Directed by Eoghan Kidney
Based on Artwork by Robyn O’Neil
Written by Eoghan Kidney & Robyn O’Neil
Produced by Nicola Gogan @ Still Films
Animated by Eoghan Kidney, Ciaran Crowley and Mark Flood
“We, The Masses” is an award-winning, animated short film based on the artwork of the Nebraska-born O’Neil, who calls herself a “maker of worlds.” Her wry, sincere humor infuses her well-known apocalyptic and anxiety-ridden drawings―10 years of which forms the basis of the film. After attending Werner Herzog’s Rogue Film School where she met Irish director Eoghan Kidney, the two teamed up to bring O’Neil’s drawings to life in this 13-minute, stop motion animation. Supported by a grant from the Irish Film Board, “We, The Masses” is presented at the CWAM courtesy of the artist and the Susan Inglett Gallery in New York City.
Using her familiar archetype for humanity―sweatsuit-wearing men encountering opposition in nature or self-destructing in Bosch-like tableaus―”We, The Masses” explores futility, hope, and self-inflicted wounds as it swings from the foibles of humanity to the epic effects of weather and the natural world. Prescient yet eerily relevant, it tackles both public alienation and the unconscious anxiety of our social and political era.
O’Neil studied British art and architecture at Kings College, received a bachelor’s degree in fine art from Texas A&M University-Commerce, and did her graduate work at the University of Illinois at Chicago. Major solo exhibitions include those at the Des Moines Art Center and the Contemporary Arts Museum in Houston. She has been the recipient of numerous grants and awards, including the Hunting Prize and a Joan Mitchell Foundation grant, and her recently published book, “Robyn O’Neil: 20 Years of Drawing,” is available through Archon Projects.
1955 Shure microphone, light, electronic components
Edition of 2
As a cultural icon, the 1955 Shure Microphone can be said to symbolize ‘the golden years’. In this work, the microphone housing contains a bright piercing light that casts a large shadow reminiscent of a metal mask or ribcage onto the wall. Periodically at random intervals, the light flickers like a bulb casting its last rays of light; it is the silent noise of social realities and the suppressed voice.
The glowing light and skeletal shadow cast by Triplight tell parallel stories of its time and mirror our own, beautifully revealing contradictions in the silent stutter of its unstable light.
The word ‘triplight’ refers to a trigger that sets off a state of alarm. It also refers to “trip the light fantastic”, a historical reference to a type of dance, and more recently a state of hallucination.
Playing the Building, Battery Maritime Building, New York, NY, 2008
Creative Time presents Playing the building, a sound installation in which the infrastructure, the physical plant of the building, is converted into a giant musical instrument. Devices are attached to the building structure — to the metal beams and pillars, the heating pipes, the water pipes — and are used to make these things produce sound. The activations are of three types: wind, vibration, striking. The devices do not produce sound themselves, but they cause the building elements to vibrate, resonate and oscillate so that the building itself becomes a very large musical instrument.
Some years ago Jan approached me through our mutual friend Anne Pasternak about doing something at Färgfabriken. I visited the space during one of my music tours and took photos so I could remember the way it looked. For a while we talked about an exhibition, and some other ideas, but for various reasons those didn’t happen. I seem to remember that both Anne and Jan suggested I do something that might bring together my visual art interests and projects and my musical background.
After thinking about it for a while and looking at the pictures of the space I suggested an installation that would produce sound and would take advantage of the fact that the institution is housed in a raw factory space — with exposed pipes, heating and structural elements (unlike most museums and galleries where these elements are hidden.) I also wanted an installation that involved the public, the visitors to Färgfabriken, so this would do that too. It would be more “hands on” than most exhibitions where one can look but not touch.
Here is my proposal:
A sound installation in which the infrastructure, the physical plant of a building is converted into a giant musical instrument. (I use the term musical loosely. It might not play melodies in the conventional sense… but it might.)
To create this various devices are attached to parts of the building structure — to the metal beams, the plumbing, the electrical conduits, the heating pipes, the water pipes — and are used to make these things produce sound. No amplification is used, no computer synthesis of sound, and there are no speakers. The machines will produce sound in three ways: through wind, vibration and striking. The devices that are part of the piece do not produce sound on their own, but instead they cause the building elements themselves to vibrate, resonate and oscillate so that the building itself becomes a very large musical instrument.
It is a way of activating the sound-producing qualities that are inherent in all materials. The materials’ nature and form will be what determines what kind of sound they produce. Everyone knows that if you strike a metal beam with your hand you get a sound — well, this piece does a similar thing, but without hurting your hand, and it will be able to activate materials in different parts of the space simultaneously — something you cannot do with your hands.
A blower forces air through electrical conduits or pipes, eliciting a whistling series of notes, depending on the length of the pipe. (The wind will blow through the electrical conduits by a small air pump. At sufficient pressure the air will cause the air inside the conduit pipes to resonate and produce flute-like tones.)
Machines attached to the metal crossbeams cause them to vibrate, sending out a low hum and throbbing sound. The girders can be made to vibrate using oscillating motors… and since the girders are of varying lengths they will produce different pitches and sounds. They will need electrical power and another cable running from the keyboard/switcher, which will turn them on and off. There will be maybe 4 or 6 of these units scattered around the room, some near and some far away.
The hollow metal columns that line the interior of the space are made to clang and ping. These large iron objects can be struck by mechanical devices — solenoids — much like mechanical bell clappers.
The wiring and the mechanics will be plainly visible — no attempt will be made to conceal any mechanism or wiring.
Switches that activate these machines are triggered by a simple keyboard located at a central position (within viewing distance of all the machines and of the pipes or beams whose vibrations they control, so that visitors might hear what depressing each key does.) Visitors are invited to sit at the keyboard and “play” the building. Some keys might trigger machines that activate the specific structures gradually — a quick tap on some keys might produce no result, but a steady depression would allow oscillations to build up and a sound to emerge. A handwritten legend above each note group will describe which part of the building that note activates.
(Possibly the keyboard could be coin-operated. It takes a few Kr to make it active for a few minutes. This would emphasize the mechanical nature and place a time limit on “performances”.)
The machines that activate the pipes and crossbeams would not do them any structural harm or damage. There would be no danger to the building or the visitor.
DB August 05
animazione in claymation della partita a Scacchi
Roesch – Willi Schlage (Hamburg, 1910)
usata e modificata da Stanley Kubrick per il film
“2001 Odissea nello Spazio” Nella partita disputata fra l’astronauta Frank Poole e HAL-9000 il Super Computer.
claymation della Partita a Scacchi Roesch – Willi Schlage (Hamburg, 1910).
La posizione Dopo 13 … AH3, e Quelli che Seguono, Sono stati UTILIZZATI nel film di Stanley Kubrick “2001: Odissea nello spazio” per la partita tra Frank Poole e HAL-9000 Super Computer.
Gioco: 1. e4 e5 2. Nf3 Nc6 3. Bb5 a6 4. BA4 Cf6 5. QE2 b5 6. BB3 Ae7 7. C3 O-O 8. O-O d5 9. d5 Nxd5 10. Nxe5 Cf4 11. Qe4 Nxe5 12. Qxa8 Qd3 13. BD1 Ah3 14.
Qxa6 Bxg2 15. Re1 QF3 16. Bxf3 Nxf3 #
Copyright 2008 © Riccardo Crocetta
Regia: Riccardo Crocetta
Animato da: Riccardo Crocetta
Featuring: Riccardo Crocetta
Photography by: Riccardo Crocetta
Illuminazione da: Riccardo Crocetta
Edward Grieg: Nell’antro del Re della Montagna
Edward Grieg: In the Hall of the Mountain King
Whispering Room, 1991
Dimensions: variable room size
Duration: Looped playback of 16 audio tracks of various lengths (from 40 sec. to 3 min.)
Materials: audio, speakers, projected film loop
“Throughout the exhibition space are sixteen small bare audio speakers mounted on metal stands. The lighting is low. From each speaker a female voice is heard, sometimes conversing with another, describing events or actions from various viewpoints; observational, experiential, past, present, or future, in twenty to forty second segments. Each speaker plays a different dialogue. The story is unraveled by the way the listener moves from speaker to speaker through the space. Breaking into the atmosphere of quiet voices is an image projected onto the wall from a l6mm film projector. A film loop of a girl tap-dancing in the forest plays for 30 seconds and then shuts off.”
Janet Cardiff & George Bures Miller
The Forty Part Motet
The Power Of 40 Speakers In A Room
March 10, 20174:21 AM ET
In Wim Wenders’ wonderful movie Wings of Desire, angels hear what a person is thinking and feeling as they hover nearby. As angels move among people, voices come in and out of focus for them.
Janet Cardiff’s 2001 art installation “Forty-Part Motet,” which is now in its final weeks on view at the splendid Nelson-Atkins Museum in Kansas City, Mo., does something similar. You enter the room and you encounter 40 speakers, arranged in an oval, playing a recording of the Salisbury Cathedral Choir singing Spem in alium (Hope in any other), which was composed by Englishman Thomas Tallis in 1556. The Tallis piece itself is for 40 male voices, organized into eight choirs of five singers (bass, baritone, alto, tenor, child soprano). Cardiff has recorded each singer with an individual mic and each singer’s part is played through just one of the speakers (which are, in turn, clumped into eight groups of five speakers).
You could opt to sit in the middle of the room and listen to the wall of sound created by the joint effect of each speaker, but you could also move about the room, angel-like, swooping down on this voice or that, causing through your action one voice to pop out and another to be drowned out.
In this way, the work invites you not only to enjoy the music, but to remix it, by sampling voices. It is an opportunity to intrude, harmlessly, into the intimate sphere of each singer. You can get so close that you can hear their imperfections in ways that get lost when they are subsumed in the whole — and that you could never hear from your seat in the audience of a conventional concert performance.
This slightly voyeuristic, eavesdropping quality is enhanced by the fact that the recording doesn’t stop when the singing is over. You can drop in on the different singers as they chit-chat and gossip among themselves.
Artwork. Origami technique and Stop Motion
Project of thesis – Academy of arts Palermo. Supervisor Prof. Vincenzo Patti
Idea and production of the designer Mariachiara Padalino
Video D’Autore. Tecnica di Origami e Stop Motion
Progetto di tesi – Accademia di Belle Arti di Palermo. Relatore Prof. Vincenzo Patti
Idea e realizzazione della Scenografa Mariachiara Padalino
Photographer Mark Janssen & director Mink Pinster joined forces in an intense collaboration to create a fairylike stop motion video. Mark Janssen is specialized in staged photography, preferably with a present ominous layer. Together with Mink Pinster and his amazing crew, Mark’s photography is brought to life.
Inspired by the song ‘Still life’ by the dutch band ‘DI-RECT’ they wrote a surrealistic plot in which the hair of a beautiful young lady takes control over her senses. Sigrid ten Napel, put down an extraordinary performance, posing and acting more than 32 hrs to shoot over 3000 photos. Set designer Annelot de Regt and international hair & make-up artist Dennis Micheal blew frame by frame life into the hair of the model and created a surrealistic world in which all senses are stimulated. Accomplishing big non-commissioned projects is an important aspect of Mark Janssen’s work. Combining real acting with stop motion photography was a new challenge, which resulted in this tasteful video.
Video made by: Mark Janssen & Mink Pinster
Actrice: Sigrid ten Napel
Set design: Annelot de Regt
Make up & Hair: Dennis Michael
Set assistants: Daan Dicke, Lisa Lente, Manne Messemaker
Still life is a track form the latest DI-RECT album “TIME WILL HEAL OUR SENSES” http://itunes.apple.com/nl/album/time…
DI-RECT on Facebook: http://www.facebook.com/DI-RECTband
Follow DI-RECT on twitter: @Di_rectMusic
Birthday Suit with scars and defects
Lisa Steele. 1974. Video, b/w, sound. 11:00 (3 min excerpt)
Lisa Steele and Kim Tomczak have worked exclusively in collaboration since 1983, producing videotapes, performances and photo/text works. In 2009, Steele + Tomczak were awarded an Honourary Doctorate by the University of British Columbia (Okanagan); in 2005, a Governor General’s Award for Lifetime Achievement in Visual & Media Arts; in 1994 they received both a Toronto Arts Award and the Bell Canada prize for excellence in Video Art.
They are co-founders of Vtape, an award-winning media arts centre established in 1983 in Toronto. Currently Steele is Artistic Director and Tomczak is Restoration and Collections Management Director. Both teach at the University of Toronto in The John H. Daniels Faculty of Architecture, Landscape, and Design.
Major public art commissions include: Watertable (2009, and expanded in 2011) a light and sound installation under the Gardiner Expressway (a raised highway) that marks the original shoreline of Lake Ontario at the foot of historic Fort York; …bump in the night (Barrie) (2010) commissioned by McLaren Art Centre and installed in bus shelters; Falling Up (2006) a video work for the Winnipeg Art Gallery; Love Squared (2006) screened on the 2400 square foot video board at Yonge & Dundas Square in Toronto. A major survey of their work, The Long Time: the 21st century work of Steele + Tomczak, curated by Paul Wong (with a 84 page catalogue), opened at On Main Gallery and VIVO, Vancouver, BC in September 2012; the exhibition traveled to A Space Gallery, Toronto, ON (2013), the Art Gallery of Windsor, ON (2016-17), and Dalhousie University Art Gallery, Halifax, NS (2017).
Legal Memory, their first feature-length work, has been shown in a number of film festivals since its release including: The Los Angeles Gay and Lesbian Festival, the Festival Internazionale Cinema Giovani (Turin, Italy), the Toronto Festival of Festivals and broadcast on TVOntario. In 1996, their work BLOOD RECORDS: written and annotated, received a world premiere at the Museum of Modern Art in New York and toured across Canada with a bi-lingual catalogue published by The Oakville Galleries.
Recent solo exhibitions of their works have taken place at Anna Leonowens Gallery, Halifax, (2014); Le Mois de la Photo a Montreal (2011); WHARF Centre D’art contemporain, Herouxville-St. Clair, France (2010); Diaz Contemporary, Toronto (2009); Akademie Schloss Solitude, Stuttgart, (2009); Dazibao, Montreal (2008); the Canadian Cultural Centre, Paris (2003).
Selected group exhibitions and screenings of their work include: Every. Now. Then. Reframing Nationhood, Art Gallery of Ontario (2017); Imago Mundi, Instituto Veneto di Scienze, Lettere e Arti, Venice, Italy (2017); La Biennale de Montréal, Musee d’art contemporain de Montréal (2014); Carbon 14: Climate is Culture, Royal Ontario Museum, Toronto (2013); STITCHES: Suzhou Fast Forward, Workshop, Toronto (2011); Empire of Dreams: phenomenology of the built environment at the Museum of Contemporary Canadian Art, Toronto (2010); a focus screening at EXIS: Experimental Film and Video Festival in Seoul, Korea (2010); the Berlin Film Festival, Forum Expanded (2009); Akbank Sanat, Istanbul (2009); TIFF (Toronto International Film Festival) Future Projections (2009); Sophia, Bulgaria at the Central Bath House (2008); a focus screening at Rencontres Internationales Paris/Berlin/Madrid (2006); Beyond/In Western New York, organized by Albright Knox Gallery, Buffalo (2005); Trivandrum Video Festival, New Delhi (2003); City of York Public Gallery, York, England (2000).
Lisa Steele’s early solo video works included currently in PhotoLab 2: Women Speaking Art, National Gallery of Canada, April 7, 2017 – September 10, 2017, and Canadian and Indigenous Art: 1968 to Present, May 3, 2017- April 30, 2018.
Juggling – 1972
Lecture: “I Will (Still) Make Boring Art (Redux)”
Sleeping Beauty – 1959 Theatrical Teaser
Floyd Norman, clean-up artist/inbetween artist (uncredited)
Floyd Norman: An Animated Life’: He Broke Barriers at Disney
The animator Floyd Norman at Disney in 1956, in a documentary about him. Credit Michael Fiore Films/FilmBuff
FLOYD NORMAN: AN ANIMATED LIFE Directed by Michael Fiore, Erik Sharkey
“Every time there’s a great moment in animation, look around, there’s Floyd Norman,” one colleague says. Another remarks, “He’s like the Forrest Gump of animation.”
Mr. Norman was hired at Disney in 1956 and became the first African-American animator on its staff. There he helped hand-draw scenes in “Sleeping Beauty,” “Mary Poppins,” “The Jungle Book” and other films, then went on to work at Hanna-Barbera, Pixar and elsewhere. The list of films and cartoons (“Fat Albert” and “Scooby-Doo” among them) he was involved with is enormous.
FLOYD NORMAN: An Animated Life TRAILER (Documentary, 2016)
Titles aside, this documentary, directed by Michael Fiore and Erik Sharkey, features its own clever and original animation that illustrates scenes from Mr. Norman’s life. While he’s a tireless and upbeat presence, his path hasn’t been without setbacks, including what may have been age discrimination.
At 65 Mr. Norman was let go from Disney. Yet, like a mad cross between Bartleby the Scrivener and a cheery tour guide, he continued to show up at the company’s offices for years and help others until eventually being rehired. Now in his early 80s, he’s still making art.
The humble Mr. Norman is always ready with a laugh, and it’s tough not to smile yourself when he reaches for a pencil and starts drawing. When that happens, it’s redundant to say he’s special. Anyone can see it.