson himself would probably love, because he's see it as a game, and he was constantly playing games, loving playing games, always living in a game.. i guess, from seeing the film. When he was younger I don't know if he was like this, he seemed to develop this was of being after being in the art game? for a while. He is a very lovable character, a real character.. "a pure spirit," "incorruptable".. according to one of his former lovers and artist friend of many years. It seems no one really knew him well in the film except for this one man. I guess if you want to get to know Ray Johnson, you can talk to him. But, mostly you can refer to the messages in his art. Like the message in a bottle and then a body in the water.. it can tell a story.
What is so remarkable to me is that he is willing to die for this to be his life.. you reap what you sow seems a banal comment to make on this.. he was .. art. so he died as a part.
playing a part.
another deadly da da ist joke.
when he set up his house as a studio highly organized work space
What is so remarkable to me is that he is willing to die for this to be his life.. you reap what you sow seems a banal comment to make on this.. he was .. art. so he died as a part.
playing a part.
another deadly da da ist joke.
when he set up his house as a studio highly organized work space
As mentioned in the movie, Ray Johnson may have been, "The most famous artist that you've never heard of." I've seen a large collection of his work first hand, in fact, as I've learned it could have been the largest show of his work prior to his death. Johnson, among may other things, was about duality, in the review prior to mine, the reviewer gave the film a poor review. If one is not inclined to enjoy or understand the subtleties of conceptual art, then by all means this is not the DVD for you. However, Johnson occupies a position in the art of the 50's and 60's that is important and this film shows his relevance as detailed by other "greats" of the day. Nothing was ever at face value in Johnson or his work. Each piece presents layers of meanings through images that continue to give. I wholeheartedly recommend this film. There is a great deal of "extra" content. For the searcher looking from answers about his art, this is the best place to begin. For the working "Mail Artist" is revered as the documentary of the artist who "started it all". Enigmatic, yes...but Johnson made himself his own work of art. This movie reveals more about him in a short period of time than any other source. Two great books are also available about his life and work. I gave this a full TEN stars. I have watched it repeatedly and and will view it many other times. Very well put together with an interesting soundtrack.
Lo sapevi?
- ConnessioniFeatured in The 2003 IFP Independent Spirit Awards (2003)
- Colonne sonoreTake Me To The River
Written by Al Green and Teenie Hodges
Performed by Al Green
Courtesy of EMI Film & TV Music
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Botteghino
- Lordo Stati Uniti e Canada
- 4658 USD
- Fine settimana di apertura Stati Uniti e Canada
- 2706 USD
- 14 mar 2004
- Lordo in tutto il mondo
- 4658 USD
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By what name was How to Draw a Bunny (2002) officially released in Canada in English?
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