A lonely pink figure walking down a shadowy track amidst glowing neon shapes is a poignant moment in Brian Smee’s “Sports” (2014). The scene also serves as an allegory for the genre of experimental animation.
MIAMI BEACH — “There’s a lot of product going on here,” I heard a woman say into her cell phone at the mega-art fair Art Basel Miami Beach 2014. Indeed, $3 billion worth of art is being offered for sale this year, according to the event’s organizers.
With the launching of Vine and the increasing ease of shooting portable video, you might be a little tired of the GIF. It’s so short! So looping! There’s no sound! Fortunately, Tim Baker and Chris Shier have come up with a way to freshen up your GIFs — by melting them.
In July 2004, The New York Times Magazine signaled the advent of the “literary” comic book and described how a significant group of cartoonists — including Chris Ware, Daniel Clowes, Seth and Marjane Satrapi — had popularized these “comics with a brain.”
Artist Takeshi Murata is known for making digital works that at first glance might not look like art at all. His abstract videos take an appropriated source, here, a movie clip of a monster rising out of a pool, and distort it into something almost unrecognizable: a free for all of color, pattern and digital noise.
Lauren Cornell, Executive Director of Rhizome, gives us a taste of what we can expect from her exciting new exhibition, Free, at the New Museum this fall. Incorporating 23 artists, Free will reflect “artistic strategies that have emerged in a radically democratized landscape redefined by the impact of the web.”