In the early 2000s, Peter Tscherkassky bought a 35mm print of The Entity (1982) for fifty dollars. The low price was a major motivating factor behind his purchase, but the acquisition also fit with his next project: working with the materiality of film by experimenting with the role of the tangible celluloid print. From Sidney Furie’s feature film, Tscherkassky created two short works: Out- er Space (2000) and Dream Work (2002). Contrary to a first assumption, The Entity is not an indifferent, raw material or a generic trash whose destiny is to be transmuted into avant-garde art. Tscherkassky recomposes and transforms The Entity, giving it a new form, but his formal inventions are, in many cases, clearly inspired by the style of the original …show more content…
When the attacks continue, Carla invites two college students with an interest in the paranormal to visit her house. After seeing the ghost in action, they agree to help Carla defeat her invisible attacker. The story is based on the 1974 Doris Bither case: an haunting which occurred in 1974 at Culver City, California where a woman named Doris Bither alleged the ghosts of three Asian men were raping her. Before staring to work on Outer Space, Peter Tscherkassky watches The Entity “ten thousand times”, to learn the footage by heart until at a certain point the story starts to crumble and he does not see it anymore. In this way the Film itself begins to play a main role as important as the actress. As a consequence of that preliminary approach, Outer Space smashes the narrative of The Entity and suppresses all secondary characters to concentrates solely on Barbara Hershey. Her image is constantly split, doubled, tripled and her screams are punctured by the scratches and glitches of the film and the mechanical groan of the optical soundtrack. While in The Entity mirrors are used to multiply the images of the characters, Tscherkassky forges a successive flow of moments that in the original film are very far apart and through his selective printing technique, he makes single frames from bits of many frames in The
The American artist Fred Tomaselli arranges pills, leaves, insects and cutouts of animals and body parts to create his pieces of art. His incorporation of items are arranged to suggest a level of perception along with a heightened visual experience. This gives me, the viewer, a sense of Energy. The perception of color that Fred uses gives a gravitating feel. If you take a look at the heart of this piece you can instantly visualize the different items Fred incorporates into the piece.
By the late 1950s, Voulkos had established an international reputation for his muscular fired-clay sculptures, which melded Zen attitudes toward chance with the emotional fervor of Abstract Expressionist painting. Some 20 works -- including five "Stacks" (4-foot-tall sculptures) as well as giant slashed-and-gouged plates and works on paper -- recently went on view at the Frank Lloyd Gallery. This non single show is his first at a Los Angeles gallery in 13 years, although a survey of his work was seen at the Newport Harbor Art Museum (presently carries a different...
People usually expect to see paintings and sculptures in Art Galleries. Imagine the surprise one finds when they are presented with a man stitching his face into a bizarre caricature, or connected to a machine which controls the artist’s body. These shocking pieces of performance art come under the broad umbrella that is Postmodernism. Emphasis on meaning and shock value has replaced traditional skills and aesthetic values evident in the earlier Modernist movements.
In the book “The Mad Among Us-A History of the Care of American’s Mentally Ill,” the author Gerald Grob, tells a very detailed accounting of how our mental health system in the United States has struggled to understand and treat the mentally ill population. It covers the many different approaches that leaders in the field of mental health at the time used but reading it was like trying to read a food label. It is regurgitated in a manner that while all of the facts are there, it lacks any sense humanity. While this may be more of a comment on the author or the style of the author, it also is telling of the method in which much of the policy and practice has come to be. It is hard to put together without some sense of a story to support the action.
Evan Penny takes a completely different approach to hyperrealism. He manipulates the space where the object resides in. This technique shows the audience that a 3D space can change with the right type of effect on a sculpture. As he distorts his works of art in the space, it has an effect with the relationship between the viewer and
...the predominant theme of disorientation and lack of understanding throughout the film. The audience is never clear of if the scene happening is authentic or if there is a false reality.
He continues to talk to the car it asks him why he is talking and
She has been giving her expertise in the form of photography and the art of installation and multi-media for fourteen years now, and she doesn’t plan on giving it up anytime soon. As Skoglund began to see that the sky was the limit, along with teaching, she decided to experiment with illustration and commercial images. The advancement in these areas had been a lifelong dream. Merely overnight, Skoglund’s career blossomed and her sole purpose in all of this was to make people see and feel her brilliant expression in a way that they could easily relate to. Over the years Ms. Skoglund has created an art that seems to bash modern day reality as we know it.
In Alan Lightman’s, “Our Place in the Universe,” he describes his experiences in the Greek Isles explaining how meek it made him feel to be surrounded by the vast ocean with no land in sight except a small strip of brown in the distance. Great thinkers throughout history, have been exploring the visible variety of shapes, colors, and sizes, though the greatest of these are size, from the smallest atom to gargantuan stars. These massive differences in size change the way we view ourselves in the universe. (470) Garth Illingworth, from the University of California, has studied galaxies more than 13 billion light years away from us.
Next, images of people's hands are shown, but no faces. This keeps an air of mystery and makes the audience ask questions again. To whom do the hands belong? The opening sequence of this film is full of parts of images. There are less camera angles showing a whole image than there are showing fragments of images.
The Devil in the White City Writing Erik Larson’s book, The Devil in the White City, tells the two historically accurate and separate stories of Dr. H. H. Holmes and Daniel H. Burnham. Architect Daniel H. Burnham and his partner John Root are trusted to oversee the creation of the World’s Columbian Exposition of 1893, which became known as the White City. Dr. H. H. Holmes on the other hand was in reality, a murderer, using the White City to prey on his victims by opening what he coined the “World’s Fair Hotel.” While seemingly separate stories, these two are linked by their resemblance to the “Gilded” portion of the Gilded Age and the creation of the White City. To be gilded is to cover a rotten core in gold to hide its imperfections, and that can be seen quite clearly in both of
Within new media, there exists the desire and possibility to produce new effects upon the viewer, to grant new experiences. Pipilotti Rist seeks the creation of virtual utopias within the limitations of the video medium in installations such as her recent work at the Museum of Modern Art, Pour Your Body Out (7354 Cubic Meters) in 2009. The work transforms the typically bare atrium of the Museum of Modern Art into an active environment, where a reciprocal relationship between the viewer and the projection can take place. Communication between viewers also forms an essential component in the work; discourse becomes the mediator in the spectator’s relationship to the imagery.
...r, with investigation into the visual elements of this film, meanings of this film expand beyond the literal dialog and -- existing in the film.
” Edward Hopper, a classic realist painter of the twentieth century, had a fascination for light. His plays on the mood of light stretch as a major theme throughout his works, and contribute to the intensifying effect he could inject into seemingly every day scenes. His works took a dramatic appeal through the “eerie stillness's” and lone figures sprinkled throughout his paintings. Although influenced by Edgar Degas and Edouard Maent, Edward Hopper easily added his own personal touches to the beautiful style of realism.1 Born in July of 1882 in New York, Hopper grew up interested in art and encouraged by his parents. After attending both the Correspondence School of Illustrating in New York City and the New York School of Art, Hopper experienced a shift in interest from illustrations to the fine arts1.
Paintings, like many forms of art, are very subjective—what one may find intriguing another may completely disagree. “Art is physical material that affects a physical eye and conscious brain” (Solso, 13). To glance at art, we must go through a process of interpretation in order to understand what it is we are looking at. Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception—the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes—which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history—the entire set of our expectations and past experiences—and knowledge (Solso, preface)