Title Sequence Design
Posted on April 10, 2008
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End credits are taking a bashing in TV programmes - because zappers switch channels rather than watch them. Great then to see the art of title sequences reviving. Here’s a short interview with the designers of the Mad Men sequence.
Once I got looking at the Mad Men sequence I came across Cartoon Brew which is a title loving blog and through that Forget the Film Watch the Titles., from the Submarine Channel, a website run by Remco Vlaanderen that’s in fact an online collection, set up in 1997, which showcases the most stunning and original film title sequences. The joys of the Long Tail.
Iris Scan
Posted on April 10, 2008
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Call me sentimental but I can’t resist the sheer beauty of the Kaprov scans. Here is one of Irises. Some are real flowers and some are plastic.
Varoom
Posted on April 9, 2008
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Like many journalists I ignored the power of the visual during most of the time I was scribbling away. Increasingly it is hard to get time to write well never mind contemplate the visual. It was a delight to find the Illustrator magazine Varoom’s website and this image.
New Image
Posted on April 8, 2008
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This is an E.J. Carr photo. Can’t quite pin down what I like about it 
.
E.J. is due in the gallery soon and in Ten Cubed later this month.
PG the VJ
Posted on April 8, 2008
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I’m sure the familiarity that the 20 - 30 year age group have with technology, the way it has infused our lives, is having an effect on the visual landscape but what I like about this image is that it’s dear old Peter Greenaway, film director, maker of some iconic movies in his time, The Pillow Book, The Cook The Thief His Wife And Her Lover, now in his new job of VJ.
Peter live-edits visual sequences on the grounds that conventional movies lack the spontaneity that a real film artist thirsts after. I’m not sure that he’s 100% right but what a departure! And what a risk taker.
I had an opportunity to write about his concerts a year or so back. Sadly the Irish Times website is still subscription based so I can’t link to it.
Here’s another image.
It’s amazing that such a well known director takes this step and it kinda shakes up my sense of confidence around imagery and narrative, the need for story. I’d like to have brought him to Ireland but am no event entrepreneur. His management company is notv.
Image of the Week 2 (via Ping Mag)
Posted on April 6, 2008
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I came across the Japanese English language geek-design-art site PingMag today. It’s really worth a look for the way it draws out the aesthetic merits of the ICT industry, elements that we never really look at twice.
This for example is a photograph of wiring inside a mainframe from an O’Reilly Japan book by Mark Richards and John Alderman (it seems to have been published in the USA by Chronicle books). Take a look at this from the Core Memory, A Visual Survey of Vintage Computers.
This is my first image of the week outside the gallery. I know I am a bit late on this one. However, Image of the Week is more about when I see an image rather than when an image is produced. If you know where I should be looking, let me know in the comments section or if you have an image that fits the bill (new media or IT related), comment away.
Susan Kaprov
Posted on April 4, 2008
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The Susan Kaprov series Allegories of the Senses is created from scans of Susan’s early work which are then printed on Hahnemulle watercolour paper and then hand painted a second time. The combination of digital and physical actions by the artist is probably not as common as one might expect. Anyway I love the Allegory series. Here is an example.
Image of the Week 1: Singers
Posted on April 3, 2008
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Couldn’t resist posting this photo from Ryan over at Rymus.net. It is a ceramic sculpture of a singer by Clare Greene. Clare’s paintings are on show in the gallery right now along with some of her favourite ceramics. Among them are eight ceramic instruments including Bell, String, and Flute designed for the musician and composer Grainne Mulvey. They are really worth a look but you’ll have to visit.
Chris Ashley
Posted on April 2, 2008
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Chris isone of my favourite artists for many reasons. This morning I picked this snippet up from him via this blog post.
“I think that abstraction prevents you from fully entering a fiction. A picture is a fiction. Abstraction keeps you away from that fiction and gives you a means of approaching a narrative in an analytical manner….
Certainly the shapes in these early paintings seem like actors. Actors with fragmented bodies; lost wraiths. Such theatrical metaphors are inherent in American painting: Rothko wrote in 1947, I think of my pictures as dramas; the shapes in the pictures are the performers. They have been created from the need for a group of actors who are able to move dramatically without embarrassment and execute gestures without shame.”(Sperone Westwater: Jonathan Lasker: the dialectics of touch )
Chris:
“….the origins of the work are really based in recording memory, story, place, nature, color and space, the need to have a regular art practice during a time when a studio practice is difficult to maintain, my interest (commitment? belief? desire?) in abstract painting (a kind of romantic minimalism, I guess). I’ve learned over three year’s time the potential of the weblog as a personal work space, a time-based portfolio, that is a place of production, exhibition, and archiving, being both an individual space and a node on a network(s).”
I’ve had a similar conversation with Chris. His work introduces chronology into aesthetics. I prefer chronology to “labour”. Any serious artist works hard but Chris is the only one I know that draws chronology into the heart of what he does. It makes me think about all the other people for whom time is a labour and the struggle many of us have with relating our use of time to pleasure. 
This is the original html inkjet print of a piece we have in the gallery Figure, Head, Rock, Tree, 2007. We have a single 42″ print. If you like it get in touch and of course follow Chris over at Chrisashley.net.
Change Blind, Visually Unaware
Posted on April 1, 2008
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EJ Carr, New York fashion photographer who is coming into the gallery soon sent me a clip from this mornings New York Times. It’s about change blindness, particularly or inability to be able to see things changing, a kind of visual inadequacy that is widespread.
After a year as a gallery owner I can attest to people’s curious relationship to the visual. I wouldn’t dare call customers or potential customers blind but I would question whether we talk enough about what we see, how we see, what we are looking for. Anyway here is the clip:
At a meeting “held at the Italian Academy for Advanced Studies in America at Columbia University, the audience failed to notice entire stories disappearing from buildings, or the fact that one poor chicken in a field of dancing cartoon hens had suddenly exploded. In an interview, Dr. Wolfe also recalled a series of experiments in which pedestrians giving directions to a Cornell researcher posing as a lost tourist didn’t notice when, midway through the exchange, the sham tourist was replaced by another person altogether.”
It’s a complicated issue but this sentence or part sentence seems to sum it up: “you glance outside at the same old streetscape and nothing registers.” Hopefull our new show coming up in Ten Cubed on the 24th of this month will provide a cure.
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