The lack of posts on this blog recently is certainly not due to a reduction in Muybridge activity. Other pressures have kept me away, so today a quick roundup of some recent happenings.
Roundtable Discussion: Cinema as a Paradigm Shift in Vision
Thursday 27 January.
Speakers from the Muybridge in Kingston programme returned for a group discussion examining how Muybridge’s work formed part of a wider 19th Century shift in vision as a way of understanding the world. We were gathered together within the exhibition space, around us the glowing images of wall-mounted zoopraxiscope discs and lantern slides. Speakers were Dr. Pasi Valiaho, Prof. Esther Leslie, Deac Rossell and Professor Stephen Barber. As Chair of the event (significantly assisted by Alexandra Reynolds) I certainly enjoyed the evening, and judging by the quality of responses from the audience, they did too. Marek Pytel, master animator of Muybridge images, later remarked: “Sitting, talking about perhaps an end of cinema, while surrounded by the very artifacts of its projected beginnings was actually quite moving. Sometimes one takes these things for granted – and one shouldn’t.”
Other events held at Kingston between September 2010 and January 2011 are detailed on the Muybridge in Kingston website.
Rich Bunce gives us a taser of the work of his students at one of the recent Muybridge-related workshops:
Friday, February 25th, 2011
“This week I completed the last of the Muybridge workshops, which have formed part of the education programme at Kingston Museum; run in conjunction with the Exhibitions on Muybridge’s work at both the Museum and Tate Britain.
The workshops have been great and really enjoyable to run to do which is always a bonus! Here are some highlights from the work…”
Click on the title above to see the work animated on Rich’s website.
Helios opens in San Francisco
Muybridge is back in San Francisco in a big way, starting on Saturday, as the Helios exhibition opened.
SFMOMA Showcases Exhibition: Helios: Eadweard Muybridge in a Time of Change
This first review questions whether the exhibition should have grasped the thorny subject of attribution:
‘Helios: Muybridge in a Time of Change’ review
Kenneth Baker, Chronicle Art Critic
San Francisco Chronicle February 26, 2011 04:00 AM Copyright San Francisco Chronicle. (Section reproduce here for purposes of review.) Saturday, February 26, 2011
‘…Weston Naef, , a ranking expert on Muybridge’s contemporary E. Carleton Watkins (1829-1916), argues that Muybridge bought the rights to negatives made by others, including Watkins, to market many of the pictures issued under his own name, or under his short-lived commercial moniker, Helios. That Watkins and Muybridge would have connected in the small 19th century world of San Francisco photography seems certain.
The organizer of “Helios,” Corcoran chief curator Philip Brookman, answered Naef’s suspicions by pointing out that some Muybridge landscapes from the period in question include darkroom manipulations, such as the addition of clouds from separate negatives, that appear nowhere in Watkins’ work.
Clearly, over time Muybridge did master the techniques of wet collodion photography and cultivated his own vision of landscape, of history inscribing itself on his time and of his medium’s potential for scientific scrutiny.
Incorporation of the controversy into the SFMOMA presentation – admittedly no small task – might have enriched it. But there is plenty to occupy the eye and mind in the show as it comes.
Muybridge’s innovations went to the brink of cinema, paving the way for the regime of kinetic imagery under which the whole world lives today.
Dwelling in the image world that Muybridge helped create, we inevitably view his work with the slant provided by the famous studies in “Animal Locomotion” first commissioned by railroad baron and university founder Leland Stanford.
“Helios” gathers those sequential pictures – which evidence a bizarre clinical curiosity as well as technical genius on Muybridge’s part – in a depth never seen in an exhibition before.
SFMOMA has appended a small contextualizing roomful of late 19th century American pictures from its own stellar photography collection. But visitors who remember the engrossing 2003 exhibition “Time Stands Still: Eadweard Muybridge and the Instantaneous Photography Movement” at Stanford will wish for more in the way of historical framing.’
Helios: Eadweard Muybridge in a Time of Change: Photographs, books and ephemera. Through June 7. San Francisco Museum of Modern Art, 151 Third St., San Francisco. (415) 357-4000. http://www.sfmoma.org.
E-mail Kenneth Baker at email@example.com.
This article appeared on page E – 1 of the San Francisco Chronicle
Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/02/25/DDGE1HT66F.DTL#ixzz1F9b9MxDP
New animated film completed
Previously mentioned on Muy Blog, a new animation has now been finished – as reported in asahi.com news
ANIME NEWS: Director Yamamura completes new short at Canada’s NFB.
by ATSUSHI OHARA
(c) 2011 National Film Board of Canada/NHK/Polygon Pictures
Animation artist Koji Yamamura (Mt. Head and Franz Kafka’s A Country Doctor) has completed his long-awaited animated short, Muybridge’s Strings, in a coproduction with the National Film Board of Canada (NFB) and others.
Yamamura took seven years to finish the 12-minute short, slated for release this year….
“I aspired to become an animation creator after seeing NFB works when I was a university student,” Yamamura said. “I had always dreamed of making animated works at the NFB.”
Muybridge’s Strings follows the life of groundbreaking British photographer Eadweard Muybridge (1830-1904)…..Yamamura’s animated short also includes a parallel story about a girl growing up in modern Tokyo. The film’s score includes J.S. Bach’s “Crab Canon.”
“I wanted to draw ‘time’ in a documentary style with a poetic manner,” Yamamura said. “I wanted to capture moments of connection of the two stories that seem related to each other at one point, yet detached at another.”
The director said he came up with the idea immediately after completing Mt. Head in 2002. Yamamura sounded out the NFB for a possible collaboration through an animation creator he met at a French film festival. Later, Yamamura found a producer who was interested in his works and willing to join forces with him.
Yamamura looked for financiers from Japan while he worked on Franz Kafka’s A Country Doctor. He began full-scale work on Muybridge’s Strings after gaining consent from Japan Broadcasting Corp. (NHK) and CG animation studio Polygon Pictures Inc. as co-producers.
Yamamura spent about two years in Japan drawing key sketches for the project. Later, he spent five weeks in a wintry Montreal, where the NFB is located, late last year for editing, sound effects and other production work….
Yamamura is the first Japanese director to produce an animation at the NFB.
“(At the NFB), everyone from legendary masters to artists younger than myself is spending a great deal of time working on projects. It is like a school, with each artist interacting with one another.
“Their artistic creativeness is highly respected, but that doesn’t mean they can make whatever they want. I felt they all had a sense that they were doing their jobs ‘for the sake of animation art.'”
Many artists at the NFB, Yamamura added, spend several years making a short film, just as Yamamura did.
“It would be great for artists dedicated to animated shorts to make 10 or so good ones in their lifetime. You can’t create it if you don’t offer your life to it,” Yamamura enthused.
Yamamura had trouble finding sponsors for the project, which put the production on hold. But even so, he said, that was not a waste of time.
“If everything had gone easily and I finished my film in three years, it might have turned out different from what it is now. You can’t get to the bottom of your work if you don’t go through trial and error and have time to think,” Yamamura said.
“Thanks to advancements in personal computers and other devices, we have more convenient tools. But you have to give much thought to each frame and make it with your own hands. It takes time.” ATSUSHI OHARA
Eadweard Muybridge Online Archive
A newish website that tags itself ‘Muybridge’s Home’ launched this month:
“We officially launched on February 14, 2011 and are in the process of processing and uploading all eleven volumes of “Animal Locomotion.” We hope to have them all up soon.”
“Welcome to the Eadweard Muybridge Online Archive. Here you will find images from Eadweard Muybridge’s seminal work Animal Locomotion, photographed from the original 1887 publication with the kind support of the Boston Public Library and its extraordinary Rare Books Department. These extremely high resolution images are presented copyright free and ready for download.
Dave Gordon, Curator”
February News Roundup posted here by Stephen Herbert