Art Builds Upon Art: Nina Paley’s New Video

From the mak­er of Sita Sings the Blues comes a new short film that artis­ti­cal­ly deliv­ers a sim­ple mes­sage: “All cre­ative work builds on what came before.” Using arti­facts from the Met­ro­pol­i­tan Muse­um of Art, Nina Paley draws the visu­al con­clu­sion that art bor­rows and remix­es – that noth­ing is real­ly out of the box. This argu­ment res­onates for some. For oth­ers, it falls flat. Either way, the film is worth a watch. (You can down­load high-res and Ogg ver­sions at the Inter­net Archive.)

Relat­ed Con­tent:

Every­thing is a Remix (A Short Film)

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Star Wars Retold with Paper Animation

It’s hard not to enjoy this. Artist Eric Pow­er retells the basic sto­ry of the Star Wars tril­o­gy, using cut-paper ani­ma­tion. The film runs a very quick 2:40, and Jere­my Messer­smith’s ‘Tatooine’ pro­vides the sound­track. (You can down­load the song here for what­ev­er price you want.) More ani­mat­ed films by Pow­er appear on his web­site: www.ericpowerup.net

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Johnny Depp: A Voom Portrait by Robert Wilson

The New York Times has described Robert Wil­son, the avant-garde artist, as “a tow­er­ing fig­ure in the world of exper­i­men­tal the­ater and an explor­er in the uses of time and space onstage.” Known for break­ing con­ven­tions and weav­ing togeth­er sound, images and text in evoca­tive ways, Wil­son cre­at­ed a series of “Voom” por­traits in 2007. As he explains in this inter­view (lis­ten here), the Voom series rein­vents the por­trait by pre­sent­ing fig­ures (includ­ing many celebri­ties) in high-def video rather than the tra­di­tion­al still image. And although the fig­ures remain still (per the con­ven­tion), there’s nonethe­less a cer­tain life and motion to them. Above, we fea­ture the Voom por­trait of actor John­ny Depp. Metafil­ter gives you links to 12 oth­ers.

Relat­ed Con­tent:

John­ny Depp Reads Let­ters from Hunter S. Thomp­son

John Waters: The Point of Con­tem­po­rary Art

Zooming into Italian Masterpieces

This past week, an Ital­ian web site (Hal­tadefinizione) placed online six mas­ter­pieces from the famous Uffizi Gallery in Flo­rence, all in super high res­o­lu­tion. Each image is packed with close to 28 bil­lion pix­els, a res­o­lu­tion 3,000 times greater than your nor­mal dig­i­tal pho­to. And this gives art con­nais­seurs every­where the abil­i­ty to zoom in and explore these paint­ings in exquis­ite­ly fine detail – to see strokes and details not nor­mal­ly seen even by vis­i­tors to the Uffizi. The paint­ings fea­tured here include Bot­ti­cel­li’s The Birth of Venus; Leonar­do da Vin­ci’s Annun­ci­a­tion and The Last Sup­per; The Bap­tism of Christ by Ver­roc­chio and da Vin­ci; Car­avag­gio’s Bac­chus; and the Por­trait of Eleono­ra of Tole­do by Bronzi­no. These mas­ter­pieces will remain online for free until Jan­u­ary 29. For more details on the project, look here. Thanks Clau­dia for the great heads up.

Relat­ed Con­tent:

A Vir­tu­al Tour of the Sis­tine Chapel

Donald Duck Discovers Glenn Beck: A Remix

This week, Jonathan McIn­tosh (of Rebel­lious Pix­els) released a new cartoon,“Right Wing Radio Duck,” that remix­es dozens of clas­sic Walt Dis­ney car­toons from the 1930s to 1960s. The artis­tic work is seam­less. The video is down­right fun to watch. And the under­ly­ing mes­sage is entire­ly con­tem­po­rary. A la Col­bert: Keep Fear Alive.

The new video is released under a Cre­ative Com­mons license, and, accord­ing to the artist, this trans­for­ma­tive remix “con­sti­tutes a fair-use of any copy­right­ed mate­r­i­al as pro­vid­ed for in sec­tion 107 of the US copy­right law.” Will Dis­ney, a com­pa­ny that exer­cis­es enor­mous pow­er over Amer­i­can copy­right law, agree? That remains to be seen.

To Glenn Beck fans who dou­ble as OC read­ers (if we have any), I apol­o­gize in advance.

via Alec Couros (aka @courosa)

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John Waters: The Point of Contemporary Art

If con­tem­po­rary art baf­fles you, if you’ve ever looked at con­tem­po­rary art and won­dered “what’s the point?,” then give some­times con­tro­ver­sial film­mak­er John Waters four min­utes of your time. He’ll break it down for you in sim­ple, if not crude, terms: “Con­tem­po­rary art’s job is to wreck what­ev­er came before it. And from the very begin­ning after the Old Mas­ters, from then on, each gen­er­a­tion wrecked that. That some­thing is pret­ty and beau­ti­ful is prob­a­bly the worst thing that you could say today in con­tem­po­rary art about some­thing, unless it’s so pret­ty it’s nau­se­at­ing.”

You can watch more seg­ments of his Big Think inter­view here.

Relat­ed Con­tent

John Waters’ RISD Grad­u­a­tion Speech: Real Wealth Is Life With­out A*Holes

John Waters Takes You on a Com­i­cal Tour of His Apart­ment (1986)

John Waters’ Hand-Made, Odd­ball Christ­mas Cards: 1964-Present

An Anti, Anti-Smok­ing Announce­ment from John Waters

 

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David Simon, Creator of The Wire, Named 2010 MacArthur Fellow

The 2010 MacArthur Fel­lows were named today. The lat­est “genius” grants go to 23 recip­i­ents, includ­ing David Simon, the cre­ator of The Wire, the long run­ning HBO show that was real­ly (Simon once said) “a polit­i­cal tract mas­querad­ing as a cop show.” Above, Simon talks more about the thread run­ning through his work. The Wire, Treme and Gen­er­a­tion Kill – they’re all ulti­mate­ly about the end of the Amer­i­can Empire, and the cit­i­zens that get left behind. Like the oth­er grant win­ners, Simon will receive $500,000 over the next five years to spend how­ev­er he sees fit …

The Smallest Stop-Motion Animation Ever

From the mak­ers of Wal­lace and Gromit comes the small­est stop-motion ani­ma­tion ever. The lil­liput­ian main char­ac­ter, apt­ly named Dot, stands a mere 0.35-inch-tall. Accord­ing to Pop­u­lar Sci­ence, the ani­ma­tors “used a 3D print­er to make 50 dif­fer­ent ver­sions of Dot, because she is too small to manip­u­late or bend like they would oth­er stop-motion ani­ma­tion char­ac­ters.” Then each print-up was hand-paint­ed by artists look­ing through a micro­scope. Once the set and char­ac­ters were ready to go, the direc­tors attached a CellScope (a cell­phone cam­era with a 50x mag­ni­fi­ca­tion micro­scope) to a Nokia N8 and let the cam­eras roll. You can watch the final cut above.

via Pop­u­lar Sci­ence

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