When I first think about going to a museum or an art gallery, the first picture that comes to my mind is of myself standing in front of the piece of art. It is a “solo” experience in which I gaze at the piece and get “a feeling” from it. I may attempt to extrapolate what the artist is trying to convey to me, the beholder, or how the artist was feeling during its creation. I would not generally consider it a social experience.

As I am a very social person I am not regularly drawn to going to galleries and museums even though I spend my time in two cities with excellent museums and galleries, San Francisco and Ashland, Oregon. However, as of late, the first Friday art walks that occur on the first Friday of every month have been getting me out to the galleries because I look forward to connecting to members of my community while appreciating the art. It also helps that the galleries also often supply music and snacks. It changes the nature of how I view my art experience.

This is also true of Friday nights at The deYoung Museum in San Francisco where there is a different them each Friday night, represented by different styles of live music, dance, poetry, film, and interdisciplinary art programs. The museum stays open until 8:45 p.m. and includes a cafe and a no host bar as well as hands on programs for children and adults.

These methodologies of incorporating a live experience with art appreciation both assist in the exposure of art and artists to community and to bringing community together to support and celebrate what may often be perceived of as cultural differences. It is in this endeavor that I am most interested as a methodology for real social change. When people from varying socio economic, political, ethnic, and religious backgrounds come together in a social atmosphere and are face to face with each other real change occurs.

It is much more difficult to “hate” when you’ve been together to celebrate.

Live Events Enhance Art Experiences! is a post from: The Amalgamation | Evolution of Art & Creativity

No related posts.

Related posts brought to you by Yet Another Related Posts Plugin.

To celebrate the San Francisco Museum of Modern Art’s 75th anniversary (on January 18, 2010) SFMOMA will present two special exhibitions tracing the extraordinary growth and evolution of the collection and offering an in-depth look at SFMOMA’s past, present, and future.

On view from December 19, 2009 to May 16, 2010, SFMOMA: 75 Years of Looking Forward focuses on SFMOMA’s role in both the history and the future of modern and contemporary art through major acquisitions, groundbreaking exhibitions, and innovative public programming. The exhibition will occupy the museum’s entire second floor.

Beginning with the museum’s founding in 1935 and continuing to the present day, the Exhibition brings together nearly 250 works from the permanent collection, including painting, sculpture, media arts, photography, and architecture and design. Also highlighted is the art of Bruce Conner, Sol LeWitt, and Robert Rauschenberg, whose early-career work was presciently collected by SFMOMA, making it particularly well represented in the collection today.

As a complement, a second exhibition 75 Years of Looking Forward: Focus on the Artists, Collecting in Depth, opens January 18, 2010, commemorating SFMOMA’s longstanding relationships with artists whose work has been featured in major exhibitions and collected in-depth. The exhibition explores the work of 17 artists whose iconic works were influential in defining movements from Abstract Expressionism to international contemporary art.

With a single gallery dedicated to each artist’s work, the presentation begins with a selection of paintings by Clyfford Still, who in 1975 made a gift to SFMOMA of 28 paintings that spanned his career. The next gallery will focus on the paintings of Philip Guston, whose 1980 retrospective at SFMOMA resulted in many of his paintings entering the collection. A third gallery will feature the paintings of Richard Diebenkorn; SFMOMA received its first Diebenkorn in 1955, and it was the first of several influential works to come to the museum. Other artists whose work will be the focus of a single gallery include Diane Arbus, Matthew Barney, Robert Gober, Ellsworth Kelly, Brice Marden, Sigmar Polke, Gerhard Richter, Robert Ryman, Doris Salcedo, Richard Serra, Frank Stella, Kara Walker, Jeff Wall, and Andy Warhol.

Founded as the San Francisco Museum of Art in 1935 (and later renamed SFMOMA), the museum took a major step forward in 1995 with the opening of its Mario Botta–designed building, which paved the way for the transformation of the city’s South of Market neighborhood and propelled SFMOMA to a new level of performance and service. In recent years, SFMOMA has mounted an exceptional series of special exhibitions featuring the work of artists such as Diane Arbus, Robert Bechtle, Olafur Eliasson, Eva Hesse, Richard Tuttle, and Jeff Wall, exposing audiences to the most thought-provoking artists of our time. By organizing major shows that travel internationally, SFMOMA continues to advance scholarship in the field, bolstering San Francisco’s reputation worldwide as a hub for creativity and artistic expression.

SFMOMA: 75 Years of Looking Forward is a post from: The Amalgamation | Evolution of Art & Creativity

No related posts.

Related posts brought to you by Yet Another Related Posts Plugin.

The Heilbrunn Timeline of Art History is a comprehensive chronological, geographical and thematic exploration of the history of art from around the world. The timeline is a linear outline of art history that is populated with 6000 works of the Metropolitan Museum of Art’s collection. The timeline allows visitors to compare and contrast art from around the globe at any time in history, becoming an invaluable resource for students, educators, scholars and anyone interested in the conversation of creativity, symbolism and art.

The Heilbrunn Timeline includes such features as the ability to search for specific time periods or by geographical region. Each timeline includes representative art from the Museum’s collection, a chart of time periods, a historical overview, a list of key events, and related content.

Thematic essays focus on specific themes in art history including artistic movements and periods, archaeological sites, empires and civilizations, recurrent themes and concepts, media, and artists with links to related themes and timelines.

The works of art in the Metropolitan’s collection celebrate human creativity from around the world and from all eras. The works are placed in a comprehensive chronological, geographical, and thematic context. Each image can be enlarged for closer scrutiny and is accompanied by supporting material, including links to technical glossaries on CAMEO and artist biographies from Oxford Art Online.

Art history research is facilitated by the Timeline, as it is indexed by chronology, geography, theme, and subject. Links to world regions, timelines, thematic essays, works of art, and the general index provide methods for more directed research. The bibliography is comprised of the nearly 2,000 Metropolitan Museum of Art publications since 1964, and is further enriched by other publications whose primary focus is on Metropolitan Museum works of art.

The Heilbrunn Timelime is a post from: The Amalgamation | Evolution of Art & Creativity

No related posts.

Related posts brought to you by Yet Another Related Posts Plugin.

The current DIY Movement is increasingly becoming a social and political ideology as well as a hobby or fashion aesthetic, offering an alternative to modern consumer culture. The phrase “do it yourself” came into common usage in the 1950’s in reference to home improvement challenges that people might choose to complete without the aid of experts or professionals.

The Whole Earth Catalogue, first published in 1968 by  the young American visionary Stewart Brand, became the bible of the late 60’s counter-culture. The Catalogue both emerged from and spurred the great wave of experimentalism, convention-breaking, and do-it-yourself attitude of the late 1960s. Often copied, the Catalog appealed to a wide cross-section of people in North America and had a broad influence.

This first publication led the way for numerous mainstream publications catering to the DYI movement, such as Popular Mechanics, Sunset Books and Better Homes and Garden. In the 1970s, when home video (VCRs) came along, the potentials in demonstrating processes audio-visually were immediately grasped by DIY instructors. In 1979, This Old House, starring Bob Vila, premiered on PBS and started the DIY television revolution.

In the mid 1990’s, DIY home improvement content began to find its way onto the internet.  Since then, thousands of sites on the web have exploded DIY.  One of the most popular websites, ehow.com features a tagline  “How To Do Just About Everything” and publishes thousands of user generated step by step articles and videos for DIY’ers, ranging from building composting bins to websites.

In recent years, the DIY has become an umbrella term covering a broad range of skill sets. DIY is also associated with the subculture of international alternative rock, hardcore punk, and indie rock music scenes, indymedia networks, pirate radio stations, and the zine community.  The artists and creators of this media embraced the DIY phenomenom and began recording themselves, manufacturing albums and creating their own magazines which showed their fans how to make their own shirts, posters, books, food and more.

Similar to the Arts and Crafts movement of the 1900s, the modern DIY movement is viewed as a reactionary response on an individual scale to the mass production mentality of modern industrial society.  The statement “think globally, act locally,” commonly expressed among the DIY community refers to the support of multinational corporations  exploitative labor and environmental practices. Creating items by oneself or purchasing goods and services made locally in effect boycotts these organizations.

In addition, making, recycling, or otherwise following a doctrine of “non consumption” as part of DIY subculture lessens the amount of sales taxes one pays, such taxes being viewed as similarly aiding such morally repugnant institutions as governments which wage war. This view of “consuming less as a political statement” is not agreed upon in the subcultures it is found in, but is a motivating force for many of its followers.

DIY culture is not limited to the 3 R’s (reduce, re-use, recycle) or the hand-making of items such as clothing and housewares, but extends to choices of public transportation such as biking and bike repair, walking, building vehicles and modifying existing vehicles. It also includes making and distributing community radio, pirate radio, community television as well as personal internet media.

The Do It Yourself (DIY) Movement is a post from: The Amalgamation | Evolution of Art & Creativity

No related posts.

Related posts brought to you by Yet Another Related Posts Plugin.

The nation’s first collection of American art at the Smithsonian American Art Museum is an unparalleled record of the American experience. Three centuries of the American people’s aspirations, character and imagination are captured in one of the largest and most inclusive collections of American art in the world. Key aspects of America’s rich artistic and cultural history from the colonial period to today are revealed.

More than 7,000 artists are represented in the collection, including major masters, such as John Singleton Copley, Gilbert Stuart, Winslow Homer, John Singer Sargent, Childe Hassam, Mary Cassatt, Georgia O’Keeffe, Edward Hopper, Jacob Lawrence, Helen Frankenthaler, Christo, David Hockney, Jenny Holzer, Lee Friedlander, Nam June Paik, Martin Puryear, and Robert Rauschenberg.

A leader in identifying significant aspects of American visual culture, the Museum has the largest collection of New Deal art and the finest collections of contemporary craft, American impressionist paintings, and masterpieces from the Gilded Age. Other pioneering collections include historic and contemporary folk art, work by African American and Latino artists, photography from its origins in the nineteenth century to contemporary works, images of western expansion, and realist art from the first half of the twentieth century.

A leader in national outreach, the Museum maintains a highly regarded traveling exhibition program that was established in 1951. From 2000 to 2005, museum staff organized 14 exhibitions of more than 1,000 major artworks from American Art’s permanent collection that traveled to 105 venues across the United States. More than 2.5 million visitors saw these exhibitions. The Museum has three major exhibitions touring the U.S. in 2009.

The American Museum offers array of interactive activities online featuring rich media assets that can easily be used by anyone, as well as Artful Connections, real-time video conference tours to classrooms. Museum staff maintain seven online research databases with more than 500,000 records, including the Inventories of American Painting and Sculpture that document more than 400,000 artworks in public and private collections worldwide. Each year, more than 5,000 researchers contact the Museum directly for assistance, and nearly 3 million virtual visitors from across the globe use the database resources available online.

American Art staff produce a series of podcasts, also available through iTunes, which feature voices of artists, curators, and students. In 2005, the Museum debuted Eye Level, the first blog at the Smithsonian, which has more than 7,000 readers each month. In 2008, American Art was the first museum in the world to host an alternate reality game, Ghosts of a Chance, which offered a new way of engaging with the collection in its Luce Foundation Center.

photo: Kogod Courtyard by M.V. Janzten

The Smithsonian American Art Museum is a post from: The Amalgamation | Evolution of Art & Creativity

No related posts.

Related posts brought to you by Yet Another Related Posts Plugin.

Imagine – a live magazine created specifically for the stage, a screen and a live audience. Nothing will arrive in your mailbox and no content will be viewed online. The world’s first magazine with a temporal existence-for one night in one place.

Each evening of Pop-Up unfolds like a magazine. Short reviews, dispatches, and provocations anchor the front, longer features follow in the back. Pop-Up seeks to explore the varied world around us, through stories and ideas showcasing the country’s most interesting writers, filmmakers, photographers and radio producers. Science, music, politics, art, business, food, literature, design, nature—all in a 75 minute show. Contemporary theater for our ADD/ADHD culture. And then, audience and contributors can top it all off with drinks at the lobby bar for a Q&A!

The 1st issue on April 22, 2009 at the Brava Theater in San Francisco, CA showcased a virtual Who’s Who of writers, broadcasters, artists, independent filmmakers and journalists. Michael Pollan, contributing writer to the NY Times Magazine and author of The Omnivore’s Dilemma shared the stage with 23 yr. old Brandon McFarland who fused the skills he learned at Youth Radio in high school into a special presentation of broadcast journalism, on-air hosting and music production.

Among the offerings, public radio producers, Tania Ketenjian & Ahri Golden, founders of Thin Air Media, a production company which fosters connection, communication, and empowerment to people through media and events were united with award winning NPR series producers, The Kithchen Sisters-Davia Nelson & Nikki Silva. Filmmakers Alex Gibney, Enron: The Smartest Guys in the Room traded barbs with Roman Mars – a sound producer based at KALW 91.7 in San Francisco.

Even the most intellectual and discriminating audience member was stimulated by all of the talent together, on stage, sharing short moments of unseen, unheard work. Books, films, journalism, photography, and radio documentaries in progress. Obsessions and digressions. Outtakes, arguments, and live interviews. One show, one magazine, one extraordinary experience!

Pop Up Magazine – A Live Event is a post from: The Amalgamation | Evolution of Art & Creativity

No related posts.

Related posts brought to you by Yet Another Related Posts Plugin.

The Public Art Fund of New York brings artworks outside the traditional context of museums and galleries, providing a unique platform for an unparalleled encounter with the art of our time.  Established for over 30 years, the Public Art Fund has been committed to working with emerging and established artists to produce innovative exhibitions of contemporary art throughout New York City.  It is the leading presenter of artists’ projects, new commissions, and exhibitions in public places.

Public Art Fund was founded by Doris C. Freedman, a champion of public art who served as New York City’s first Director of Cultural Affairs during the Lindsay Administration and as the President of the Municipal Art Society. In 1977, Freedman formed the Public Art Fund by consolidating City Walls and the Public Arts Council, which had been formed when public art programs were in their early stages of development. An ever-increasing volume of public art inquiries and proposals prompted Freedman to create the Public Art Fund and merge the efforts of both entities. Today, the Public Art Fund continues to build on these two organizations’ pioneering strategies for placing works of art in public places.

Since 1977, Public Art Fund has presented more than five hundred artists’ projects throughout New York, making it possible for artists to engage diverse audiences and, along the way, redefine what public art is in relation to the changing nature of contemporary art.

The Public Art Funds projects and ongoing programs fall into three categories: Major Initiatives with Established Artists, In the Public Realm that engages emerging New York artists and additional outreach areas which includes a popular lecture series  and a publication series.

Working with established artists, the Public Art Fund commissions new projects and curates exhibitions of existing artworks previously not seen in New York City. The Public Art Fund also collaborates with New York City Museums to expand the reach of their exhibitions beyond their gallery space. For example, as with the Whitney Biennial in Central Park, 2002 and Francis Alÿs’s, The Modern Procession, 2002, the Public Art Fund worked with the Whitney Museum of American Art and the Museum of Modern Art, respectively, to bring monumental art projects into the public sphere thereby introducing a broader audience to the work of these major contemporary artists.

In the Public Realm was created in 1995 to foster innovation and experimentation among emerging artists and to provide them with the opportunity to create art projects for public spaces throughout New York City, while simultaneously expanding the audience for contemporary art. Out of 4000 submissions,ten artists are selected who are then commissioned to submit proposals for art projects. The Public Art Fund works with these artists to develop their proposals, and subsequently presents three of the projects in the course of the following year.

Public Art Fund Talks is a popular lecture series offering discussions and presentations by some of today’s most influential artists. With 3 lectures organized each spring and fall, Public Art Fund Talks provide opportunities for informal dialogue between artists, and students of contemporary art, art professionals and the general public.

Since 1999, when the Public Art Fund published its first artist book, Looking Up: Rachel Whiteread’s Water Tower, the Public Art Fund has expanded its publications program to include individual catalogs featuring selected artist projects commissioned by the Public Art Fund.  Public Art Fund’s semi-annual magazine is a benefit to supporters and provides an overview of our diverse activities and accomplishments to members of the Public Art Fund, artists, and the general public.

The Public Art Fund is a post from: The Amalgamation | Evolution of Art & Creativity

No related posts.

Related posts brought to you by Yet Another Related Posts Plugin.

The deYoung Museum in San Francisco presents a glorious exhibition of over 130 outstanding works from the tomb of Tutankhamun “King Tut” as well as those of his royal predecessors, his family and court officials on view thru March 2010.

The exhibition, Tutankhamun and the Golden Age of the Pharoahs, comes more than 3,000 years after ancient Egypt’s celebrated “boy king’s” reign and 30 years after the original exhibit opened in San Francisco. The exhibit provides insight into the life of Tutankhamun and other royals of the 18th Dynasty (1555-1305 BC). All of the treasures in the exhibition are more than 3000 years old.

Tutankhamun and the Golden Age of the Pharaohs offers glimpses of that critical period in Egyptian history. On display will be 50 of Tutankhamun’s burial objects, including one of the gold and precious stone inlaid canopic coffinettes that contained his mummified internal organs. Also included are many of the day-to-day objects enjoyed by the young king including a finely crafted child’s chair and an inlaid game board, one of four in the tomb, clearly representing an activity enjoyed by the king.

New to the encore tour of the exhibition are two nested coffinettes that contained the remains of two fetuses that are now undergoing DNA testing to reveal their relationship to King Tut. Also new to the exhibition from Tutankhamun’s tomb is a beautiful scarab bracelet featuring a central image of a beetle representing the sun god. An elaborate pectoral, a masterpiece of jewelry making, contains a rare, yellow-green glass stone carved in the shape of a scarab beetle that some scientists believe to be a fragment of an ancient meteorite.

Tutankhamun and the Golden Age of the Pharoahs is a post from: The Amalgamation | Evolution of Art & Creativity

No related posts.

Related posts brought to you by Yet Another Related Posts Plugin.

Dorenfeld has experimented with combining animation with live action film and took it to an extreme level of breaking the rules. Using nervous cutting techniques to emulate the state of his subject, one feels unnerved at the start of the scene fragmented and splintered by the juxtaposition of his shots and cuts.

In his film, The Anna Cabrini Chronicles, he used 16mm film, digital, hand drawn animation and stop-motion combining many mediums. Inspired he claims, by “Madness. Actually lots of logic, emotions, and technical realities are at the core of why I chose to use so many different mediums to create Anna. The Anna Cabrini Chronicles, is a film that is actually playing back peoples deepest thoughts and ideas after being recorded on micro-cassettes…so immediately one must approach such a concept in a different light than a film that follows a straight narrative in what we tend to call reality. It shows the Second half of reality, the reality of an individuals mind and the thoughts, visions, and emotions that spiral in the catacombs of every living persons head.

Another inspiring aspect for Tawd was the fact that Trey Spruance and the Secret Chiefs 3 created the soundtrack. This was the first film he agreed to do music for a film in over 15 years. This did not leave Dorenfeld without the usual challenges.

“Yet we did not have the budget to shoot a full feature on 16mm film, especially a film that deals with 4 monologues…The ratio was too high for the cash…so we had to come up with a way to capture monologue and tell the story in the most visually captivating way without sacrifice. DV allowed us to shoot and shoot and shoot those monologues along with the short dialogue scenes without the concern of cost after the fact.”

The silver screen has held the captive eye of director Tawd Dorenfeld before he left a small town in Northern California called Petaluma for New York City where he studied film and animation. Tawd Dorenfeld’s feature experimental film The Anna Cabrini Chronicles won the Best Experimental Narrative Feature Award at the Silverlake Film Festival in 2007, and he has been hailed by small troupes as a cutting edge staring director who systematically pours himself into each illuminated creation.

Fueled by the emotions triggered by the suicide of his cousin, Tawd poured this catharsis into creating a monumental work. Of particular note is the high level of production on an almost non-existent budget. Apparently it took Tawd over six years to complete this epic labor of love.

“The stories are not far reaching; they are your neighbors, your friends, your cousins, sisters, and mothers, with a twist of everyone in all of it. Suicide is not a mystery. As a society, we cloak suicide with mystery because of the emptiness that haunts those left looking into a grave of a loved one that just wanted to be dead. Sure this is a slight generalization because many suicides are a mystery, can’t be pinned down to one reason, one mental illness, one rebellious nature, and be assured the film does deal with this very issue of why? what? where? Death by life. These characters are individuals with a multitude of reasons for their mental collapse and those thoughts are not far from many of the things that confuse, upset, and depress you as well.

“I call them the A’s….Some did, some tried, my closest cousin definitely did after years of battling with her depression. She was the screwdriver driven into my cranium to get me to howl like a deer in headlights and find away to speak out about the unhealing terror of suicide.

“I am happy that my first feature was so important and socially valuable, yet understand that I would trade it for a night of laughter with my late cousin and just create a different serious and valuable film. So be it, thank Andrea, I believe there are many people who are appreciative of the creation of Anna Cabrini. Maybe we helped someone else.”

The modern day saga of a young filmmaker navigates the landscape of Hollywood making a completely uninvestable film for the sake of his passion and the vision haunting him. The story of the starving artist is alive in the bowels of Hollywood – or more accurately the sunny streets of Santa Monica in the filmmaker’s black walled apartment. Yes, his walls are painted black with a meandering of thoughts scribbled and drawn across like a child’s mind scattered onto construction paper. An open canvas surrounds Dorenfeld as his turtles raise their head for fish flakes. What would drive a man who has been given development deals by Dreamworks to take the path of inde film making with such a hard to sell subject? What is the path of accomplishing a project such as this?

“Passion, cash, passion, cash, obsession, and my megalomaniacal way of directing the Actors for The Anna Cabrini Chronicles. I stress this style of Directing for Anna because this was a film that had to be effective as it was designed to deter suicide, not just thrill and stimulate an audience into liking a good film. The characters in Anna had to either feel as real as possible and or so unbelievable that ‘no one could write that;’ a reaction only obtained by True Stories…We kind of accomplished that thanks to my phenomenally pliable and dedicated actors Samantha Deane, Michael Childers, and Bryan Trujillo. Many think Anna is a documentary, not because it looks like one, because it definitely doesn’t, but because people think Brooke’s real and that I got some crazy right to film her death. I rehearsed my actors 3 hours a day, 3 – 4 days a week for 3 months…add the actor practicing for 2 – 3 hours a day when not rehearsing with me…we wanted to strip the identity of actor leaving only their character in tact ready to die. Each segment was shot in separate years, editing and earning money between shoots.

SIX YEARS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! The most Money was spent on Rent, Food, Gas, School Books, Pens, Paper, Gas, FILM! FILM DEVELOPING!! & FILM TRANSFER!!! Not to mention all the Hard Drives. I burnt through two computers in that time period too.”

Community is a thread noted throughout the careers of most of the artists who are able to accomplish projects such as this. Collectives are the popular term, where some recognize the strength in numbers can help elevate a few. When one looks at a filmmaker, often the fact that there are a dozen other bright stars who created the piece can often be overlooked. Tawd’s brilliant vision and dedication galvanized the energy of his peers to help him push his large boulder of a project up the hill. As no man is an island, Dorenfeld gained the support and respect of his community. As part of this journey, the one-man band expanded into crews like an amorphous swell of the ocean lapping the sand. A crew appears to drift back into the sea within a moment, foam and all.

“My producer, Elk 56, had a lot of stamina collecting and saving crews for the 5 years of filming. Our crew, like my animations, would morph on the snap of a finger, but always there, always dedicated and always willing to work for the art instead of the cash, I can’t begin to thank them all, I still do every time I see one.

The cinematographers would switch as well, all except Christopher Blakey (Unheard Music: X the Band) who was top billed as cinematographer for 6 years of dedication and access to his two beautiful Bolex 16mm cameras and Lisa Yu the most dedicated Camera Assist ever. The relationship between cinematographers and I was strange for film. I had cinematographers who not only were operating some great shots, but they were there to watch my back as I shot the majority of the film. I know how to make something unique on film, they knew how to make something perfect on film, so it was always a great synergy. Different camera-people for different shoots helped prevent burnout as well.

Our Make-Up department also was unique per story with a different make-up artist for each story. Now some people would pop in and out over the years like Thomas Schaefer credited as one of three Production Designers and Gore! Thomas is one of the rarest talents untapped in Los Angeles, what I used him for was his most basic skills, what he deserves to be doing is greater than Dark Crystal. He worked on everything except Merrick because Thomas was propping a System of a Down video during the Merrick shoot. So for Merrick I really got dirty and with the help of collage artist Mari Kono, UCLA art major Kirsten Oglesby, and other art monsters like Rubbergator, we built Merrick’s room, Brooke’s box, and all the Paper Mache’ PTA beasts and toys.

So we did stuff like that to get this done. But remember I wrote a film that was like 4 films in one with different characters in each story…this really helps when you can’t afford to finish shooting a film in 3 months or even 2 years.”

Kodak also helped; for every roll we bought they gave us like 2 free! This was at a time when Kodak was watching their sales drop because of Indie-Films going Digital…Kodak wanted to remind Indie-Film that film was still the coolest and best medium to create motion picture on. They are correct.”

Even with all this support, Dorenfeld accomplished a remarkable amount of work and deserves the triple credits he garners – “Produced, Directed and Animated By”. And this continues in his own unique way of doing the Tour to promote his film. He actually booked theaters instead of rented, and ran his own press campaign.

Every once in a while, emerges a person whose prolific mind churns out creative work like a machine – spewing their genius out with a force that seems inhuman…and it is. The frenzied blasts of genius are the hurricanes of our mind. Those that articulate it into reality are ones who accomplish greatness. It’s a wonder we can birth any significant works as artists in a time where artists eek a living working as waiters and secretaries. Our culture places art at the bottom of the food chain when it is the stuff of life, which feeds us. Performing in this environment is like climbing up a hill dragging a freight car, requiring the steel will of “I will do this”. Dorenfeld did. He created a unique and stunning masterpiece around tragic story telling. Reflecting the darker side of life, he used individual stories as chapters to break apart a topic into an intimate force one would tend to turn their head away from, but can no longer.

www.AnnaCabrini.com

Anna Cabrini Chronicles is a post from: The Amalgamation | Evolution of Art & Creativity

No related posts.

Related posts brought to you by Yet Another Related Posts Plugin.