Revolver, a brilliant series of short looping animations by Jonas Odell (codirected with Stig Bergkvist, Marti Ekstrand & Lars Olsson). I loved these when they ran serialized in the early days of Hotwired.com’s Renaissance 2.0 / Kino section, circa 1995, and hastily squirreled away all of the QuickTime .mov’s from the site for archiving. Benefit of having the .mov’s? You could have all of them open and playing simultaneously!
Tag: art
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Revolver: Looping Animation Shorts
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Cartoon-y 19th Century Fukuoka Woodblock
I love Edo-era art and cartooning. Hard to imagine doing this with a woodblock! Image found on the always-great BibliOdyssey, also available on Flickr.
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Vrgb VHS Visual Music Composition n.002
Some glitchy VCR-powered goodness. Via Rhizome.
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Db We Used to Say Pirating I Mean the Term
DB: We used to say “pirating.” I mean, the term pirating was used for my early work.
CA: Was it really?
DB: Yeah. For example, when I started, there were no home-recording units. There was no TiVo. There was nothing like that.
CA: I must have been very difficult for you to get that footage.
DB: It was. There was no way to get the footage I needed directly. I had to find people inside the industry who believed in my artwork and were willing to get images out to me. So they called me a “pirateer” of imagery. That had a very romantic sound to it: “Oh, she’s the one who pirated imagery from television.”
Maybe this is the real difference between our generations. In pirating, originally, there was no way to talk back to the media. That’s why I did it. The stuff was coming one way at you, and there was no way to arrest it, stop the action, divert it, alter the vocabulary, or change the syntax.
From Do It 2, a conversation between Dara Birnbaum and Cory Arcangel. Artforum International XLVII, No. 7, p198 -
Certainly Knowledge Comes from Traditional
Certainly, knowledge comes from traditional sources, such as school and books, but it also comes from non-traditional sources like experiences and conversations. Personally, I’m fond of the immersion technique when it comes to learning.
[…]
I think one of the most important things that my career path has taught me is that it is it very important to respect all kinds of art, whether I like it or not. It is not the difference between good or bad art, it is that art comes in different forms and qualities. I like to think of art as a document or reflection of our time. The more able an artist is to make a clear statement, the more lasting it will become. Artists often project ideas on a piece of work, but I think a work’s impact is stronger when a artist can project a broader conceptual belief.
[…]
It takes a second act to understand the first. My interest in art, architecture and music are all constantly informing my work. It is about submerging yourself in something you believe in. I guess the main function of a first act is to flush out ideas – to experiment and refine wheat I think my work should be. A second act allows for self-imposed rules and regulations. It gives me the ability to say no to ideas that are not genuine and complete. I often think of the legendary story of Johnny Cash walking into Sun Studio to record gospel songs. Sam Phillips told him to “go out and sin a little and then come back.” He came back “experienced” and became a legend.
Scott Ingram, Work Ethic. ART LIES no. 61, p65. -
Étienne-Jules Marey
Pioneer of medical instruments, photography, and cinema. Took some very interesting early photographs in his research of animal locomotion and physionomy, which led to his successor Muybridge’s famous collections of plates.
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In College I Focused on Printmaking a Lot of My
IN COLLEGE, I focused on printmaking. A lot of my work is actually a kind of reaction to printmakers. They’re territorial and they don’t understand art the same way I do. They look at it pictorially and miss the essence of what they do, which lies in the technical process – using specific chemicals and materials and pressing them together. You can control that in certain ways; you can do things graphically and physically that are worth doing as an artist. Printmaking is an easy way to get going. It’s procedural. It’s like the process of a singer warming up, preparing, thinking; that’s how Keith Richards writes songs, in the process of tuning his guitar. I’ll sit here and paint any number of silk screens. They change as I print. The ink falls out and some more comes through and so on, as I use it again. Josh Smith, in Josh Smith Talks About Currents 2008–, Artforum International XLVII, No. 6, February 2009, p162.
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Slot Machines Are Indeed a Software Chimera the
[Slot machines] are indeed a software chimera, the tail of a serpent attached to the head of a lion. It combines business graphics with the Internet, cinematic memory, remote-control systems – and banking, franchise capitalism at your fingertips. Norman M. Klein, in The Electronic Baroque: 1955-2050. From The Vatican to Vegas, 2004 p341.
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Museums Would Map the Transition Toward This New
Museums would map the transition toward this new Baroque, like the new Guggenheims in Las Vegas, as part of a franchise that has stopped growing in the U.S. Museums were also under the gun. Very likely, shows will look more like Baroque wunderkammers than they used to. They will overlap and sprawl more, like browsers and search engines. The pressures to make shows monumentalize the new power relations will be intense, an often under shrinking curatorial budges, with signature buildings outside, like the Electronic Baroque: gaudy outside, conservative at its core. Norman M. Klein, in The Electronic Baroque: 1955-2050. From The Vatican to Vegas, 2004 p338.
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Gothic Revivals Polish Decay Until It Turns
[…] Gothic revivals polish decay, until it turns into special effects. Ultimately, they retrofit the haunted house until it looks as if no one has moved in yet. Norman M. Klein, in Building the Unexpected. From The Vatican to Vegas, 2004 p159-160.