PES doesn’t release new work very often, so when he does, we tend to get excited. His latest, “Black Gold,” was commissioned to accompany the launch of Delfina Delettrez’s new jewelry line on retail site Yoox.com.
Unlike PES’s other works, which turn everyday objects into unexpected characters and situations, “Black Gold” is a meditation on bodies, beauty and the inevitable entropy that ultimately returns us all to nature. With shots of ants crawling out of a breast and a giant grasshopper perched on a cheek, it’s full of imagery that lingers long past the last frame.
With a charming jewel tone palete and lovingly wrought 2D animation, designer/director Celyn (Nexus Productions) shows how simplicity and complexity can coexist in “Map Table.”
The spot’s main aim is to convey the modular nature of Edward Barber and Jay Osgerby’s Map Table desk, produced by furniture manufacturer Vitra. But in Celyn’s hands, the story becomes unexpectedly beautiful — and reassuringly human.
In California, a class action lawsuit against The Mill and Yurcor has been tentatively settled, striking a major blow against Yurcor’s “Employer of Record” service. The core of the dispute was the practice of using employee wages to pay for employer taxes. That’s a no-no.
The New York artists originally voiced many of the same complaints made in California, but added that the practice was much more prevalent in NYC. We are now ready, willing and able to help New York artists. (Source)
Interest form for NYC Artists
If you’re a NY artist who’s worked through Yurcor and want to recover questionably deducted wages, TAG is encouraging you to fill out this form.
NOTE: Please only fill out the form if you’ve worked through Yurcor in NYC.
If you’re interested in learning more about this issue, TAG’s Steve Kaplan has been writing about it for quite some time:
With the same understated poignance that is his hallmark, Mr. Clair’s latest project is a title sequence created in collaboration with Antibody (Clair’s studio) and Elastic for HBO’s new series, “True Detective.”
As we started to plan the movement and animation, we faced some interesting challenges. We wanted the titles to feel like living photographs. But the footage was too kinetic and jumpy and stills were too flat and static. Many shots feature footage that has been digitally slowed to extreme degrees. The digital interpolation and artefacts created by slowing footage down often looks strange or tacky, but we found that in this case it evoked a surreal and floaty mood that perfectly captured what we were after.
Syndrome Studio creates the opening titles for the 2014 Pause Fest in Melbourne, Australia. Executive Producer, Monica Blackburn describes the project as “a dream project with full creative freedom” in which “we envisioned the sequence as a journey through a surreal, living art installation piece. Visually representing each aspect of the festival – start-ups, motion, gaming, web and creativity – as physical objects that combine and interlock to form a whole, the open underlines the festival’s theme, “everything is connected”.
The mixture of dated and futuristic technologies, of dusty machinery and glossy interfaces, shape this wonderful homage to the creative process, in which live action and CG merge seamlessly to form a lyrical technological dance.
Animator/performance artist Miwa Matryek incorporates the silhouette of her own body into projections of her lush animations. Having seen her perform at last year’s Vimeo Festival, I can attest to the power of combining a live theatrical performance with clever front and rear-projection. There’s a bit of magic as you see the “cuts” happen in real life – one moment a hand looms large in frame, her silhouette thrown huge across the screen, the next moment an entire body wanders into frame.
See her previous work, Myth and Infrastructure, below. My favorite “movement” starts at 2:53 – when the living silhouette serenely becomes part of the environment, rather than just creating one-to-one interactions.
In Dvein’s latest short, “We Wander,” you won’t find CG fluid sims or virtual Rube Goldbergs of visual oddities. Instead, you’ll find haunting visuals of animals carousing in the dusky liminal spaces between darkness and light, nature and civilization and hunted and hunter.
Each shot crackles with graphical clarity, despite being a live action production. The sound design, foley work and music add a hyperreal edge to every animal movement, creating a surreal, visceral undercurrent to the strange narrative that unfolds.
Enjoy the infinite zoom technique employed in two different styles — Psyop zooms into lush landscapes overrun with surreal details in Toshiba “Endless Performance” and Johnny Kelly zooms out through orthographic illustrations of a universe inhabited by books in New York Times Book Review “Holiday Books”. I particularly love the sound design moment by David Kamp where the cutting board syncs with the music.