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Jordan Belson
Jordan Belson
Jordan Belson
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Jordan Belson (June 6, 1926 – September 6, 2011)[1] was an American artist and abstract cinematic filmmaker who created nonobjective, often spiritually oriented, abstract films spanning six decades.

Key Information

Biography

[edit]

Belson was born in Chicago, Illinois.

Belson studied painting at the University of California, Berkeley. He saw the "Art in Cinema" screenings at the San Francisco Museum of Art beginning in 1946. The films screened at this series inspired Harry Smith, Belson and others to produce abstract films. Belson's first abstract film was Transmutation (1947), now lost. A few of his films were screened in later screenings of the "Art in Cinema" series. Following these early films, Belson made a few films with his scroll paintings.

He was the recipient of a grant from the Museum of Non-Objective Painting, which later became the Guggenheim (Oskar Fischinger recommended him to the MoNOP curator Hilla von Rebay). Much of Belson's work is meant to evoke a mystical or meditative experience.

In 1957 he began a collaboration with sound artist Henry Jacobs at the Morrison Planetarium in San Francisco, California that lasted until 1959. Together they produced a series of electronic music concerts accompanied by visual projections at the Planetarium, the Vortex Concerts. Belson as visual director programmed kinetic live visuals, and Jacobs programmed electronic music and audio experiments. This is a direct ancestor of the 60s light shows and the "Laserium"-style shows that were popular at planetaria later in the century. The Vortex shows involved projected imagery, specially prepared film excerpts and other optical projections. Not just an opportunity to develop new visual technologies and techniques, the sound system in the planetarium enabled Belson and Jacobs to create an immersive environment where imagery could move throughout the entire screen space, and sound could move around the perimeter of the room. [2]

Belson also created special effects for The Right Stuff (1983).

His last film Epilogue was commissioned for the Visual Music exhibition at the Hirshhorn/Smithsonian and completed in 2005. The New York Times described it as having "lush and misty optics."

Belson died of heart failure at his home in San Francisco on September 6, 2011. He was 85.[1]

Influence

[edit]

His films had an influence on George Lucas.[3]

Filmography

[edit]
  • Transmutation (1947) – lost
  • Improvisation #1 (1948) – lost
  • Mambo (1951)
  • Caravan (1952)
  • Bop-Scotch (1952)
  • Mandala (1953)
  • Raga (1958)
  • Séance (1959)
  • High Voltage (1959) with James Whitney
  • Allures (1961) 8" short
  • LSD (1962) Unfinished film. (According to Belson, it should not be on his filmography)
  • Re-entry (1964)
  • Phenomena (1965)
  • Samadhi (1967)
  • Momentum (1968)
  • Cosmos (1969)
  • World (1970)
  • Meditation (1971)
  • Chakra (1972)
  • Light (1973)
  • Cycles (1975) made with Stephen Beck
  • Music of the Spheres (1977), original version
  • Infinity (1980)
  • Quartet (1982) unfinished film
  • Fountain of Dreams (1984)
  • Northern Lights (1985)
  • Mysterious Journey (1997)
  • Bardo (2001)
  • Epilogue (2005)

[4] [5] [6] [7] [8] [9] [10] [11]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Jordan Belson

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from Grokipedia
Jordan Belson is an American experimental filmmaker and artist known for his abstract nonobjective films that explore cosmological, spiritual, and perceptual themes through innovative manipulations of light, color, form, and motion. His work, often described as visual music or cosmic cinema, evokes meditative and transcendent experiences, drawing from influences including Eastern mysticism, yoga, mandalas, alchemy, and astronomy. Born in Chicago on June 6, 1926, Belson studied painting at the California School of Fine Arts (now the San Francisco Art Institute) and earned a B.A. in fine arts from the University of California, Berkeley. He began creating experimental films in the late 1940s after encountering avant-garde cinema through the Art in Cinema series and works by figures such as Oskar Fischinger and the Whitney brothers. Early films like Mandala (1953) marked his shift toward abstract, painterly animation, while his collaboration with Harry Smith in the Bay Area further shaped his mystical and non-objective approach. From 1957 to 1959, Belson served as visual director for the groundbreaking Vortex Concerts at San Francisco's Morrison Planetarium, where he and sound artist Henry Jacobs presented immersive multimedia performances featuring layered abstract projections on the dome, prefiguring expanded cinema and 1960s psychedelic art. This experience led him to abandon conventional frame-by-frame animation in favor of light-based techniques using optical benches and multiple projectors. His subsequent films, including Allures (1961), Re-entry (1964), Samadhi (1967), Chakra (1972), and later works such as Northern Lights (1985), Mysterious Journey (1997), and Epilogue (2005), are renowned for their fluid metamorphoses, hypnotic rhythms, and profound spiritual resonance. Belson received fellowships from the Guggenheim Foundation, Ford Foundation, and American Film Institute, and contributed special visual effects to the 1983 film The Right Stuff. In his later years, he worked in relative seclusion, continuing to produce art and films until his death in San Francisco on September 6, 2011. His legacy endures as a master of abstract animation and visual music, whose rigorously personal explorations of perception and the cosmos influenced generations of experimental filmmakers and artists.

Early life and education

Background and training

Jordan Belson was born on June 6, 1926, in Chicago, Illinois. His family moved to New York when he was an infant, then relocated to California around a decade later during his childhood. He pursued formal training in painting at the California School of Fine Arts (now the San Francisco Art Institute). He earned his B.A. in Fine Arts from the University of California, Berkeley in 1946. In the same year, Belson gained significant exposure to experimental cinema through the Art in Cinema series at the San Francisco Museum of Art, which introduced him to avant-garde films. These screenings featured works by innovative filmmakers such as Oskar Fischinger, Norman McLaren, and Hans Richter, whose abstract and non-objective approaches profoundly shaped his early artistic perspective. This formative encounter with international experimental film bridged his background in painting with emerging possibilities in moving-image art.

Early artistic career

Paintings and initial films

Jordan Belson initially established himself as a painter in the non-objective tradition, with his first exhibition of paintings taking place at the Guggenheim Museum in 1948 under the auspices of Hilla Rebay, curator of the Museum of Non-Objective Painting. Rebay's support extended to awarding Belson several grants, recommended by Oskar Fischinger after he was impressed by Belson's rhythmic sense in early visual work. From 1948 to 1952 Belson maintained a close collaboration with Harry Smith, sharing Rebay's patronage while both artists pursued non-objective painting and mystical themes, with Belson making regular visits to Smith's studio and later joining him briefly in New York. Inspired by screenings at the Art in Cinema series, Belson transitioned to filmmaking in the late 1940s, creating what he termed "cinematic paintings" through scroll paintings and traditional animation techniques that involved hand-painting long scrolls in watercolor and gouache, then photographing frames sequentially. His earliest films included Transmutation (1947, lost), animated with technical assistance from Frank Stauffacher and Hy Hirsh, and Improvisation #1 (1948, lost), both black-and-white works featuring geometric forms. Belson's subsequent early films incorporated jazz soundtracks and more dynamic techniques, such as three-frame exposures and textured effects, yielding Mambo (1951) and Caravan (1952) with Latin and bop influences, followed by Bop-Scotch (1952), which animated found street objects, and Mandala (1953), a meditative work using scroll drawings lit from behind for shimmering centric imagery accompanied by Balinese gamelan music. In 1953 Belson briefly relocated to New York City, where he worked with Bruce Conner at Lionel Ziprin’s Inkweed Arts, contributing to collaborative projects including greeting card designs and printmaking.

Vortex Concerts

Immersive performances

Jordan Belson collaborated with sound artist Henry Jacobs on the Vortex Concerts, a groundbreaking series of immersive audiovisual performances presented at the Morrison Planetarium in San Francisco from 1957 to 1959. As visual director, Belson orchestrated layered projections across the planetarium's 65-foot dome to complement Jacobs's electronic music, creating fully immersive experiences in complete darkness. He operated up to 30 projection devices simultaneously, including slide projectors, 16mm film projectors, kaleidoscopes, strobes, zooms, and Moiré pattern projectors, to combine abstract patterns, interference effects, cosmic imagery, lighting effects, and the planetarium's starfield simulations. These techniques produced spectacular 360-degree illusions, occasionally incorporating excerpts from Belson's early abstract films alongside custom visuals. The Vortex Concerts are widely recognized as a seminal precursor to the expanded cinema movement, psychedelic light shows, and multimedia events of the 1960s, with Belson's live manipulation of multiple projectors earning him descriptions as an early figure in VJ culture. The series represented a pivotal transition in Belson's practice, leading him to abandon traditional animation in favor of direct engagement with projected light and optical phenomena.

Abstract film career

Major works

Jordan Belson's major abstract films, produced largely as independent, artisanal works using modest equipment, transformed the tradition of non-objective cinema into immersive, meditative experiences that explore consciousness, transcendence, cosmology, mysticism, and the spiritual dimensions of light. His films evoke sacred or altered states through swirling, glittering abstract forms that engage the viewer's perceptual and inner awareness, often reaching a realm beyond habitual vision. Influenced by Eastern philosophies, yoga, astronomy, and non-objective art, Belson's imagery treats light as a sculptural element imbued with celestial and ethereal qualities, creating a kind of vernacular sacredness. Following his Vortex Concerts, his technique evolved from traditional single-frame animation to complex optical processes and layered projected imagery, enabling more fluid and otherworldly abstractions. Allures (1961) marked his breakthrough, called the "space-iest film" of its era, with mathematically precise displays of color, light, patterns, and objects that blend molecular structures, astronomical events, subconscious phenomena, and a progression from sensual matter to nonmaterial spirit, expressing cosmogenesis as described by philosopher Teilhard de Chardin. Allures was inducted into the United States National Film Registry in 2011 for its significance in "cosmic cinema." Subsequent works expanded these themes: Re-entry (1964) transports viewers beyond the boundaries of self through gaseous colors and cosmic allusions; Phenomena (1965) continued abstract explorations; and Samadhi (1967) evokes the ecstatic merger of individual consciousness with the universal, inspired by yoga and Buddhism yet presented as pure abstract art rather than explanation. Belson's output in the late 1960s and 1970s included Momentum (1968), a serene and hallucinatory treatment of the sun; Cosmos (1969); World (1970); Meditation (1971), a poetic account of meditational inner vision; Chakra (1972), tracing the traditional order of chakras with corresponding meditative sounds; and Light (1973), a journey through space and the electromagnetic spectrum. Later films refined his visionary vocabulary: Music of the Spheres (1977) connects abstract cosmic images to the harmonic order of the solar system; Infinity (1980); Fountain of Dreams (1984), synchronized to Franz Liszt; Northern Lights (1985); Mysterious Journey (1997); Bardo (2001); and Epilogue (2005), his final work, a shimmering distillation of decades of imagery set to Rachmaninoff. In 2007, Belson curated the DVD Jordan Belson: 5 Essential Films, released by the Center for Visual Music, featuring Allures, Samadhi, Light, Fountain of Dreams, and Epilogue to represent his early, middle, and later periods.

Collaborations and contributions

Partnerships and special effects

Belson engaged in a few targeted collaborations and one significant commissioned project that extended his experimental techniques into joint or commercial contexts. In 1959, he constructed the short film High Voltage using fragments of footage provided by James Whitney, premiering it at the Vortex Presents screening at the San Francisco Museum of Art. This compilation drew from Whitney's material originally intended for Vortex events, reflecting the shared experimental milieu among West Coast abstract filmmakers like the Whitney brothers. In 1974, Belson collaborated with video artist Stephen Beck on Cycles, a 10-minute 16mm color sound film produced with an AFI grant for the National Center for Experiments in Television. The work fused Belson's film imagery with Beck's Direct Video Synthesizer visuals and soundtrack through a proprietary "editation" process, creating a seamless integration of film and video that Belson described as an "amalgam that overcomes any distinction between the two." Belson's primary contribution to mainstream cinema occurred in 1983 when director Philip Kaufman commissioned him to create special visual effects sequences for The Right Stuff. Working independently in his San Francisco studio using mechanical and optical techniques on a custom optical bench setup, Belson produced surrealistic earthscapes for John Glenn's orbital flight sequence, "demon zone" imagery representing the area beyond the sound barrier, and shimmering "fireflies" to visualize the light phenomenon Glenn reported outside his capsule. He shot over 20,000 feet of material—equivalent to a feature-length amount—of which approximately three minutes were used in the final film. These ethereal effects, praised for making celestial views feel alive and breathing, marked Belson's most substantial involvement in a Hollywood production.

Later life and death

Seclusion and final years

In the late 1970s, Jordan Belson largely withdrew from public involvement and distribution of his works, adopting an intensely private and almost hermetic existence that continued until the end of his life. He refrained from giving interviews, writing about his methods, or engaging in public discussion of his art, leaving audiences to interpret his films experientially. Despite this seclusion, Belson continued producing art privately in his later years, creating two-dimensional works such as paintings and pastels, as well as small kinetic sculptures. His final completed film, Epilogue (2005), was a twelve-minute videofilm commissioned by the Hirshhorn Museum and Sculpture Garden (Smithsonian Institution) for its Visual Music exhibition, distilling sixty years of his visionary sound and imagery into a pure visual music experience. Belson died of heart failure at his home in San Francisco on September 6, 2011, at the age of 85.

Legacy

Recognition and preservation

Jordan Belson received significant recognition for his pioneering contributions to abstract and experimental cinema through prestigious fellowships and grants. He was awarded a Guggenheim Fellowship in 1967. He also received a Ford Foundation grant and two grants from the American Film Institute. In 2011, his 1961 film Allures was selected for inclusion in the United States National Film Registry by the Library of Congress, an honor reserved for works deemed "culturally, historically, or aesthetically" significant. Since 2003, the Center for Visual Music (CVM) has led extensive preservation and restoration efforts for Belson's films, creating new 16mm prints and high-quality digital transfers from original materials to ensure their longevity and proper presentation. CVM remains the only organization authorized by Belson and his estate to restore and distribute his works, honoring his explicit wishes. Four months before his death in 2011, Belson signed a document stating: "I do not want any of my films to be put online. I also do not want any of my film material mixed into other people’s performances or remixes." He expressed strong opposition to unauthorized alterations, such as adding new soundtracks or incorporating excerpts into other projects without permission, and disliked seeing his films on platforms like YouTube, preferring screenings in controlled, dark environments with original audio. Belson's mastery of visual music and cosmic abstraction influenced the tradition of expanded cinema and inspired later filmmakers, including George Lucas, who drew on the swirling, poetic imagery of works like Allures for elements such as lightsaber effects in Star Wars: Episode II – Attack of the Clones. Posthumously, his films have continued to receive attention through international retrospectives, museum screenings, and festival presentations, including the long-running program Jordan Belson: Films Sacred and Profane and exhibitions at institutions such as the Academy Museum of Motion Pictures, Centre Pompidou, and Walker Art Center.
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