Animation
The art of animation and automatons.
Connecting real space and virtual images.
Like his older compatriot Mark Leckey, Atkins deftly utilizes syncopated montages of sounds and filmic images to create disturbing and disorienting virtual realities.
“Like holding hands with a stranger—for kind of a long time.”
“I liked thinking about the word occupy literally. To occupy something. To occupy a sensation or a history and then to be kicked out of it and be squatting near it and trying to reinvest in it.”
“Traditionally, a painting treats you to the front and center seats. I like the idea you might get a seat that’s off to the side.”
Siddhartha Gautama
Grew rather stout from a
Devotion unremitting
To sitting.
On his second stop at Wood Street Galleries, Icelandic artist Finnbogi Petursson returns with Second/Second, his first solo US exhibition, featuring two large installations involving sound, light, and water.
Weinstein elaborates on the sources behind his animated videos with Simmons, with whom he has previously collaborated. These range from telemarketing, Brecht, entertainment, and what Weinstein calls the “national pastime” of self-absorption.
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The primary challenge of any William Kentridge monograph might seem to be getting images on the page to represent the South African artist’s oeuvre, which spans performance by puppets and opera singers, immersive film installations, stereoscopic and anamorphic drawings, crank-activated kinetic sculptures that play music (recently on view at Marian Goodman in New York), and virtuosic charcoal-on-paper animations.
Kelly Copper and Pavol Liska of Nature Theater of Oklahoma on their series Life & Times, new episodes of which will be presented this September by FIAF as a part of its Crossing the Line festival.
Paper Clip is a weekly compilation of online articles, artifacts and other—old, new, and sometimes BOMB-related.
“The traditional economies of film are a little more transparent, right? Like at the movie theater, you buy a ticket, and you have a sense of the way film production happens. But that whole apparatus is invisible in an art context.”