Jack Arnold, Alfred Hitchcock, Oskar Fischinger, Salvador Dali, Arch Oboler, Andre De Toth, some artists have taken an interest. “Will not all this call for absolutely new arts,” says Eisenstein, “unheard-of forms and dimensions ranging far beyond the scope of the traditional?”
The quote is from the curator’s new book, Stereoscopic Cinema and the Origins of 3-D Film. Ray Zone has assembled unheard-of forms and dimensions and a lot of other demonstrations of stereoscopic art.
Boris Starosta and Franklin Londin have great analytic views of photographic space, Larry Ferguson defines the homey nude. Perry Hoberman organizes the gallery storefront window as anaglyphic forms, Claudia Kunin mounts the dramatic scene. Abe Fagenson arranges color geometric notions and symbols, Terry Wilson makes photographic objects. Levon Parian takes a quiet view of perspective subtlety.
Heather Lowe’s Ode to Riley has something like Bridget Riley’s recent color rhomboid pictures on the left, a slight divergence in the right panel shows underlying planes like geometric Kupka, the 3-D image is something else again. Her “gag” paintings gloriously epitomize “laying an egg” (Bad Joke), the silent comedy of Sisyphus (Uphill), and the vaudeville surprise of confetti for rain from a bucket over a broom-wielding clown showered with the title in colorful perspectival lettering revealed in 3-D (What a Gag).