Afterglow: Animations–Part One

an·i·ma·tion
anəˈmāSH(ə)n/
noun
  1. the state of being full of life or vigor; liveliness.
    “they started talking with animation”
  2. the technique of photographing successive drawings or positions of puppets or models to create an illusion of movement when the movie is shown as a sequence.

Renee Zhan is a senior concentrating in Visual and Environmental Studies. Her film Pidge (to be published in Part Two) was shown as part of the 2015 Telluride Film Festival.

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Oscar Murillo’s Best Work

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[“coconut water”] Oscar Murillo, untitled, 2012.

Much critical ink has already been spilled over the Museum of Modern Art’s tepid exhibition The Forever Now: Contemporary Painting in an Atemporal World, and I won’t rehash those commentaries here. The highlight of the show, for me, was the chance to directly see the work of a prominent young artist who had previously existed – again, for me – only in the cyber-ether, the 28-year-old Colombian-British painter Oscar Murillo. Continue reading

Distortion: The Art of Error

IMG_0453 copyGarrett Allen, Glitch One. 2015

The word glitch supposedly comes from the german word “glitschen”, which means “to slip”. A digital art movement has been started that explores the aesthetic of digital error or failure. I have been incredibly fascinated by this type of art and this movement and have attempted to teach myself the many different techniques. This is my exploration.

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A Conversation with Matt Saunders

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Rote Kapelle (Pour) #3, 2012, unique silver gelatin print on fiber-based paper, 147 x 101 cm 

Where artists come from is oftentimes inseparable from who they are. It is perhaps because art-making is necessarily a deeply personal practice; understanding an artist’s body of work in its entirety requires that we put him in the context of history, in relation to the city that he lived and worked, the people that he conversed with, and the works of art from which he drew inspiration. Naturally it’s difficult to pin down the factors that transformed artists as who they are now. The cliché that each human being brings a universe of his own resonates profoundly with artists. But if art-making is a personal pursuit in the end, where one has to carve his own path for creativity, what does it mean to study art in an institutional setting? Can art be taught?
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A Conversation with Elise Adibi

Adibi Interview Image

In the basement of Byerly Hall in the Radcliffe Yard, Elise Adibi, a New York-based artist whose works have been exhibited throughout the United States, makes metabolic paintings that challenge the boundaries of the visual. Moving from oil paint and linseed oil, she combines natural plant oil, urine, gold, copper and graphite to generate formally engaging, conceptually stimulating work.

In its Fall 2013 issue, The Harvard Advocate published one of her Aromatherapy paintings – paintings that are ephemeral, amorphous in shape and exude elegant aroma. Harry Choi ’16 had a conversation with Adibi about her work, in the studio that was once occupied by Amy Sillman — one of her former teachers — but now smells of jasmine, sandalwood and lavender.

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