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6.6

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The film reveals the inventiveness derived from the dialogue between each artist's practice and the construction of their handmade homes. The results range from the romantic (Hudson River School painter Frederic Church's Olana, framing views of the Catskills to echo his paintings), to the futuristic (Urbanist Paolo Soleri's silt-casted structure Cosanti growing out of experiments in bell making in the Arizona desert). Commentary from cultural critic Alastair Gordon and an original score by Jamie Rudolph help to evoke the spiritual dimension of the locations and argue the case that the intuitive vision of artists can create great architecture.

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"Today memory creeps along the wall at Seven Bleecker. In the back of my eyes, longings and obsessions, Outside someone is yelling Robert! I love New York…." Robert Frank looks back on a lifetime of memory-gathering through photographs, home movies (his parents' gravesite, June Leaf making art), portraits of artist friends (Raoul Hague, Allen Ginsberg), and portraits of those he admired (Jean-Luc Godard). The film resembles one of Gregory Corso's "shuffle poems," as Frank muses, "Together go words and images without sound. I have an obsession in my life for Fragments which reveal and hide truth." — Museum of Modern Art

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