Words Table Of Contents

Download PDF file of this article

PAT O’NEILL, BRIEF BIO

Pat O’Neill has been deeply involved in Los Angeles culture since the late 1960’s. A founding father of the city’s avant-garde film scene, an influential professor at CalArts and an optical effects pioneer, he is best known for his short works from the early 1960’s onwards which are highly graphic, layered and reflexive assemblages based on a mastery of optical printing techniques.

In O’Neill’s films boundaries fade, narrative collapses and layers of imagery draw the viewer simultaneously towards and away from linear meaning. O’Neill has combined found footage with experimental montage and compositing techniques to create a graphic language that deals with how different, often disparate elements assembled together in the frame relate to one another. His innovative optical techniques anticipated our digital landscape well before its time.

Several of his many avant garde films produced between 1963 and 2006 are considered classics (especially “7362” (1967), “Runs Good” (1970), “Saugus Series” (1974), “Water and Power” (1989, “Trouble in the Image” (1996), and “The Decay of Fiction” (2002). “Water and Power”, his first 35 mm. feature, which journeys through a California of imaginary intensity, was the Sundance Grand Jury Prize winner in 1990 and hailed as a touchstone for filmmaking in the future. All his work from that decade on has been executed in 35 mm and relied upon the optical printer for principal production.

Throughout his career he has gained an international following with recent retrospectives shown at Art Basel, the Centre Pompidou, the Tate Modern, and Les Abattoirs / Frac Midi-Pyrénées (Toulouse, France).  In addition, he has received the Maya Daren Award from AFI and the Persistence of Vision Award from the San Francisco Film Festival along with grants from the Guggenheim and the Rockefeller foundations, the National Endowment for the Arts, the Center for Cultural Innovation, the California Community Fund and Creative Capital. In 2004-06, 40 years of his static work and moving images was the subject of two major exhibitions, one at the Santa Monica Museum of Art and the other at Cornerhouse in Manchester, England.  In  2008 at Rosamund Felsen’s Gallery, (Santa Monica, CA) he displayed his first prototypes for 3-d sculptural composites in an installation setting. His work has been featured in such important historic exhibitions as Electric Art (1969, University of California, Los Angeles) and 1991 Whitney Biennial of American Art (New York) and Los Angeles 1955-1985: The Birth of an Art Capital (2005, Centre Pompidou).
 
Recent museum acquisitions include Berkeley Art Museum and Pacific Film Archive, Hammer Museum, Walker Art Center, and Whitney Museum of American Art. O’Neill is represented by Cherry and Martin Gallery, who in 2015, organized O’Neill’s first continental European solo exhibition at FIAC as well as multiple shows at their 2732 gallery.
 

Words Table Of Contents