Hans Richter
Querido, mudei a casa!
Há 17 anos
Born in 1927—died in 1984. VanDerBeek studied art and architecture first at Cooper Union College in New York and then at Black Mountain College in North Carolina, where he met architect Buckminster Fuller, composer John Cage, and choreographer Merce Cunningham. VanDerBeek began his career in the 1950s making independent art film while learning animation techniques and working painting scenary and set designs for the American TV show, «Winky Dink and You.» His earliest films, made between 1955 and 1965 mostly consist of animated paintings and collages, combined in a form of «organic development.»
VanDerBeek's ironic compositions were created very much in the spirit of the surreal and dadaist collages on Max Ernst, but with a wild, rough informality more akin to the expressionism of the Beat Generation. In the 1960s, VanDerBeek began working with the likes of Claes Oldenburg and Allan Kaprow, as well as representatives of modern dance, such as Merce Cunningham and Yvonne Rainer. Building his Movie Drome theater at Stony Point, New York, at just about the same time, he designed shows here using multiple projectors. These presentations contained a very great number of random image sequences and continuities, with the result that none of the performances were alike.
His desire for the utopian led him to work with Ken Knowlton in a co-operation at the Bell Telephone Company laboratories, where dozens of computer animated films and holographic experiments were created by the end of the 1960's. At the same time, He taught at many universities, researching new methods of representation, from the steam projections at the Guggenheim Museum to the interactive television transmissions of his «Violence Sonata» broadcast on several channels in 1970.
VanDerBeek's ironic compositions were created very much in the spirit of the surreal and dadaist collages on Max Ernst, but with a wild, rough informality more akin to the expressionism of the Beat Generation. In the 1960s, VanDerBeek began working with the likes of Claes Oldenburg and Allan Kaprow, as well as representatives of modern dance, such as Merce Cunningham and Yvonne Rainer. Building his Movie Drome theater at Stony Point, New York, at just about the same time, he designed shows here using multiple projectors. These presentations contained a very great number of random image sequences and continuities, with the result that none of the performances were alike.
His desire for the utopian led him to work with Ken Knowlton in a co-operation at the Bell Telephone Company laboratories, where dozens of computer animated films and holographic experiments were created by the end of the 1960's. At the same time, He taught at many universities, researching new methods of representation, from the steam projections at the Guggenheim Museum to the interactive television transmissions of his «Violence Sonata» broadcast on several channels in 1970.
«Movie-Drome»
«Influenced by Buckminster Fuller’s spheres, VanDerBeek had the idea for a spherical theater where people would lie down and experience movies all around them. Floating multi-images would replace straight one-dimensional film projection. From 1957 on, VanDerBeek produced film sequences for the Movie-Drome, which he started building in 1963. His intention went far beyond the building itself and moved into the surrounding biosphere, the cosmos, the brain and even extraterrestrial intelligence.»
(source: Jürgen Claus in Leonardo, Vol. 36, No. 3, 2003, p. 229.)
"No Museu da Catedral de Florença, existem algumas tapeçarias intrincadas representando cenas da vida de S. João Baptista e destinadas ao Baptistério de San Giovanni. A imagem das tapeçarias é obtida pelas linhas horizontais e verticais do ponto e da tecelagem. Nos sítios em que as tapeçarias estão gastas, a imagem começa a desaparecer, mostrando a estrutura subjacente.
Algum tempo antes de começar a fazer hologramas, pintei uma série de retratos de pessoas conhecidas e desconhecidas. Os retratos eram tratados em linhas oscilantes, com interferência horizontal e vertical. Quando se examinava a estrutura das pinceladas a diferentes níveis e distâncias, os modelos apareciam e desapareciam, estavam presentes e ausentes.
Quando me interessei pela holografia, encontrei também padrões de interferência baseados na retenção da imagem. A estrutura tecida que vi nas tapeçarias e que utilizei na minha pintura era agora tecida pela luz. Os padrões de interferência na estrutura do holograma constituem o código de informação da imagem, que é necessário depois descodificar pela luz para que o holograma possa ser visto pelo observador."
IN A Imagem Holográfica/ Oito Artisas na Era do Laser : Catálogo Fundação Calouste Gulbenkian. (Out/Nov 1985), Dieter Jung
Subscrever:
Mensagens (Atom)
