frank's blog

“Gravity’s Migraine” At The Standard | Hollywood

Posted in architecture, art by aldorf on January 12, 2012

Tim Biskup and his most recent installation titled Gravity’s Migraine. The see through cube which sits behind the hotel’s reception desk featured a woman inside the space which brings to the forefront issues of voyeurism and  the lack of privacy.  The core idea behind these installations is how objects can take on an entirely new shape by simply changing their visual perspective. When looking simply at the cube, it’s interesting to note how the lines on the cube’s glass create this fractal look which merge with the layers of blue and white patterns painted within the transparent box; thus, creating new shapes that duplicate Biskup’s style in a three dimensional landscape.

 

Fantastic Animatronics Reel by John Nolan

Posted in Animation, art, film by aldorf on May 31, 2011

Kudos John Nolan for an impressive reel here! This is incredible craftsmanship.

Imagination underpins every uniquely human achievement. Imagination led us from caves to cities, from bone clubs to golf clubs, from carrion to cuisine, and from superstition to science.The relationship between imagination and “reality” is both complicated and profound. (The Element).

Watch Reel Here.

The art of “Karakuri”. Japan has always been on the forefront of cutting edge robotics. Its roots can be traced back 200-300 years during the Edo period when skilled craftsmen created automata (self-operating machines). Using nothing more than pulleys and weights they were able to make the Karakuri (Japanese automata) perform amazing tasks.
Japans modern day robots can be traced back to the Karakuri. Today Hideki Higashino is one of the few remaining craftsmen who is determined to keep the history and tradition of Japanese Karakuri alive. (video here)

Gold! 14 Actors Acting – Great Web Special by NYT

Posted in fashion, film, internet, photography by aldorf on April 28, 2011

I know 36 hours are like a month on the internet, and this here is a bit older but a real keeper. Beautiful and intriguing films. From New York Times Magazine Hollywood Issue “14 Actors Acting”. Shot by Solve Sundsbo. The New York Times photography feature has won a Gold Cube for photography at the Art Directors Club global awards held in New York.

The fifteen actors are Javier Bardem (Biutiful), Lesley Manville (Another Year), Jesse Eisenberg (Solitary Man, Holly Rollers, The Social Network), James Franco (127 Hours), Chloë Moretz (Kick-Ass, Let Me In), Jennifer Lawrence (Winter’s Bone), Natalie Portman (Black Swan), Robert Duvall (Get Low), Annette Bening (Mother and Child, The Kids Are All Right), Anthony Mackie (Night Catches Us), Noomi Rapace (The Girl With the Dragon Tattoo, The Girl Who Played With Fire, The Girl Who Kicked the Hornet’s Nest), Tilda Swinton (I Am Love), Matt Damon (Green Zone, Hereafter, True Grit), Vincent Cassel (Mesrine: Killer Instinct, Black Swan), Michael Douglas (Solitary Man, Wall Street: Money Never Sleeps.

A.O. Scott provides the introduction…

“It goes without saying that acting is a matter of discipline and craft, and that what the best performers do is always subject to analysis, criticism and argument. They say their lines, hit their marks, suffer through retakes and rehearsals, and they trust that an artisanal collaboration with writers, technicians, directors and other actors will somehow yield a work of art. But acting is also an art by itself: alchemical, mysterious, at times almost magical. A person transforms into someone else — a dancer, a Texas Ranger, a wife exiled from her native country, a young vampire, a former militant, a mogul in old age — and in the process reveals something basic and essential that is his or hers alone. In the past, we have invited the year’s great performers to be themselves for the camera and, on video, to talk about what they do. This year, we asked them to do it: to show us — in a few gestures and with a few props but without dialogue or story — what acting is. And here they are, striking some of the classic attitudes of cinema, turning their bodies and faces into instruments of pure, deep and enigmatic emotion. You will, of course, recognize them immediately and admire their grace, daring and skill. But you also may be startled to see how thoroughly themselves they are in the midst of pretending otherwise.”

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