The Complete STANLEY KUBRICK Exhibit at LACMA – Skiffleboom.com

By Michael McVey, Skiffleboom

In March of 2013, I won a film competition in Boston and flew out to Hollywood, California to see my film screen at the Chinese Theatre. During my stay, I visited the Stanley Kubrick Exhibit at the Los Angeles County Museum of Art, or LACMA. As a filmmaker and a film enthusiast, I was completely awestruck.

From November 1, 2012 through June 30, 2013, LACMA visitors got a glimpse at the genius responsible for some of the finest films ever made. I documented the extraordinary collection of all things Kubrick. I transcribed the exhibit in its entirety, word for word. It was an illuminating process.

Now that the exhibit is closed, I am posting my efforts here to share with those of you who could not make the trip. While there is no experience akin to seeing it in person, I hope these photographs and transcriptions further the educational goals of this exhibit: film can be great art. Studying the masters helps us discover new ways to understand, new possibilities to explore.

Stanley Kubrick at LACMA: Art of the Americas Building

Stanley Kubrick at LACMA: The Director's Chair

Stanley Kubrick at LACMA: A Singular Vision

Stanley Kubrick at LACMA: Influences and A Singular Vision

Stanley Kubrick at LACMA: Day of the Flight, Flying Parade, and The Seafarers

Stanley Kubrick at LACMA: Fear and Desire

Stanley Kubrick at LACMA: The Killing and Fear and Desire/The Motifs of Noir

Stanley Kubrick at LACMA: Script and Notes for Lolita

Stanley Kubrick at LACMA: Scripts, Storyboards, and Notes for Paths of Glory

Stanley Kubrick at LACMA: Scripts and Notes for The Killing

Stanley Kubrick at LACMA: Stanley Kubrick's Chessboard

Stanley Kubrick at LACMA: Production budget for Killer's Kiss

Stanley Kubrick at LACMA: Script for Fear and Desire

Stanley Kubrick at LACMA: Fear and Desire article and production

Stanley Kubrick at LACMA: Scenes from Paths of Glory

Peter Ellenshaw: Matte Painting Spartacus

Cameras and Lenses: Arriflex 35iic handheld camera with Cooke Speed Panchro Prime lenses in ARRI standard mount

Cameras and Lenses of Stanley Kubrick: The “Candlelight Lens"

Cameras and Lenses of Stanley Kubrick: Viewfinder

Cameras and Lenses of Stanley Kubrick: Adapting Still Photography Lenses

Kubrick the Photographer: The Graflex Pacemaker Speed Graphic Camera

"Why Sue "Lolita" Lyon was guarded as if actress were an atomic bomb" by Stanley Kubrick

“Sue Lyon: star of the year's most controversial movie... Lolita"

Letter to Stanley Kubrick from Vladimir Nabokov

Kubrick's Script Notes and Storyboards for Lolita (1962)

Kubrick's "Dr. Strangelove" (1964): The Pie Fight

Robert Rouschenberg's "Sky Garden," (1969)

Sir Arthur C. Clarke and Stanley Kubrick

Kubrick's "2001: A Space Odyssey" - Phenomena and Silence

Kubrick's "2001: A Space Odyssey" - Sir Hardy Amies

Kubrick's "2001: A Space Odyssey" - Concept drawings video

Kubrick's "2001: A Space Odyssey" - 65/70mm Front Projection

Kubrick's "2001: A Space Odyssey" - The Starchild

Kubrick's "2001: A Space Odyssey" - The Eye of Hall 9000

Kubrick's "2001: A Space Odyssey" - The Centrifuge

Kubrick's "2001: A Space Odyssey" - Special Effects and Douglas Trumbull

Kubrick's "Barry Lyndon" - Cinematographer John Alcott

Kubrick's "Barry Lyndon" - Mitchell BNC Camera

Kubrick's "Barry Lyndon" - Painting and Cinema

Kubrick's "Barry Lyndon" - Costumer Designer Milena Canonero

Kubrick's "Barry Lyndon" - Influence of Daniel Niklaus Chodowiecki

Kubrick's "Barry Lyndon" - Christiane Kubrick's Production Photo

Kubrick and "A.I. Artificial Intelligence" - Steven Spielberg

Kubrick and "A.I. Artificial Intelligence" - Chris Baker, Fangorn

Kubrick and "A.I. Artificial Intelligence" - Chris Foss

Kubrick and "A.I. Artificial Intelligence"

Kubrick's "A Clockwork Orange" - A Violent Dance/A Discourse on Violence

Kubrick's "A Clockwork Orange" - Costumes by Milena Canonero

Kubrick's "A Clockwork Orange" - Korova Milk Bar

Kubrick's "A Clockwork Orange" - Collaborators

Kubrick's "The Shining" - The Overlook Hotel

Kubrick's "The Shining" - ESP and the Limits of Reason

Kubrick and "Full Metal Jacket" - Anton Furst & The Set and Staging

Kubrick and "Full Metal Jacket" - Production Photography

Kubrick and "Full Metal Jacket" - The Psychology of War: A Reassessment

Kubrick and "Eyes Wide Shut" - The Venetian Masks

Kubrick and "Eyes Wide Shut" - The Mind's Eye

Kubrick and "Eyes Wide Shut" - Eros and Thanatos

Kubrick and "Eyes Wide Shut" - The Color Red

Kubrick's Unfinished "Aryan Papers" - Research Materials

Kubrick's Unfinished "Aryan Papers" - Shooting Schedule & Research

Kubrick's Unfinished "Aryan Papers" - Shooting Schedule

Kubrick's Unfinished "Aryan Papers" - Ealing Studios

Kubrick's Unfinished "Aryan Papers" - Research Photographs

The Films of Stanley Kubrick: Cast and Credits

Posters for the films of Stanley Kubrick

This exhibition is organized by the Deutsches Filmmuseum, Frankfurt am Main, Christiane Kubrick and The Stanley Kubrick Archive at University of the Arts London, with the support of Warner Bros. Entertainment Inc., Sony-Columbia Pictures Industries Inc., Metro Goldwyn Mayer Studios Inc., Universal Studios Inc., and SK Film Archives LLC.

In Los Angeles, Stanley Kubrick is co-presented by the Los Angeles County Museum of Art and the Academy of Motion Picture Arts and Sciences, and has been generously supported by Steve Tisch. Additional funding has been provided by Warner Bros. Entertainment, Violet Spitzer-Lucas and the Spitzer Family Foundation. Image: Stanley Kubrick in the interior of the space ship “Discovery”, 2001: A Space Odyssey (2001: A Space Odyssey, GB/United States 1965-68) © Warner Bros. Entertainment.

This entry was posted on June 29, 2013 by Michael McVey, Skiffleboom. It was filed under Film, Film Analysis, History of the Moving Image, Pictures, Stanley Kubrick, Uncategorized and was tagged with 2001: A Space Odyssey, A Clockwork Orange, A.I. Artificial Intelligence, All work and no play make Jack a dull boy, Angenieux, Anthony Burgess, Anton Furst, Arlington Valles, Arriflex camera, Arthur C. Clarke, Arthur Schnitzler, Aryan Papers, Auteur theory, Barry Lyndon, Bill Thomas, candlelight lens, Canon, censorship, Chess, Chris Baker, Chris Foss, Christiane Kubrick, cinema, Cinematography, Cinepro, Clapperboards, Clare Quilty, Cooke prime lenses, Dalton Trumbo, Day of the Flight, Diane Arbus, Douglas Trumbull, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, Ealing Studios, Eros, exhibition, Eyemo Camera, Eyes Wide Shut, Fairchild-Curtis, Fangorn, Fear and Desire, Film Noir, Flying Parade, Francisco de Goya, Full Metal Jacket, Garrett Brown, Graflex Pacemaker, Gustav Hasford, HAL 9000, Humphrey Cobb, Jack Nicholson, James B. Harris, Jan Harlan, John Alcott, John McCracken, Ken Adam, Killer’s Kiss, Kirk Douglas, Korova Milk Bar, LACMA, Lawrence Olivier, Lolita, Louis Begley, Marcus Licinius Crassus, Mark Van Doren, Matte Painting, Michael McVey, Michel Ciment, Milena Canonero, Mitchell BNC Camera, Moonwatcher, Napoleon Bonaparte, Newall viewfinder, Nicole Kidman, Olivier Mourgue, Paths of Glory, Patti Podesta, Paul Duncan, Peter Ellenshaw, Peter Sellers, production design, Pvt Joker, retrospective, Rhapsody: A Dream Novel, Saul Bass, Scripts, Shelley Duvall, Sir Hardy Amies, skiffleboom, spartacus, Stanley Kubrick, Stanley Kubrick Archive of the University of the Arts London, steadicam, Stephen King, Steven Spielberg, storyboards, Terry Southern, Thanatos, The Killing, The Overlook Hotel, The Seafarers, The Shining, The Short-Timers, The Sleep of Reason Produces Monsters, The Starchild, Tom Cruise, Venetian Masks, Vladimir Nabokov, Zeiss Mutar 0.5x, Zeiss Planer.

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