Home Movies (2007, 11.9MB, 1:10 min)
Money at the Situation (2007, 6.5MB, 37 sec)
Assured & capable micro movie making from Bill Shackelford in 2007.
In the case of Home Movies, more: beautiful, poetic
& singular, using only the artefact laden footage around cuts in
his grandfather’s 8mm home movies from the 50s & 60s.
Bravo!
Disarmed (2002, 15.8 MB, 2:42 min.)
Mother of All Bombs (2003, 9.5 MB, 1:45 min.)
Nick Fox-Gieg is an animator and theatrical designer.
His short films have been shown at the Rotterdam and Ottawa film festivals,
at the Centre Pompidou in Paris, and on Canada’s CBC TV.
excerpt from ‘Word Music Fire’ (1981, 8.7MB, 7:45 min)
Found at newmusicbox ,which also has lots of interesting interview footage
with the composer. Despite the low quality of this clip, it suffices to indicate
what a thrilling piece of work this (originally made for TV by Channel 13/WNET)
must be in its entirety.
I’ve been a bit of an Ashley agnostic until now, but this has really whetted my appetite
for more.
Partly it’s that, music aside, the vid by John Sanborn in collaboration with
Kit Fitzgerald is so great.
Beautiful and delicate, yet somehow tough, bit of
performative portraiture from 1994 by Eleanor Suess.
I really like the fact her work doesn’t scream look-
at-me-how-clever-I-am but when one does look
carefully, there is art enough to engage,
reward and move.
Found Art (West Village) Unmonumental 503 (2011, 48 MB, 35 secs)
Found Art (Chelsea) Unmonumental 504 (2011, 43 MB, 32 secs)
Two more gems from Joy Garnett’s splendid Unmonumental
project on Flickr.
Food Terror (2008, 73MB, 4:36 min)
More from Manchester’s Doodlebug.
This one is particularly splendid and
meal times will never be the same again.
Here’s the text Michael Barnes-Wynters sent me but
I don’t really know what it means:
Doodlebug Presents…25/10/08 at Contact feat.
Ronald fraser-munro’s RFM-UNPLUCKED. manc. poet
amanda milligan’s ‘mz.milly does…’ debut outting
with ‘On Becoming a Human Being’ (AV mix).
a sneak preview of Urbis’s Black Panther artist
Emory Douglas expo. French guerilla photgrapher
JR’s ‘Women are Heroes’ plus Terrorist’s FOOD TERROR mix.
I think we’re watching that last item.
Anyway, it’s great.
More soon.
Minivan on Fire (2007, 12.6MB, 32 sec)
So…I wrote the comment below in 2004 about the poem (below)
by poet-artist-programmer-polymath Lewis LaCook
but it fits the movie making too, I think.
The poem I reproduce here because it’s great &
because I can.
…*such* great work Lewis.
There’s the delirious and gorgeous imagery that has
always been such an attractive component of your work,
but here also (and did I not notice it so much before
or has it been slowly crystallizing?) a rigorous,
almost steely control of the materials.
The sense of storytelling, the incorporation of
dialogue, the confidence to mix the heady stuff with
the almost prosaic…
a complete pleasure…
michael
— Lewis LaCook wrote:
I had this feeling that I was
worth loving, and you let me
have it: a month of solid
silence and invisibility, and you’ve
forgotten me now, I’m sure:
haven’t even taken the movies back.
I feel I might’ve excited you. True,
you said, “You’re mischievous,
undermining, it gets you hot
to be bad,” with the heroin
of your eyes pushing through me,
“I need all your attention.”
Client status: Connected.
In cramped shoes I’m
transparent on milk
ice: sliding over islands, mortar,
crystals lateral with morphine
lapsed into strings,
stillness; my lace.
Cerebral, but rebellious.
The secret to rolling a great joint
is to roll it tight enough to smoke well
but loose enough to let any left-
over stems elude piercing the paper.
I feel it might be exciting
to feel loved. Someone rubs me
until I blossum. Until it
rains on my tongue. This is free.
There are only so many
kinds of sense. One in which
you’re thick, surrendered
to golds and reds, wear glasses
and have supper with your
mother. Meanwhile, outside
our encampment, fat
velvet fires rescue air from
almost total transparency.
I suck up files from a remote
location for work. Wake up
with my eyes already sunk,
jerk off: get high. Client status:
Connected. A tartly-intelligent
girl with her hand on my belly.
She says she likes it too much.
She has all my attention.
Character sets legitimize
where the pre-dawn wind
plies from you in heavy draughts
your childhood, your child, rubber
nipples: reading under a passive
milk of electric, not walls.
They hug cattle before they
shoot them in the brain.
I sleep past waking.
Everyone will be infinitely home soon.
I was dreaming in blush sundaes,
before, though: we are the wasps
that would rather sting themselves
to death, if that means we escape
a natural terminal port: we’re
those literal motherfuckers
who will not hover, but sparkler
and cackle like it’s all that’s
holding us down. I hate the royal
we. Dreaming about licking
the heart of red, the pith of gold,
cleaning you of stalwart
impurities. Ever feel
like you’re just marking a beat
in a line. Smoke orally
inflates the room. Filtration
flirts with purity the way eightball
chicks glom to money;
it makes them feel loved. Even
common houseplants know
where the sun is, swoon and go
limp when she’s gone. I’m still
waiting for that Saturday you promised me
not thinking about me at all not thinking about
you at all not thinking about you at all.
Serra Frottage (2009, 13 MB, 3:17 min)
Whenever I’m travelling through, or near to London’s Liverpool Street station
I try and make time to pass by the wonderful Richard Serra sculpture,
Fulcrum, at the Broadgate end.
I really love it, one of the most successful pieces of public art I’ve
ever seen.
I mentioned this to a friend and he sent me a link to this piece,
one of a series of ‘minimal interventions’ by Jordan McKenzie
who clearly also um – –loves– – Serra’s work.
Le Lion Devenu Vieux (1932, 3.5MB, 1:04 sec.)
Ladislas Starewitch is often credited with inventing stop motion animation
as we know it, though so are several other people. It depends on what fits
into your definition of stop motion.
Certainly he was probably the first to actually make little figures and move
them frame by frame in an attempt to duplicate lifelike movement of actual
living things. it was because he was filming beetles and found that the hot
lights made them lethargic, so he made his own little beetles asrealistically
as possible and animated them instead.
This gave birth to further projects with very lifelike but sometimes partially
anthropomorphic (human-like) animals.
from – Darkstrider.
By Mica. (thanks Adam)
Control #1 [Seeking Kind in Human] (2009, 114MB, 4:52 min)
Michael got in touch via a mutual friend to tell me about what
seems to be an incredibly thriving live art scene in Manchester, UK.
To my shame, this is the first time I’ve come across it, so I’m going to
make up for this a little by posting three vids from Doodlebug, the
creative arts platform he founded.
This first is a performance by Michael himself with Sophie Yesilyurt.
It’s very powerful. What strikes me is how these performative things achieve
a huge effect, often with very simple means. I think those of us working
primarily in moving image have a good deal to learn from them.
More soon.
