You are currently browsing the monthly archive for October 2009.

Claymation by James Sebor

Check out more great films at SurrealPaintings.com

Advertisements

Ritual Piano Sacrifice

Piano Fire

Someone listens to Cecil Taylor


perpindicular rings pps 2-3

Aaron Howard, oilcanpress.org

DON’T DO IT!

DO IT.

An interesting film based off one of my favorite explorations in metaphor, a book by Arkady and Boris Strugatsky called Roadside Picnic.

Harry Smith was a great American archivist, painter, and film maker who made serious contributions during the 20th century. In 1952 he released the multi-volume Anthology of American Folk Music that is arguably one of the greatest collections of traditional American music. Over the years he took interest in other American art forms collaborating with folks like Thelonious Monk, Peter Orlovsky, Alan Ginsburg, and Gregory Corso.

Following in the footsteps of Len Lye and other “direct animators.” His Early Abstractions were a Dadaist experiment in film in which he painted his effects or manipulated images by hand on celluloid. The soundtracks to the films constantly changed among various contemporary albums, by artists such as Dizzy Gillespie, Phillip Glass, DJ Spooky, and the Beatles.

Early Abstractions

For more information on Harry Smith, visit the Harry Smith Archives.

1999, Canada Directors: Amanda Forbis, Wendy Tilby

“The enfant terrible of Italian stage and screen, actor-director-writer Carmelo Bene, who has died aged 64, shared the distinction with Dario Fo of being a theatrical artist who also became a literary phenomenon. Though most of his writings were for the theatre and cinema, he also published several novels and two autobiographies – one in 1983 entitled, somewhat brazenly, Sono Apparso Alla Madonna (I Appeared To The Madonna).

Eccentric and gifted, Bene was undoubtedly the greatest guitto (barnstormer) of the contemporary Italian stage – a term that he relished. He succeeded in parodying the Italian histrionic acting tradition, as well as being its apotheosis. In the theatre his model was Artaud’s Theatre of Cruelty, while the moderns he respected most in literature and painting were Joyce and Francis Bacon. In the cinema he had little sympathy for film-making after Buster Keaton and Eisenstein, though he once confessed to liking Godard’s Pierrot Le Fou.”read more of his obituary

Carmelo Bene recita discorso Futurista

Categories

Advertisements