Sunday, August 28, 2011
video topic: art
entry type: Documentary Series
video series: The EYE
artist featured: mixed British contemporary artists
run time: 60 mins aprox each
size: 370 mb each approx
release date: mixed
official website: http://www.illuminationsmedia.co.uk/filmstobuy/category/1/product/152/bull_theeye_series.html
description and preview:
(click "read more" below)
theEYE is a series of interview-based profiles of contemporary visual artists in Britain. Each film provides a thought-provoking survey of an artist's work and ideas, featuring the artist in discussion and illustrated by sequences captured of key exhibitions and installations around the world.
The beautifully produced films offer a rare and personal insight into the influences and creative processes that lie behind the artist's creations, and provide an accessible means of engaging with the pleasures and puzzles of art in the twenty-first century.
An excellent introduction to contemporary artists and their works, theEYE is an ideal resource for a wide range of audience, including galleries, museums and colleges, as well as individual art-lover.
artists featured so far in the series:
Dalziel + Scullion
Gilbert and George
Ian Hamilton Finlay
Langlands and Bell
Download and information for few:
In October 2002 Anish Kapoor completed his extraordinary sculpture Marsyas for The Unilever Series of commissions in the Turbine Hall at Tate Modern, London. A challenging and overwhelming artwork, Marsyas is a vast red PVC membrane stretched between three massive steel rings. The title refers to a satyr in Greek mythology who was flayed alive by the god Apollo.
This film follows the making of Marsyas, from the earliest maquettes to the complex installation at Tate. Anish Kapoor comments on each stage of the process, and on the ideas and concerns of his art. Also illustrated are a range of his other sculptures and two recent large-scale works: Sky Mirror in Nottingham and Taratantara, created for the empty shell of Baltic as this new art centre was being built in Gateshead.
At the age of 80, Anthony Caro remains intensely active, working each day in his studio and overseeing every detail of an extensive retrospective at Tate. Preparations for the show are featured in this profile, along with many of his major works, filmed in Britain, Germany and the United States.
In interview Anthony Caro speaks about the development of his art from the bronze figures of the 1950s through the many variations of his work with metals, his hybrids of sculpture and architecture, and his recent large-scale, multi-part responses to Old Master painting and the worlds of myth and Christianity. The film is a portrait of an artist of great distinction whose inventiveness and creative vigour are undiminished.
An internationally acclaimed artist, Antony Gormley is best known for his monumental sculpture Angel of the North. This earth-bound figure with its massive wings shares with all of Gormley's work a preoccupation both with the human form and with our shared spiritual potential.
Antony Gormley's early lead and iron figures were cast from his own body. They demand a physical and emotional response, but they also raise profound philosophical questions about memory, the mind and our senses. Some of his sculptures, such as the tiny sleeping figure modelled on his infant daughter Still IV, are intensely private. Other works, like Field and Allotment II, are sweeping social and architectural explorations on a grand scale.
Many of Antony Gormley's most significant works are illustrated in this film profile, including Bed, made from hundreds of loaves of sliced white bread, and the spectacular Quantum Cloud created alongside the Millennium Dome in London. Antony Gormley offers a reflective commentary on these and other works and on the central investigations and imperatives of his art.
In 2003 Chris Ofili created the spectacular installation within reach for the British Pavilion at the Venice Biennale. Combining a cycle of paintings depicting lovers in a Paradise-like garden with a shimmering glass dome, Ofili plunged visitors into disorienting spaces of dense colour and enveloping light.
Shot in London, Germany and Venice, this film relates the creation of Within Reach. Chris Ofili's reflections on the process are complemented by interviews with his collaborator in Venice, architect David Adjaye, and the structural engineer from Arup Associates, who helped realise the complex dome.
Also included is an exploration of The Upper Room, an installation of 13 exquisite canvases by Ofili, which was first shown in 2002. Both this and Within Reach are about "trying to create an atmosphere for people to feel somehow out of themselves." His aim, the artist explains, is to "do something that is sincerely interesting and can honestly enhance the experience of looking."
David Batchelor’s art is about colour. With lightboxes and everyday plastics, eccentric chandeliers and projections, he brings pure, direct colour into galleries and public spaces. His works are immediately delightful, but they are also concerned with what colour means in today’s world and with how we experience it.
David Batchelor’s art is also about the city. His colours are the bright, sharp hues of neon and artificial materials, not the soft tones of the natural world.
In this profile, the artist is interviewed in his studio, the place where he explores and experiments with “the stuff of the world”. He speaks about many key works and reflects on his distinctive public commissions, including a tower of colour for the Whitehall offices of the Treasury and an illuminated tree by the Thames. Like the best art, these are intellectual works, thoughtful and rigorous, but they are fun too, pleasurable and beautiful.
At the heart of Dryden Goodwin’s art is a fascination with drawing. But the ways in which he explores this age-old practice are anything but traditional. He combines drawing with photography, film and large-scale screen-based installations. He is engaged with time as well as line, and with the sculptural potential of two-dimensional images. Other concerns in his art are also strongly contemporary: the city, ideas of public and private, voyeurism, desire and emotional distance.
Many of Dryden Goodwin’s key works are featured in this profile, including his early animations like Heathrow (1994) and the three-screen installation Closer (2002) which features covert video footage of strangers in the city whose features the artist is tracing with a laser pen. He discusses the ambitious eight-screen Dilate (2003) and his most recent film Flight (2006), which is presented in a gallery alongside a display of the thousands of drawings that he made for its production.
theEYE is an excellent introduction to contemporary artists and their works and provides an ideal resource for a wide range of audiences, including galleries, museums and colleges, as well as individual art-lover.
Gary Hume makes beautiful paintings. His materials are household paints on aluminium surfaces and his subject's, he says, are "flora, fauna and portraits". The results are elegant, delicate, simple yet elusive and exquisite. Playing gloriously with colour and light, they are paintings of subtle tones, idiosyncratic clashes and insistent reflections.
Interviewed in his studio, Gary Hume reflects on his work from the 1980s, when his Doors series won instant acclaim, to his latest creations. As so often, his new work balances recognisable images with abstraction. His people, like Kate (1996) and Michael (2001), are contemporary icons conjured up from bold shapes and strong planes of colour.
Illustrated in this profile are many of Gary Hume's most notable paintings, specially filmed in exhibitions in London and Dublin, and in a major 2004 show in Bregenz, Austria. Also featured are the artist's rarely-seen drawings and, in contrasting settings, his deadpan sculpture Snowman.
Gilbert and George
Gilbert Prousch met George Passmore at St Martin's School of Art in 1967. Since then they have famously lived and worked together as Gilbert & George, creating an extraordinary body of provocative artworks. They have exhibited themselves as "Living Sculptures", documented the banality of their daily lives in London's East End, and, since the late 1970s, produced vibrant, challenging photographic collages.
This video profile of Gilbert & George features a characteristically deadpan performance of themselves. Sex, money, race and religion, they explain, are four themes at the heart of their art. Their interview is complemented by images of many of their works, including the remarkable Dirty Words Pictures made in 1977, together with important collages of the 1980s and 1990s.
Asked if their work, and their personas, are ironic, Gilbert says, " We always think it's struggle enough to drag something out from inside of ourselves onto that wall without trying to be strange or odd about it. We wanted to be absolutely painful truth," George adds. "I really believe it has to be painful."
"I often feel that trying to make something realistic is the one criteria I can feel fairly sure of. Another one I sometimes use is, would I like to have it in my room? And I occasionally use the idea, if God allowed you to show him one thing to judge you by, would this really be it?"
Julian Opie's highly distinctive depictions of the modern world are created in an extraordinary variety of media. His bold portraits, subtle landscapes, unconventional wallpaper, playful sculptures of animals, buildings and cars, computer films and much more present simplified and iconic versions of the contemporary environment.
In a richly-illustrated interview ranging from his cut-metal sculptures of the early 1980s to the cool minimalism of his cover art for the best of blur CD, Julian Opie reflects on his ways of working, on exposing art in unconventional surroundings, on his sense of the world around him, and on his use of computers which today allow him not to have to construct any of his artworks in the traditional way.
Langlands and Bell
Ben Langlands and Nikki Bell, who were nominated for the Turner Prize in 2004, have worked together since 1978. Their precise, formally beautiful art explores the networks of today’s global society within a rigorous conceptual and aesthetic framework. They employ a wide range of media, including models displayed as sculpture, wall paintings, furniture and film. Through this diverse output runs a consistent engagement with ideas of space and place, with architecture and identity, with language and with the hidden connections of international politics.
In the interview for this film, the artists reflect on their experiences travelling to the warzone of Afghanistan, where they made the controversial film Zardad’s Dog and researched the digital animation The House of Osama Bin Laden. Other recent works have used the technologies of immersive games and presented the signs and symbols of contemporary networks. Alongside this exploration of virtual worlds, they have also created real-world urban architecture, most notably the spectacular Paddington Basin Bridge in London.
Marc Quinn remains best known for his sculptures cast from parts of his body. The first of these, Self (initially cast in 1991), was created with nine pints of his frozen blood. Yet, as this profile demonstrates, his art over the past decade has embraced an exciting and diverse range of materials, including lead, ice, wax, glass, frozen flowers and even DNA.
His sculptures include both figurative and semi-abstract forms, but each engages with his key preoccupations: life and mortality, self and identity, nature and the world of science. His drawings and photographs similarly teem with ideas about being alive - and about facing death - in today’s world.
In this profile, Marc Quinn speaks eloquently and thoughtfully about many of his key works, including his recent series of classical marble portraits of amputees and people born without limbs, as well as the moving portrait of his son Lucas as a baby modelled from frozen placenta.
For his show as Britain's representative at the 2001 Venice Biennale, Mark Wallinger brought together a typically eclectic group of sculptures, videos and installations. Like Ecce Homo, his much-loved life-size statue of Christ created for Trafalgar Square, the exhibition provoked and challenged and moved many of those who experienced it.
Mark Wallinger's art is often witty and immediately accessible yet at the same time it engages with some of the traditional grand themes, including religion, spirituality and death. His recent works include the ambitious environment Prometheus, centred around a wall-mounted electric chair, and Threshold to the Kingdom which counterpoints the arrival of passengers at an international airport (and perhaps also in Heaven) with Allegri's beautiful music for the Miserere.
In this film profile Wallinger considers the meanings and motivations of his art. He also reflects on his earlier explorations of class and identity, most especially in the series of paintings, photographs and videos about the world of racing which culminated in him owning and running the horse A Real Work of Art.
Michael Landy acknowledges that he will probably always be known as "that bloke who destroyed all his belongings". In his 2001 artwork Break Down he publicly and systematically shredded, dismantled and demolished everything that he owned. “I’m always trying to get rid of myself," he says, "so that I can move on. And then I end up always coming back to the same themes… I guess I’m a creature of habit."
In this film profile Michael Landy reflects on Break Down and on his other complex and ambitious projects, Scrapheap Services (1996) and Semi-detached (2004). Prompted by his father’s injury from an industrial accident, /Semi-detached/ involved the construction inside Tate Britain of a full-scale replica of the exterior of his parents’ suburban home. He also discusses his meticulous, delicate drawings as well as the ideas and directly personal concerns that underpin his unconventional art.
The artist Mona Hatoum came to London from Lebanon in 1975. Working initially with performance and video, and in the 1990s with sculpture and installations, she has exhibited widely around the world. In the summer of 2000 Mona Hatoum presented three major new works which marked the inauguration of Tate Britain, London.
These works, exhibited under the title The Entire World as a Foreign Land, developed Hatoum's interest in the relationship between individual identity and the notion of a broader cultural and geographic identity, or sense of 'belonging'.
In this interview, illustrated with these works and with other key installations including Socle du Monde and Corps étranger, Mona Hatoum explores the diverse sources of her work and her engagement with a wide range of often surprising materials. The artist talks vividly about the centrality of the body to her installations, and the ways in which her work employs changes of scale, intimations of restriction and constraint, and contradictory ideas of attraction and repulsion.
Rachel Whiteread has created some of the most remarkable and resonant public sculptures of recent years. House (now demolished) cast in concrete the interior of a terraced house in London's East End. Holocaust Memorial is a moving memorial in Vienna to the victims of the holocaust in Austria. Yet she also frequently works on a domestic scale, casting in plaster and resin the spaces inside, around and beneath furniture, floors and staircases. Her art is a uniquely poetic response to the everyday, and to the haunting themes of memory and mortality.
In this video profile Rachel Whiteread speaks about the ideas that prompted a number of her best-known sculptures, including Ghost, her first cast of the space inside a complete room, and Monument, which established a shimmering presence in London's Trafalgar Square during the summer of 2001. She also outlines the complexities of creating her often technically challenging works, and reflects on the controversies that they have sometimes set off.
Richard Deacon is widely regarded as one of the principal British sculptors, best known for his innovative use of open form and his interest in materials and their manipulation.
For more than two decades, Deacon has created unique sculptures in a wide range of materials such as laminated wood, polycarbonate, leather, cloth and ceramic. Working on both a domestic and monumental scale, his structures combine organic and biomorphic forms with elements of engineering. The sculptures are defined by the space within and around them, as much as the solidity of their shape.
Deacon's dissatisfaction with the materials commonly associated with outdoor works drove him to explore the use of clay on a large-scale, overcoming technical difficulties to produce a body of work such as Another Kind Of Blue (2005) or Flower (2004) that illustrates his fascination with the relationship between the physical and the material.
Deacon's preoccupation with methods of construction and materials expresses the continuous development of his ideas on sculpture, the interaction of surface, skin and structure, mass and volume, space and its relations. Deacon describes himself as a 'fabricator', for he neither carves nor models, but constructs using manufacturing or building techniques.
Many of Sam Taylor-Wood's distinctive photographs and films depict an affluent and fashionable social scene. But her concerns are often isolation and anxiety, conflict and alienation. Her art is alluring and disarming, and also frequently formally inventive. She uses multiple screens, still images combined with sound, and complex interior views conjured up with a panoramic camera.
Among her earliest photographs are confrontational and sexually charged self-portraits. Recently, after two periods of treatment for cancer, she has returned to exploring, both directly and allusively, images of herself. Religion too has become a focus for many of her artworks, which at times echo and extend the forms of religious art of the past.
In this film, which features extracts from many key works including 16mm, Brontosaurus and Still Life, Sam Taylor-Wood reflects on her concerns and ways of working, on autobiography in her art, and on sex and death
Although at times obscured by the artist's celebrity, the art of Tracey Emin is serious and focussed, challenging and at times startlingly beautiful. In this film, she speaks frankly about her career, the craft of her immensely varied work, and the immediate, personal themes with which she engages: autobiography, memory, desire, and identity.
Many of her best-known works, including Everyone I Have Ever Slept With 1963-1995 (1995) and My Bed (1998), are illustrated and discussed, as is a wide selection of drawings, prints, paintings, neons, appliqué blankets and installations.
"I always say if I didn’t make art, I’d probably be dead," she reflects. "But let’s be more realistic about that. If I didn’t make art and I’d done well in life, then I might have gone into retail. I would probably be the person in the shop that would be always organising the displays, and always making the noticeboard look nice in the canteen, stuff like that. I’m a genuinely creative person."
Please note that this video contains explicit images and adult language featured in artworks by Tracey Emin.
William Turnbull is one of Britain’s most distinguished sculptors and painters. In the late 1940s he studied art in London and then spent time in Paris, and ever since he has rigorously explored a limited number of archetypal forms as well as the fundamentals of art’s languages.
Over more than fifty years William Turnbull has returned again and again to the head and the mask, to the standing figure and the horse, as well as to possibilities of pared-down, often monochromatic painting. His simple objects, which draw on both primitive and classical ideas, often combine presence and poetry in unique ways.
This rare interview with the artist was filmed alongside an extensive retrospective exhibition at Yorkshire Sculpture Park in 2005. Works in bronze, wood and stone as well as (from a period in the 1960s) in brightly-coloured steel are seen at their very best in both light-drenched interiors and in the park’s sweeping landscapes.
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