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PRINT October 1986

PETER HUTTON: A TALE OF TWO CITIES

OVER THE PAST FIFTEEN YEARS Peter Hutton has created a body of films distinguished for their vision, modesty, and craft. Hutton is one of the most individual artists to emerge in the aftermath of the structural avant-garde and is not easily classified. He engages the diaristic tradition of Jonas Mekas, Andrew Noren, Warren Sonbert, and others, as well as the older avant-garde mode of the film city-symphony and even the commercial travelogue.

Hutton has described his films as “diaristic without being autobiographical”; his titles indicate the range of his travels—July 1971 in San Francisco, 1971, Images of Asian Music, 1973, New York Near Sleep, 1972, Florence, 1976, Boston Fire, 1978, New York Portrait, 1979–83, At Sea, In Berlin, Lenin Portrait, 1981–82. He has been compared to Louis Lumière and "the band of peripatetic cameramen such as Promio and Doublier who took the cinematographe

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