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New Digital Art Space Revealed in the Santa Fe Railyard Art Vault at the Thoma Foundation Opens April 30 •••••••••••••••••••••••••••••••••••••••• •
FOR IMMEDIATE RELEASE: April 21, 2021 Media Contact: Nicole Danti [email protected] New Digital Art Space Revealed in the Santa Fe Railyard Art Vault at the Thoma Foundation opens April 30 •••••••••••••••••••••••••••••••••••••••• • Santa Fe, New Mexico: The Carl & Marilynn Thoma Foundation announces the opening of a new 3,500 square-foot space for experiencing contemporary art in the Santa Fe Railyard District. Art Vault is dedicated to sharing the Foundation’s world-class collection of digital, electronic, virtual, and new media artworks, curated in thematic exhibitions. Art Vault at 540 South Guadalupe Street is the only digital art collection open to the public in the Southwest, and one of very few in the United States. Artworks from the Thoma Foundation collection are on view year-round, rotating seasonally. There is no admission fee, and school and group tours are available by appointment. Featured exhibitions will include emerging and mid-career artists alongside internationally renowned pioneers of video sculpture, self-taught computer artists, and influential digital time- based media artists. Large-scale digital and video installations invite viewers to broaden their understanding of technology with innovative perspectives on the human experience. Art Vault will take the place of The Thoma Foundation’s Art House, at 231 Delgado Street in Santa Fe, which will transition to the Foundation’s main office location. Founder Carl Thoma’s vision to bring larger, more accessible works of digital and media art to the international art hub of Santa Fe has been realized. “We are thrilled to increase our cultural contribution to the vibrant visual arts scene in Santa Fe. -
9B1k Dispensa V.A. Allievi 2019-20.Pdf
ACCADEMIA DI BELLE ARTI DI CATANIA VIDEOARTE A.A. 2019-20 PROF. GIANLUCA LOMBARDO PROGRAMMA Il corso, dal punto di vista teorico,mira a definire gli argini linguistici, le differenze e le peculiarità di alcuni di quei sistemi espressivi (come il video d’arte, la videoscultura, la videoperformance, la videoinstallazione, …) considerati tra i più importanti metodi rappresentativi dentro quel generico contenitore chiamato Videoarte. Ambito espressivo che è parte, a sua volta, del grande mare noto come Arte Elettronica. Si cercherà di evidenziare, grazie anche alla continua fruizione di opere in video,la paternità di questa forma espressiva; paternità storicamente riconducibile ora al cinema e alla fotografia, ora alla televisione. Il suo distacco da questi sistemi (caratterizzati da altre forme di produzione analoga come il cortometraggio,lo spot pubblicitario,il videoclip musicale,…);la stretta relazione con gli ambiti del teatro,della danza,della musica,della letteratura; e i suoi imprescindibili legami ai caratteri espressivo/visuali dell’arte contemporanea di cui è ugualmente figlia. Dal punto di vista pratico-operativo viene chiesta la realizzazione di un video attraverso l’ausilio di un percorso progettuale: dal soggetto allo storyboard; dalle riprese al montaggio; dalle ipotesi d’allestimento fino all’ultimazione del prodotto e al confezionamento dei supporti digitali di lettura. ARGOMENTI DELLE LEZIONI Lez.1 Presentazione del corso e dell’iter teorico-pratico che si intende seguire. Presentazione della dispensa, delle lezioni e dei diagrammi. Presentazione delle prime terminologie e definizioni critiche: arte elettronica, videoarte, nuove tecnologie. Paternità della videoarte: descrizione generale del percorso storico che ha portato alle odierne produzioni. IL CINEMA DELLE AVANGUARDIE: CUBISMO, DADAISMO, FUTURISMO, ESPRESSIONISMO, SURREALISMO. -
Peter Suschitzky ASC Director of Photography
Peter Suschitzky ASC Director of Photography Website Peter Suschitzky, ASC Honored in Cannes by Angénieux Read here: https://www.theasc.com/site/news/peter-suschitzky-asc-honored-in-cannes-by-angenieux/ Agents Andrew Naylor Assistant [email protected] Lizzie Quinn +44 (0) 203 214 0899 [email protected] +44 (0)20 3214 0911 Credits Film Production Company Notes THE TALE OF TALES Archimede Film Dir: Matteo Garrone MAPS TO THE STARS Integral Film/ Prospero Pictures Dir: David Cronenberg AFTER EARTH Blinding Edge Pictures/ Columbia Pictures Dir: M. Night Shyamalan COSMOPOLIS Alfama Pictures/ Kinology/ Prospero Dir: David Cronenberg Pictures A DANGEROUS METHOD Recorded Picture Company/ Lago Dir: David Cronenberg Pictures/ Prospero Pictures EASTERN PROMISES Serendipity Films/Focus Features/Kudos Dir: David Cronenberg Film & TV LE CONCILE DE PIERRE UGC Images/Integral Film Dir: Guillaume Nicloux A HISTORY OF VIOLENCE Bender Spink Inc/New Line Dir: David Cronenberg United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes SHOPGIRL Disney/Hyde Park Dir: Anand Tucker SPIDER Capitol Films Dir: Capitol Films RED PLANET Village Roadshow/ Warner Bros Dir: Anthony Hoffman EXISTENZ Alliance Dir: David Cronenberg THE MAN IN THE IRON MASK United Artists Dir: Randall Wallace MARS ATTACKS! Warner Bros Dir: Tim Burton CRASH New Line Dir: David Cronenberg IMMORTAL BELOVED Columbia Dir: Bernard Rose M. BUTTERFLY Warner Bros Dir: David Cronenberg -
16.-22. Oktober 2003 På Bergen Kino Lørdag 18
16.-22. OKTOBER 2003 PÅ BERGEN KINO www.filmweb.no/biff LØRDAG 18. OKTOBER KP1 KL. 19.00 Et hav av film venter deg.. Lunsjretter, middagsretter, utstillinger, cafe-quiz mandager, BIFF byr på et rekordstort program i år. Med mer enn hundre langfilmer og nærmere 150 kortfilmer på programmet er BIFF den desiderte største konserter tirs- og torsdager og klubb onsdag og i helgene... filmfestivalen i Norge. BIFF er i år selve lokomotivet i Bergen Art Festival, som består av åtte partnere innen samtidskunstfeltet. ”På vei mot den 7. kunstart” har vi kalt denne fellesmarkeringen – fordi film er den kunstkunstart som tar opp i seg de andre fagfeltene, så som litteratur, musikk, billed- og scenekunst. PRØV VÅR NYE SANDWICHMENY, OGSÅ TAKE-AWAY!!! Hva er så de viktigste tema for årets BIFF? Det er først nå vi får rushet av Åpningstider: filmer som er laget etter 11. september 2001. Flere av filmene bærer preg mandag - lørdag 11.00 - 00.30/03.30 av den nye verdensuro i kjølvannet av det som skjedde og hva som er skjedd i etterkant. søndag 12.00 - 00.30 Café Opera Et annet tema er det vi i forrige århundre kalte kvinnefrigjøring. Det handler om kvinner som på forskjellig vis kutter kontakten til menn og prøver å stake ut sin egen kurs. PERSONAL VELOCITY er et Engen 18 - 5011 Bergen - tlf. 55 23 03 15 godt eksempel her. Så har vi en del filmer som har ensomhet som grunnleggende tema, selv om de på overflaten handler om noe annet og mer konkret. Og videre: "Grenseland i film" – vårt prosjekt i samarbeid med Statens filmtilsyn - handler i år om moralske panikker vis à vis f.eks. -
Rob Hardy, Bsc Director of Photography
Lux Artists Ltd. 12 Stephen Mews London W1T 1AH +44 (0)20 7637 9064 www.luxartists.net ROB HARDY, BSC DIRECTOR OF PHOTOGRAPHY FILM/TELEVISION DIRECTOR PRODUCER LEWIS & CLARK (Mini-series) John Curran HBO/ Plan B EX MACHINA Alex Garland DNA Films/ Film 4 Scott Rudin Productions TESTAMENT OF YOUTH James Kent Heyday Films Official Selection, London Film Festival (2014) BBC Films THE INVISIBLE WOMAN Ralph Fiennes Magnolia Mae Films Official Selection, London Film Festival (2013) BBC Films Official Selection, Toronto Film Festival (2013) BROKEN Rufus Norris Cuba Pictures Limited Winner, Best British Film, BIFA Awards (2012) BBC Films Official Selection, Cannes Film Festival (2012) SHADOW DANCER James Marsh Unanimous/BBC Films Official Selection, Sundance Film Festival (2012) Element Pictures Official Selection, Berlin Film Festival (2012) STOLEN Justin Chadwick RSJ Productions Winner, Best Cinematography in a Television Drama, BSC Awards (2011) THE FORGIVENESS OF BLOOD Joshua Marston Journeyman Pictures Winner, Best Screenplay, Berlin Film Festival (2011) Official Selection, Toronto Film Festival (2011) THE FIRST GRADER Justin Chadwick Origin Pics/ BBC Films Official Selection, London Film Festival (2010) Sixth Sense Productions Official Selection, Toronto Film Festival (2010) RED RIDING: 1974 Julian Jarrold Revolution Productions Winner, Best Cinematography & Lighting, BAFTA TV Awards (2010) Channel 4 BOY A John Crowley Cuba Pictures Winner, Best Cinematography, BAFTA Awards (2008) Channel 4 Winner, Prize of the Ecumenical Jury, Berlin Film -
Corpus Antville
Corpus Epistemológico da Investigação Vídeos musicais referenciados pela comunidade Antville entre Junho de 2006 e Junho de 2011 no blogue homónimo www.videos.antville.org Data Título do post 01‐06‐2006 videos at multiple speeds? 01‐06‐2006 music videos based on cars? 01‐06‐2006 can anyone tell me videos with machine guns? 01‐06‐2006 Muse "Supermassive Black Hole" (Dir: Floria Sigismondi) 01‐06‐2006 Skye ‐ "What's Wrong With Me" 01‐06‐2006 Madison "Radiate". Directed by Erin Levendorf 01‐06‐2006 PANASONIC “SHARE THE AIR†VIDEO CONTEST 01‐06‐2006 Number of times 'panasonic' mentioned in last post 01‐06‐2006 Please Panasonic 01‐06‐2006 Paul Oakenfold "FASTER KILL FASTER PUSSYCAT" : Dir. Jake Nava 01‐06‐2006 Presets "Down Down Down" : Dir. Presets + Kim Greenway 01‐06‐2006 Lansing‐Dreiden "A Line You Can Cross" : Dir. 01‐06‐2006 SnowPatrol "You're All I Have" : Dir. 01‐06‐2006 Wolfmother "White Unicorn" : Dir. Kris Moyes? 01‐06‐2006 Fiona Apple ‐ Across The Universe ‐ Director ‐ Paul Thomas Anderson. 02‐06‐2006 Ayumi Hamasaki ‐ Real Me ‐ Director: Ukon Kamimura 02‐06‐2006 They Might Be Giants ‐ "Dallas" d. Asterisk 02‐06‐2006 Bersuit Vergarabat "Sencillamente" 02‐06‐2006 Lily Allen ‐ LDN (epk promo) directed by Ben & Greg 02‐06‐2006 Jamie T 'Sheila' directed by Nima Nourizadeh 02‐06‐2006 Farben Lehre ''Terrorystan'', Director: Marek Gluziñski 02‐06‐2006 Chris And The Other Girls ‐ Lullaby (director: Christian Pitschl, camera: Federico Salvalaio) 02‐06‐2006 Megan Mullins ''Ain't What It Used To Be'' 02‐06‐2006 Mr. -
Alex Reynolds Choreographer/ Movement Director
Alex Reynolds Choreographer/ Movement Director Agents Madeleine Pudney Assistant 020 3214 0999 Eliza McWilliams [email protected] 020 3214 0999 Daniela Manunza Assistant [email protected] Lizzie Quinn [email protected] + 44 (0) 203 214 0911 Credits Film Production Company Notes FANTASTIC BEASTS: THE Heyday Films / Warner Dir: David Yates SECRETS OF DUMBLEDORE Bros Prod: David Heyman, Steve Kloves, Tim Lewis, J.K. Rowling, Lionel Wigram MORBIUS Marvel / Sony Dir: Daniel Espinosa With Matt Smith & R&D for Prods: Avi Arad, Lucas Foster & Matt Jared Leto Tolmach LOUIS WAIN SunnyMarch / Amazon / Dir: Will Sharpe With Benedict Cumberbatch StudioCanal / Shoebox Prods: Adam Ackland, Ed Clarke, Films / Film 4 Leah Clarke & Guy Heeley EMMA Working Title Dir: Autumn de Wilde Prod: Tim Bevan, Eric Fellner United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes THE AERONAUTS With Eddie Mandeville Films / Dir: Tom Harper Redmayne Amazon Studios Prods: Todd Lieberman, David Hoberman THE SECRET GARDEN Heyday Films / Studio Dir: Marc Munden Canal Prods: Rosie Alison, David Heyman FANTASTIC BEASTS: THE Warner Bros Dir: David Yates CRIMES OF GRINDELWALD Prods: David Heyman, Steve Kloves, With Eddie Redmayne, J.K. Rowling, Lionel Wigram Katherine Waterston, Alison Sudol COLETTE BFI Dir: Wash Westmoreland With Keira Knightley and Prods: Elizabeth Karlsen, Pamela Dominic West Koffler, Michel Litvak, Christine Vachon, Gary Michael Walters, Stephen Woolley THE KID WHO WOULD BE KING Big Talk Productions Dir: Joe Cornish With Rebecca Ferguson Prods: Tim Bevan, Eric Fellner, Nira Park LIFE Columbia Pictures/ Sony Dir: Daniel Espinosa With Jake Gyllenhaal, Ryan Prods: Bonnie Curtis, David Ellison, Reynolds, Rebecca Ferguson Dana Goldberg, Julie Lynn THE MUMMY Universal Pictures Dir: Alex Kurtzman With Tom Cruise Prods: Sean Daniel, Alex Kurtzman, Chris Morgan, Roberto Orci FANTASTIC BEASTS AND Warner Bros. -
Jean-Noel Archive.Qxp.Qxp
THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs. -
British Music Videos and Film Culture
Scope: An Online Journal of Film and Television Studies Issue 26 February 2014 The Fine Art of Commercial Freedom: British Music Videos and Film Culture Emily Caston, University of the Arts, London In the “golden era” or “boom” period of music video production in the 1990s, the UK was widely regarded throughout the world as the center for creative excellence (Caston, 2012). This was seen to be driven by the highly creative ambitions of British music video commissioners and their artists, and centered on an ideological conception of the director as an auteur. In the first part of this article, I will attempt to describe some of the key features of the music-video production industry. In the second I will look at its relationship with other sectors in British film and television production – in particular, short film, and artists’ film and video, where issues of artistic control and authorship are also ideologically foregrounded. I will justify the potentially oxymoronic concept of “the fine art of commercial freedom” in relation to recent contributions in the work of Kevin Donnelly (2007) and Sue Harper and Justin Smith (2011) on the intersection between the British “avant garde” and British film and television commerce. As Diane Railton and Paul Watson point out, academics are finally starting to recognize that music videos are a “persistent cultural form” that has outlived one of their initial commercial functions as a promotional tool (2011: 7). Exhibitions at the Museum of Moving Image (MOMI) in New York and the Foundation for Art and Creative Technology (FACT) in Liverpool have drawn the attention of Sight and Sound, suggesting that this cultural form is now on the verge of canonization (Davies, 2013). -
NEA 2007 Annual Report.4Web.Indd
National Endowment for the Arts 2007 Annual Report GRANT HIGHLIGHTS The National Endowment for the Arts is a public agency dedicated to supporting excellence in the arts, both new and established; bringing the arts to all Americans; and providing leadership in arts education. Established by Congress in 1965 as an independent agency of the federal government, the Arts Endowment is the nation’s largest annual funder of the arts, bringing great art to all 50 states, including rural areas, inner cities, and military bases. II National Endowment for the Arts Dear Mr. President: It is my pleasure to submit the Annual Report of the National Endowment for the Arts for Fiscal Year 2007. Since its establishment in 1965, the Arts Endowment has awarded more than $4 billion in grants to organizations and artists residing in communities large and small in all 50 states and the six U.S. jurisdictions. Throughout its history, the NEA has played a transformative and sustaining role in the development of regional theater, opera, dance, orchestras, museums, and other arts—both contemporary and traditional—that Americans now enjoy. The activities highlighted in this report illustrate the Arts Endowment’s continuing commitment to a nation in which artistic excellence is celebrated, supported, and available to all Americans. Sincerely, Dana Gioia Chairman 2007 Annual Report i Sir Edward Burne-Jones’s The Council Chamber, 1872-92, part of the Delaware Art Museum’s pre-Raphaelite collection that was displayed in 2007 with assistance from an NEA grant. Photo courtesy of Delaware Art Museum contents to come Contents Chairman’s Statement ............................................................1 National Initiatives .................................................................7 State and Regional Partnerships ........................................... -
Conservation and Curation: Theoretical and Practical Issues in the Making of a National Collection of British Music Videos 1966–2016
Alphaville: Journal of Film and Screen Media no. 19, 2020, pp. 160–177 DOI: https://doi.org/10.33178/alpha.19.14 Conservation and Curation: Theoretical and Practical Issues in the Making of a National Collection of British Music Videos 1966–2016 Emily Caston Abstract: This article identifies and examines the research methods involved in curating a national collection of British music videos for the British Film Institute and British Library in relation to existing scholarship about the role of the curator, the function of canons in the humanities and the concept of a hierarchy of screen arts. It outlines the process by which a theoretical definition of “landmarks” guided the selection of works alongside a commitment to include a regionally and socially diverse selection of videos to reflect the variations in film style of different music genres. The article also assesses the existing condition of British music video archives: rushes, masters, as well as documents and digital files, and the issues presenting academics and students wishing to study them. It identifies the fact that music video exists in the gaps between two disciplines and industries (popular music studies / the music industry and film and television studies / the screen industries) as an additional challenge to curators of the cultural form, alongside complex matters of licensing and formats. In 2015, I was tasked with creating a national collection of British music videos for the British Film Institute (BFI) and British Library (BL). This was an output from a large research project funded by the Arts and Humanities Research Council (AHRC) 2015–2017 to be accompanied by a monograph (Caston, British Music Videos). -
Björk Reaches Beyond the Binaries
COMMUNICATOR BETWEEN WORLDS: BJÖRK REACHES BEYOND THE BINARIES Edwin F. Faulhaber A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2008 Committee: Kimberly Coates, Advisor Robert Sloane ii ABSTRACT Kimberly Coates, Advisor Icelandic pop star Björk has spent her career breaking down boundaries, blurring lines, and complicating binaries between perceived opposites. Examining a variety of both primary and secondary sources, this study looks at the ways that Björk challenges the binary constructions of “high” and “low” art, nature and technology, and feminism and traditional femininity, and also proposes that her uniquely postmodern approach to blurring boundaries can be a model for a better society in general. This study contends that Björk serves as a symbol of what might be possible if humans stopped constructing boundaries between everything from musical styles to national borders, and as a model for how people can focus on their commonalities while still respecting the freedom of individual expression. This is particularly important in the United States of America, a place where despite its infinite potential for cultural pluralism and collaboration, there are as many (or more) divisions between people based upon race, class, gender, and religion as anywhere else in the world. iii Dedicated to Morgaine iv ACKNOWLEDGMENTS I would like to thank my committee, Dr. Kim Coates and Rob Sloane, for all of their suggestions and encouragement while I wrote this thesis. I would also like to thank Dr. Don McQuarie and Gloria Enriquez Pizana for their support and assistance, as well as a host of wonderful professors who laid the groundwork for this thesis by inspiring me along the way: Rob, Kim, Drs.