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I like these. Although the first image she should be sitting at the edge of the highway looking down upon the traffic. It would have been more effective. |
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Martin Creed
![]() ![]() Work No. 547 2006 35mm film transferred to DVD ![]() Work No. 503 2006 35mm film transferred to DVD http://www.martincreed.com |
More Martin Creed
![]() Work No. 289 2003 Neon 16 m (l) Installation at The British School, Rome ![]() Work No. 205: EVERYTHING IS GOING TO BE ALRIGHT 1999 Neon 25 cm (h) Installation at Alberto Peola Arte Contemporanea, Turin ![]() Work No. 567: SMALL THINGS 2006 Neon Installation at Palazzo dell'Arengario, Milan, Italy Exhibition held by Fondazione Nicola Trussardi ![]() Work No. 273 2001 Neon 6" high |
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Yasser Ballemans
![]() ![]() God Bless Amerik.k.k. / katoen / 200 x 300 cm / 2004 ![]() WC rol / wc-rolhouders, wc-papier / 120 x 20 x 220 cm / 2005 ![]() Let’s Kick Ass (ism Karina van Bezooijen) / kunststof, PU-schuim, metaal / 30 x 50 x 120 cm / 2005 |
Linda Nieuwstad
![]() ![]() ![]() ![]() Lovely Granny (2003) 18 bejaarde dames gemengde technieken doos 190 x 150 x 40 cm fotografie: Anneke Hymmen Linda Nieuwstad's website |
I love this photo by Ed. Austin takes an awesome pose.
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BORIVOJ HORINEK "Records"
work with perspective i couln't find any better pics, sorry ![]() ![]() |
The first one is sick.
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Stefan Zechowski
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The art fag level of some of these art works is horrendous.
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Maurizio Cattelan
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Bedwyr Williams - Walk a Mile in My Shoes
![]() Bedwyr Williams - Tyranny of the Meek ![]() ![]() |
I love Bill Brandt:
![]() John Virtue: ![]() Jenny Saville: ![]() Hieronymous Bosch: ![]() And a whole bunch of other stuff too... |
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Brendan Dawes
Cinema Redux (2004) DVDs have opened up many new ways for people to spend more time obsessing over their favourite movies, and one the oddest products of this new technology is Cinema Redux. Graphic designer Brendan Dawes has sampled his favourite movies, one frame per second, and arranged them to make giant digital posters. Each minute of the movie is represented by strips of 60 tiny frames going down the length of the poster. Scan it quickly and you get an instant visualisation of the rhythm and timing of the film. So far Dawes has processed nine titles, including The French Connection, Get Carter, Road to Perdition and The Conversation. Each finished print is an odd cross between conceptual art and storyboard, from which you can take in a couple of hours of fast cuts and long takes - what Dawes calls the "unique fingerprint" of each film. There are surprising moments of colour - the red Dali dream sequence in Vertigo; the blue cinema screen in Taxi Driver. Film students, academics and obsessives with time on their hands may use Dawes's grids to postulate new theories about the language of film. Vertigo (1958, Alfred Hitchcock) ![]() The French Connection (1971, William Friedkin) ![]() Deliverance (1972, John Boorman) ![]() Serpico (1972, Sidney Lumet) ![]() |
Another Brendan Dawes project.
Don’t Look Now What would happen if you take every single frame of a film and instead of displaying the frame in it’s normal aspect ratio you make it only 1 pixel wide? Brendan Dawes: So with that question I built a piece of software in Processing that could take in a live stream from a DVD and construct images based on this idea. The film I used was the classic, and very strange ‘Don’t Look Now’ starring Donald Sutherland. ![]() For more distorted images click here, and then on the view project button. |
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