kottke.org posts about art
MoMA just opened their show about Pixar last week and on Friday, we went to a presentation by John Lasseter, head creative guy at the company. Interesting talk, although I’d heard some of it in various places before, most notably in this interview with him on WNYC. Two quick highlights:
- Lasseter showed colorscripts from Pixar’s films (which can be viewed in the exhibition). A colorscript is a storyboarding technique that Pixar developed to “visually describe the emotional content of an entire story through color and lighting”. They are compact enough that the entire story fits on a single sheet and if you’re familar enough with the films, you can follow along with the story pretty well. But mostly it’s just for illustrating the mood of the film. Very cool technique (that could certainly be adopted for web design and branding projects).
- Near the end of the talk he showed a 2-3 minute clip of Cars, prefacing it with an announcement that it had never before been shown outside of Pixar.[1] Some of the CGI wasn’t completely finished, but it was certainly enough to get the gist. When the first preview trailer for Cars was released, I was skeptical; it just didn’t look like it was going to be that good. Based on the clip Lasseter showed and some of his other comments, I’m happy to report that I was wrong to be so skeptical and am very much looking forward to its release in 2006.
At 15 minutes long, the Q&A session at the end of his talk was too short. The MoMA audience is sufficiently interesting and Lasseter was so quick on his feet and willing to share his views that 30 to 40 minutes of Q&A would have been great.
[1] For you Pixar completists and AICN folks out there, the clip showed Lightning McQueen leaving a race track on the back of a flat-bed truck, bound for a big race in California. As the truck drives across the US, you see the criss-crossing expressways of the city stretch out into the long straight freeways of the American west, the roads literally cutting into the beautiful scenery. A cover of Tom Cochran’s Life is a Highway plays as the truck drives. The world of the movie features only cars, no humans…the cars are driving themselves.
A quick note about the Van Gogh show at the Met that’s closing at the end of the month: if you’re in NYC, go see it. Admittedly, I’m a fan of Van Gogh, but I thought this was one of the best museum exhibitions I’ve ever seen. The exhibition features drawings (as well as a few paintings) from his short 10-year career as an artist, and you can really see how much he progressed during that time and how much his drawings and paintings were related. I can’t wait to go back over to the MoMA and look at Starry Night and The Postman and view them not as paintings, but more as drawings done with paint.
Cory Arcangel is committing Friendster Suicide tonight at The Believer Dec/Jan issue launch party at PS1. You can also follow along at home: “Friendster me sometime before [the performance], and around 8:40 EST on Thursday(ish), I assume if you keep reloading your browser window on Friendster, I think I will simply disappear from your friend list.” Antisocial networking.
Paul Schmelzer’s project to collect autographs of his (Paul’s) name from famous people. So far, he’s got scrawls from David Sedaris, Yoko Ono, Frank Gehry, and Pat Buchanan, but has been turned down by Mikhail Baryshnikov.
A series of art projects based on Flickr. The Flickr tag cloud tshirt is clever; the printing on the shirts is reversed so that you can read them in the mirror…”the [Flickr user’s] narrative is actually addressing himself while claiming to address others”. (via ia)
Opening tomorrow at the Met Museum in NYC, an exhibition of drawings by Vincent van Gogh. October 18, 2005 through December 31, 2005.
Two Da Vincis long held in private collections to go on public display for the first time.
“Floating Island” is a mini version of Central Park being towed around Manhattan by a tugboat (photos here)…it’s a conceptual art piece by Robert Smithson. This weekend, a group of folks in a motorboat tried to board the floating park and install a miniature version of Christo and Jeanne-Claude’s The Gates. When the captain of the boat towing the island “looked out across the East River Thursday afternoon and saw another piece of conceptual art gaining on him, he did not view the development kindly”.
Cory Arcangel has gone INSANE and is offering original signed posters of his work for like $20. The posters feature the haunting landscape of the old school Famicom driving game F1 Racer.
And as long as we’re on the subject (you didn’t think we were even on a subject, did you?), I’m a fan of how Maciej is displaying his oil paintings. For each of his newer paintings (like this one of a West Village scene), he’s documenting the progress of the work as it goes along so you can see how the painting becomes a painting.
Update: Eric writes that he uses this technique for displaying how his art progresses as well (sample).
Pan of the newish MoMA building in NYC. I like the new building, but I agree that there are too many people sometimes; they’re certainly not having a problem with that $20 admission price. (via cdl)
Update: a rebuttal by Greg Allen.
Flickr set of glitch art created when digital satellite TV goes a little wonky.
Great influence map of European art and sculpture (looks largely French), detailing relationships between masters and students as well as collaborations. Reminds me of a Feynman diagram.
Seyed Alavi’s carpet for a Sacramento airport walkway features an aerial view of the Sacramento River. “It is truly amazing what is possible to print images on these days. Of course, for home use the cost is still somewhat prohibitive, but that is slowly changing as well.” (thx dunstan)
Gallery of work by guerilla artist Banksy from the West Bank barrier in the Palestinian territories. “An old Palestinian man said his painting made the wall look beautiful. Banksy thanked him, only to be told: ‘We don’t want it to be beautiful, we hate this wall. Go home.’”
A history and examination of paint by number. “It invited people who had never before held a paintbrush to enter a world of art and creativity.”
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