Lye's dazzling early experimental films brought him to the attention of Alfred Hitchcock, who asked him to do some hand-painted special effects for his 1936 film Secret agent, starring Peter Lorre and
John Gielgud (who Lye had worked with the year before on his first direct-animated film Full fathom five). Lye's task was to create a hand-painted fire for a scene involving a train wreck, but Lye took the job one step further and made it appear that the highly flammable nitrate film stock itself had caught fire in the projector. In Lye's vivid sequence,
Film still from Free radicals 1958/1979
Harmonic 1960the “scorched” film appeared to jerk on and off the screen, before melting into blackness.
“My God, the thing's on fire!” shouted the projectionist. It was a special preview screening, and he had not been forewarned. The audience rushed for the exit while he killed the projector, causing it some damage. Neither the projectionist, nor the studio executives were amused.
Hitchcock and his partner Ivor Montagu wanted the sequence to convey the crash's effect on the characters' lives, and were no doubt impressed by its effect. They had a letter written to warn projectionists that the film was not actually on fire, but the production company was less enthusiastic. Concerned about the potential liability, they forced the filmmakers to remove Lye's sequence, and unfortunately it was lost on the cutting room floor. source http://www.govettbrewster.com/LinkClick.aspx?fileticket=AHdOICvCs2o%3D&tabid=295
Cette villa d'architecte se situe dans la banlieue ouest de Paris, rer direct en 20min Etoile,
dans la ville très "chic" de St Germain en Laye, recherchée pour sa qualité de vie et de
gestion et surtout de la présence du Lycée International et dès 2013 de Sciences Po.
Cette maison est dans un état parfait, d'une construction particulièrement soignée
elle possède toutes les qualités modernes d'isolation et de bien être, en plus
d'un bel esthétisme. Nous nous proposons de créer une 4ème chambre si souhaité
à la place du bureau.
Voici un résumé :
A pieds des commerces, à 1400mètres du RER, bus à 50m : centre et lycée international,.
Quartier résidentiel recherché, dans allée privée, CALME absolu.
PLEIN SUD, dans jardin planté clos de 1000m2, sans vis-à-vis,
maison de plain pied de 135m2 actuel -possible 240m2.
Matériaux de prestige, marbre, isolation professionnelle, hauteur plafond 2,60m.
Belle entrée, triple séjour cheminée 50m2, bureau ouvert, cuisine équipée, 3 chambres,
2 salles bain, 2 wc suspendus, 1 grand dressing plus rangements dans toutes les pièces.
Toute transformation possible car aucun mur porteur.
It seems like the 2012 Whitney Biennial just opened, yet the museum has A healthy dose of new media is on the agenda, starting with the feminist video and installation artist Sharon Hayes, who was in the last biennial. Hayes, whose work is known to deal with history, language and memory, is showing both new and old work in “There Is So Much I Want to Say to You,” June 21-Sept. 9, 2012.
Next up is German abstract filmmaker Oskar Fischinger (1900-1967), June 28-Oct. 28, 2012, debuting what the Whitney calls “the first multiple screen film projection ever made.” No other details are revealed, but fans may cite Fischinger’s groundbreaking use of three screens for the film Room of Light and Art, which premiered in Berlin in 1926.
Forty-year-old painter and inkjet artist Wade Guyton is having his first survey (without longtime collaborator Kelley Walker), Oct. 4, 2012-Jan., 2013. Scott Rothkopf curates a selection of drawings, paintings, sculptures and installations made since 2003, plus a series of new 50-foot-long paintings produced especially for the Whitney.
Then the Whit is presenting traveling exhibitions from heavyweights Yayoi Kusama, whose retrospective is currently on view at the Tate Modern and opens at the Whitney in July, and Richard Artschwager whose show -- the exuberantly titled “Richard Artschwager!” -- opens in October, before heading to the Hammer Museum. An exhibition of 150 works from Beat-era star Jay DeFeo (1929-1989) comes to the Whitney in early 2013 from the San Francisco Museum of Modern Art.
Plus, group shows include a show of post-war art, “Signs and Symbols,” June 28-Oct. 28, 2012, plus “Sinister Pop,” Nov. 15, 2012-March 2013 and the cryptically titled, southern blues-inspired “Blues for Smoke,” Feb.-Apr., 2013. contact
SUBJECTIVE HISTORIES OF SCULPTURE: JOSEPHINE MECKSEPER
Image: Josephine MeckseperThe Complete History of Postcontemporary Art, 2005. Courtesy the Artist, New York, and VG Bild-Kunst.
Subjective Histories of Sculpture: Josephine Meckseper
Monday, April 9, 2012
44-19 Purves Street
Long Island City
SculptureCenter, in collaboration with the Vera List Center for Art and Politics at The New School, is excited to continue the artist-led lecture series Subjective Histories of Sculpture. This program, initiated in 2006, furthers SculptureCenter's exploration of how contemporary artists think about sculpture; its history and its legacies. This year, three artists have been invited to present their own take on art history: Lucy Skaer, Nairy Baghramian, and Josephine Meckseper. Citing specific works, bodies of work, texts, or even personal anecdotes taken from inside and outside cultural production, and inside and outside art, these subjective, incomplete, partial, or otherwise eclectic histories question assumptions and propose alternative methods for understanding sculpture's evolving strategies.
Josephine Meckseper examines a pertinent dimension of our material world, representing practices that foreground art objects as commodities. She explores not only connections with the art market, but also how objects can escape meaning, status, and fixed purpose with changing contexts and configurations. Through carefully arranged installations, photographs, and videos, Meckseper exposes the relationship between politics and the consumer worlds of advertising and fashion. She presents various hybridized forms of display that comment on the homogenous culture that capitalism has created. Meckseper looks for new ways to subvert normative mass culture in order to re-contextualize images and signs that have become inflated from over-proliferation. Positioning objects such as a toilet plunger, a stuffed white rabbit, and perfume bottles, the artist's work reveals the absurdity of materialism's manifestations.
Josephine Meckseper was born in 1964 in Lilienthal, Germany; she is currently living and working in New York City. Through carefully arranged installations, photographs, and videos, Meckseper exposes the relationship between politics and the consumer worlds of advertising and fashion. Her signature installations present various hybridized forms of display that comment on the homogenous culture that capitalism has created. Meckseper's work was included in recent international group exhibitions at the Saatchi Gallery, London, Solomon R. Guggenheim Museum, New York, Galerie des Galeries, Paris, and the Museum of Contemporary Canadian Art, Toronto. She was also included in the 2010 Whitney Biennial at the Whitney Museum of American Art in New York.
ElleaimeNY's Blog is the result of the homework Laurence Neron-Bancel does to schedule her visits in cities around the world and during international artfairs, get inspiration for her collages; keep records of artists; an incomplete and arbitrary guide of events in and around Westchester, New York and elsewhere. It is less public than facebook and used as tool for LMCollage and LM Studio, the New artist's residency program just recently launched in Hyeres France If there's an event you'd like considered for inclusion, send your announcement to Laurenceneronbancel@gmail.com
There is no such thing as good painting about nothing.+ I’m not an abstractionist. I’m not interested in the relationship of color or form or anything else. I’m interested only in expressing basic human emotions: tragedy, ecstasy, doom, and so on.Mark ROTHKO