Future—Predictor

Daniel Palacios - Waves

From: Experiments in Motion

In the catalogue for the Cindy Sherman exhibition currently (Spring 2012) on view at the Museum of Modern Art, curator Eva Respini sees in some of the artists earliest work from the 1970s a direct link to the history of motion experimentation. Respini claims that Sherman’s first use of digital techniques in 2007 “recall her college experiments with cutouts of multiple figures, such as Doll Clothes, [below] the 1975 stop-motion animated film, and the 1976 collages Untitled #488 and #489 [above], which evoke the early experiments in motion photography by Etienne-Jules Marey and Eadweard Muybridge. Where these early works chart the movements and gestures of a character that is replicated and multipled, the multiple figures in Untitled #425 [clowns, above] interact with one another to create a tableau; they also allow for a variation in scale that leads to a nightmarish effect in which clowns seem to encroach on the viewer’s physical space.”

If you have a chance to see the show, do so. Sherman has been taking pictures with herself as the model since the early 1970s, traipsing through numerous themes and forms of critique of societal segments. The MoMA show is beautifully composed, and the scale of Sherman’s work (big!) demands a personal encounter, particularly the last gallery space showing the tragic socialites, including the image above, wherein the digitized background gives an effect similar to the stereographic animated gifs we love so much!

(via experimentsinmotion)

experimentsinmotion:

Cindy Sherman’s “Experiments in Motion”

In the catalogue for the Cindy Sherman exhibition currently (Spring 2012) on view at the Museum of Modern Art, curator Eva Respini sees in some of the artists earliest work from the 1970s a direct link to the history of motion experimentation. Respini claims that Sherman’s first use of digital techniques in 2007 “recall her college experiments with cutouts of multiple figures, such as Doll Clothes, [below] the 1975 stop-motion animated film, and the 1976 collages Untitled #488 and #489 [above], which evoke the early experiments in motion photography by Etienne-Jules Marey and Eadweard Muybridge. Where these early works chart the movements and gestures of a character that is replicated and multipled, the multiple figures in Untitled #425 [clowns, above] interact with one another to create a tableau; they also allow for a variation in scale that leads to a nightmarish effect in which clowns seem to encroach on the viewer’s physical space.”

If you have a chance to see the show, do so. Sherman has been taking pictures with herself as the model since the early 1970s, traipsing through numerous themes and forms of critique of societal segments. The MoMA show is beautifully composed, and the scale of Sherman’s work (big!) demands a personal encounter, particularly the last gallery space showing the tragic socialites, including the image above, wherein the digitized background gives an effect similar to the stereographic animated gifs we love so much!

From experimentsinmotion:

The digital stroboscopic image of a dancer above and the still from the video “Seaweed” by Tell No One both capture individual stages of movement in a single frame. Andy Warhol’s ‘Dance Diagram Series’ (1962) and the ‘Treatise On Quadrille Dancing’ (1819) notate the same complexity in a format that begins to approach something an architect might understand. Capturing the dance of car circulation, Kahn’s Traffic Study for Philadelphia could just as easily orchestrate a massive urban scaled ballet.

Tell No One’s video Seaweed above layers and partially freezes simple movements to create a moving sculpture that is both a structure and a dance.

Jordan Clark’s lo-fi experimental video on human movement presents a jaw-dropping and strangely relaxed vision of limits of the human body.

From experimentsinmotion:

In the war between bullets and high-speed film it is the image that always wins. Above, a selection of images from our Motion Gallery and the web proves that slowing down even the most destructive forces can result in something of beauty. Below, a video documenting the slow and seductive destruction of an ipad.

(via architizer)

Motion is my muse:

Jacques-Henri Lartigue’s iconic photograph of a speeding automobile race is a benchmark of our fascination with the tension between the still image and motion. As new imaging technologies are developed, the phenomenon and appeal of motion distortion continues - in this case caused by the rolling shutter used in iphones. Images of disembodied airplane propellers and leaning landscapes have even inspired their own flickr gallery.

The split-scan video above animates everyday motion with mind warping technique that simulates the effects of a rolling shutter.

Leaning forward into the blast of an airplane propeller hidden beyond the frame, Lartigue’s image exposes the hidden forces of new technology and embraces motion as an ideal.

A photograph of Lartigue’s sister floating through the air oblivious to the forces of gravity resonates with the work of Denis Darzacq

Below, the most recent entry into the world of motion memes - floating babies. Rachel Hulin’s series of photos of her baby (named Henry) drifting through a series of scenarios brings motion to a standstill.

experimentsinmotion:

A selection of multiple and long exposures images capturing the motion of flight.

(Ho-Yeol Ryu from Marc Moukarzel)

(from Buzzfeed)

( Bird in flight by Geoffrey Mann)

(Andreas Feininger from the Motion Gallery)