I found this tonight. Apparently he did a bunch of kid skits like this. Awesome!
Friday, November 28, 2008
Wednesday, November 26, 2008
.com
i can't get my website to load images / functions more quickly! do any of you computer arts wizards know how to help me?
http://www.gazzookabazookaz.com/
http://www.gazzookabazookaz.com/
Tuesday, November 18, 2008
Bros. Quay
Here is an example of Brothers Quay, who came up in conversation yesterday. They do stop motion animation with 16mm, I think, taught under Jan Svankmajer - who was named the world's great animation hero.
Monday, November 17, 2008
Shock of the New Response
Bryson Hansen
Contemporary Design / Art History
Robert Hughs’ chapter entitled The Future that Was, from his book “Shock of the New”, purports an entire shopping list of ideas and retro-active ideals concerning various artists, movements and general turning pints in fine art history, politics and the people which thereby corresponded to it. Hughs begins by complaining about how the 1970s lacked any original “spark”, that is to say that there were no especially memorable artists who brought forth a creative idea that could bring about a new movement. In his promotion of this idea, he supposes that the avant garde, was totally over at this point and that everything from the 1960s forward is a re-hatching of its existence…an afterthought. To an extent, I can see where this observation comes from, but on the other hand I believe that the avant garde was not being re-done, but rearranged and appropriated by artists in a less literal format. This allowed artists to use a previously supported philosophy as a tool, not just an approach, and arguably gave them more freedom and opportunity within an avant-garde mind-set. To argue that the avant-garde existed uniquely in the 1960s, but not in the 1970s, is broad and not confirmed without very seriously addressing the allegations. One could easily retort by asserting that the 1960s weren't original in their right to avant garde either, despite how absurd it sems to say. Nam June Paik, for instance, was operating in a Duchamp mind set still – and was not necessarily bringing about a new passage of artistic ideals. Paik’s work clearly supported the readymades, when he introduced the television’s white noise as “found art”. However, the video synthesizer stands boldly as an example of a purely original and functional creative work of art.
I found Hughs’ stroll through art history more interesting merely in his ability to draw connections between artists and their political stances that I had not previously thought of before, than his intended point. Hughs mentioned several times that Dada was a cause that was founded primarily for a political purpose, which I was well aware of, but then continued by describing that its downfall came when Dadaists could not fasten themselves as respected political thinkers, despite the success of their movement in the art world. What is especially interesting to me is that Dada, possessed an aesthetic attitude that has become just as important, if not more, as any other form. It occurs to me then that the symptoms of any art movement, in an accidental and subconscious way, are not only meaningful in their vocal ability or attitude, but also as pure aesthetic form.
One other thing I found especially interesting about The Future that Was, is Hughs’ message concerning the change of “worth” of art when money comes into the picture. It seems evident that when specific paintings become more prevalent, or spoken about, in the art world strictly because their monetary worth has increased, they become more novelty and worthless. However, I feel that this has become more of a blessing when it comes to music. Pop music is so washed out, and so much about using a system to create a high tempo cash flow, that there is more room for original art to breathe in the independent bracket. I do not mean “indie music”, but independently made – home made – music. There is no pressure for the creator of home made music to adhere to a formula that is important for its ability to sell. Instead, there is a liberty in knowing how impossible that is, and the contrast between the products of both sides of the spectrum is wild. I feel that sincerity comes easier to the artist that does not need to do anything more than to aspire to create work for his or her self. I suppose the problem comes when the artist goes bankrupt.
Contemporary Design / Art History
Robert Hughs’ chapter entitled The Future that Was, from his book “Shock of the New”, purports an entire shopping list of ideas and retro-active ideals concerning various artists, movements and general turning pints in fine art history, politics and the people which thereby corresponded to it. Hughs begins by complaining about how the 1970s lacked any original “spark”, that is to say that there were no especially memorable artists who brought forth a creative idea that could bring about a new movement. In his promotion of this idea, he supposes that the avant garde, was totally over at this point and that everything from the 1960s forward is a re-hatching of its existence…an afterthought. To an extent, I can see where this observation comes from, but on the other hand I believe that the avant garde was not being re-done, but rearranged and appropriated by artists in a less literal format. This allowed artists to use a previously supported philosophy as a tool, not just an approach, and arguably gave them more freedom and opportunity within an avant-garde mind-set. To argue that the avant-garde existed uniquely in the 1960s, but not in the 1970s, is broad and not confirmed without very seriously addressing the allegations. One could easily retort by asserting that the 1960s weren't original in their right to avant garde either, despite how absurd it sems to say. Nam June Paik, for instance, was operating in a Duchamp mind set still – and was not necessarily bringing about a new passage of artistic ideals. Paik’s work clearly supported the readymades, when he introduced the television’s white noise as “found art”. However, the video synthesizer stands boldly as an example of a purely original and functional creative work of art.
I found Hughs’ stroll through art history more interesting merely in his ability to draw connections between artists and their political stances that I had not previously thought of before, than his intended point. Hughs mentioned several times that Dada was a cause that was founded primarily for a political purpose, which I was well aware of, but then continued by describing that its downfall came when Dadaists could not fasten themselves as respected political thinkers, despite the success of their movement in the art world. What is especially interesting to me is that Dada, possessed an aesthetic attitude that has become just as important, if not more, as any other form. It occurs to me then that the symptoms of any art movement, in an accidental and subconscious way, are not only meaningful in their vocal ability or attitude, but also as pure aesthetic form.
One other thing I found especially interesting about The Future that Was, is Hughs’ message concerning the change of “worth” of art when money comes into the picture. It seems evident that when specific paintings become more prevalent, or spoken about, in the art world strictly because their monetary worth has increased, they become more novelty and worthless. However, I feel that this has become more of a blessing when it comes to music. Pop music is so washed out, and so much about using a system to create a high tempo cash flow, that there is more room for original art to breathe in the independent bracket. I do not mean “indie music”, but independently made – home made – music. There is no pressure for the creator of home made music to adhere to a formula that is important for its ability to sell. Instead, there is a liberty in knowing how impossible that is, and the contrast between the products of both sides of the spectrum is wild. I feel that sincerity comes easier to the artist that does not need to do anything more than to aspire to create work for his or her self. I suppose the problem comes when the artist goes bankrupt.
Sunday, November 16, 2008
Vinton's hommage to Mcclaren
I noticed in Will Vinton's masterpeice animation adventures of mark twain that there is a clear reference to a Norman Mcclaren movie.... which I think is pretty cool on his part considering that when Vinton started out Mcclaren was one of very few artists who had explored stop motion as a technique of animation. Vinton's inclusion of the Mcclaren moment is pretty brief. It happens when the two neighbors are fighting over space between their yards. Even the sound is clearly referring to the original, in that it is comprised of staccato notes occuring only on each frame change.
here's the clip of the Mcclaren film:
Vinton:
here's the clip of the Mcclaren film:
Vinton:
gazzookabazookaz.com
I bought my first ever domain name and created a webpage for it. Really the purpose it serves is to offer my music to download/listen/order and to present an array of films to stream. There are still a lot of bugs, being that I havent made a website since I was in 9th grade, but I am trying to work it out. Comments? Suggestions?
http://www.gazzookabazookaz.com
ps. it looks like only safari likes it, firefox wont show images for some reason.
http://www.gazzookabazookaz.com
ps. it looks like only safari likes it, firefox wont show images for some reason.
Sunday, November 9, 2008
More Pop Goodies by Gazzookabazookaz
I finally finished the packaging and artwork for an album I have been hatching for the last year+. It feels like it took forever. Sweet relief and joy.
I will have copies at school if anybody is interested.
Gwar anyone?
GWar is playing at the Roseland? on the 14th. I just thought everyone should know in case they havent had monster slime sprayed on them recently.
Sunday, November 2, 2008
PES
I was turned on to PES by a friend after he saw my short animations of a pot of boiling water. This guy is totally amazing and seemless. His use of film and light makes the rhythms of animated objects look shimmering and magical. Svankmajer maybe an old hero but PES is the next for stop motion.
All the Residents' Timmys
http://residents.com/historical/page83/page244/page298/page298.html
nostalgic. funny. strange. uncomfortable.
nostalgic. funny. strange. uncomfortable.
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