Elizabeth Peyton The Age of Innocence 2007 Gavin Brown’s Enterprise

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He drew for more than 50 years, under various names, but was most widely known as Moebius.

He was popular in the US and Japan, working with legend Stan Lee and manga artists, as well as in his homeland

He also worked on design concepts and storyboards for a number of top science fiction films, including Alien, [...]]]>

He drew for more than 50 years, under various names, but was most widely known as Moebius.

He was popular in the US and Japan, working with legend Stan Lee and manga artists, as well as in his homeland

He also worked on design concepts and storyboards for a number of top science fiction films, including Alien, Tron, The Abyss and The Fifth Element.

Giraud trained at art school and turned to comics after working as an illustrator in the advertising and fashion industries.

His best known work in his native country was probably the Lieutenant Blueberry character but he also worked on the Silver Surfer with Stan Lee.

The Cartier Foundation for Contemporary Art staged a major Giraud retrospective in 2010.
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Flavorpill just came out with a list of 10 artists who also make movies. Interesting who they selected and who they omitted. I am happy with the inclusion of Bansky, Cindy Sherman, Sally Potter and Kathryn Bigelow, also a mention in the introduction of Jean Cocteau. Some of the comments point out the following [...]]]>

Flavorpill just came out with a list of 10 artists who also make movies. Interesting who they selected and who they omitted. I am happy with the inclusion of Bansky, Cindy Sherman, Sally Potter and Kathryn Bigelow, also a mention in the introduction of Jean Cocteau. Some of the comments point out the following as noticeably missing: Matthew Barney, Miranda July, Jerzy Skolimowski.

There are already many pieces written about the stunning opening title sequence from the first Millennium series film Girl with a Dragon Tattoo. Here are a few: www.wired.com/underwire/2012/01/dragon-tattoo-opening-titles www.ventilate.ca/2012/01/10/blur-studio-the-girl-with-the-dragon-tattoo-titles http://io9.com/5873372/ Blur Studio link http://vz3.blur.com/work/detail/girl-with-dragon-tattoo#movies/1 Interested in watching other memorable title sequences? Visit www.theartofthetitle.com

Another Place depicts scenes from the production of an American film of the artist’s imagining, which centers on an unseen catastrophic event.

Read the entire article from The Independent here www.independent.co.uk/arts-entertainment/art/features/jonathan-wateridges-another-place-1991589.html

Excerpt from ‘The Guardian’ From Nighthawks to the shadows of film noir by Philip French:

German expressionism impinged on Hopper early on, during his sojourn in Paris. His 1921 etching Night Shadows looks like a storyboard sketch for a high-angle shot in a Fritz Lang movie. But [...]]]>

NY movie by Edward Hopper 1939 Courtesy of Prestel

Excerpt from ‘The Guardian’ From Nighthawks to the shadows of film noir by Philip French:

German expressionism impinged on Hopper early on, during his sojourn in Paris. His 1921 etching Night Shadows looks like a storyboard sketch for a high-angle shot in a Fritz Lang movie. But what really influenced him were the movies shot on the backlots of Hollywood’s great studios in the Thirties and Forties. Like the films of Hollywood’s Golden Era, his paintings are about ‘the city’, a heightened abstract notion rather than any particular metropolis. Voyeurism has been an unavoidable condition of urban living and moviegoing, and Hopper’s pictures spy on people in uncurtained rooms. They are epiphanic moments in someone else’s life, stills from a movie we can’t quite remember.

Read the entire article here.

cinemetrics from fb on Vimeo.

I am not really after a narrative. As much as I am concerned with movement, I prefer to be suggestive at most, implying only a mood or feeling. Any type of moralizing or story telling is intended to be frozen, inert, non-revealing to the viewer. I am generally after [...]]]> Text and interview: Margherita Dessanay Elephant Magazine

I am not really after a narrative. As much as I am concerned with movement, I prefer to be suggestive at most, implying only a mood or feeling. Any type of moralizing or story telling is intended to be frozen, inert, non-revealing to the viewer. I am generally after an expressive documentation of situations plausible enough, but aloof and distanced in which the viewer must not be distracted with narrative, so he may engage himself in the expression, material and execution of the work.

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