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Six Question Interview with Sara Ludy, Vancouver-based Artist

22 March, 2012 by

Sara Ludy is an artist and animator whose work runs the gamut of digital art. Her work includes video, the computer art tile, the animated gif, the self portrait, the VJ set, still photography, animation, the digital image, and the computer art painting. Sara graduated from SAIC in 2003 with a BFA in New Media Art, and after living in LA for some time, she now resides in Vancouver.

Her work is very much concerned with architecture, a sense of home, and a warm domestic sense of place. Recently, her work has explored digitally replicating specific decor elements of the domestic interior — carpet, rugs, paintings, wallpaper, elements of interior decoration — some of those digital image instances are featured below, and it’s also worth noting that Sara Ludy and Nicolas Sassoon projected animated .gif tiles as wallpaper at their WALLPAPERS installation at 319 Scholes back in 2011.

Sara also makes music: she is a member of the experimental electronic band Tremblexy. “Tremblexy is an experimental audio/video collaborative between Sara Ludy and Austin Meredith that creates immersive sensory experiences through the use of sound collage, electronic manipulation, repetition, projections, and improvisation.” Sara is also a member of Computers Club, an online art collective.

Apart from being an august figure in the ambit of internet art, Ludy has exhibited work at the Gene Siskel Film Center for CATE; the Museum of Contemporary Art, Chicago; Berkeley Art Museum319 Scholes, Brooklyn; Cinemateca Brasileira, São Paulo; Luminary Center for the Arts, St. Louis; Hex Gallery, Kansas City; Fe Arts Gallery, Santa Fe; the Armory Show, NYC; bubblebyte.org, internet; and at many other notable places.

Below is a six question interview with Sara Ludy.


Some Pattern, 2012

(1) What inspires you?

Carpet tiles, virtual worlds and many many other things.


Rooms, 2012, video, 4 min, color, sound

(2) Work work and artwork: how do you strike a balance?

I don’t.


some other different rug, 2012

(3) You have visualed for Mr. Oizo, AC Slater, and Moby, among others — what introduced you to VJing — and what is your approach to the live visual set?

I was randomly asked to VJ at a club in LA. I had one week to learn modul8 and make video loops. I worked there for 3 years until I moved. I keep it simple. Whatever feels right, I project and mix.


Thuja, 2012, video, 3 min, color, sound

(4) How do you cure artistic torpidity?

Two giant mugs of lapsang souchong.


some other carpet, 2012

(5) What is your ideal atmosphere for creativity & creative production?

Working next to the fish tank.


Body Wave, 2010, video, 3 min, color, sound

(6) Why is making work important to you?

It’s the most natural way for me to understand my interests.

 _______ _______ _______
|\     /|\     /|\     /|
| +---+ | +---+ | +---+ |
| |   | | |   | | |   | |
| |E  | | |N  | | |D  | |
| +---+ | +---+ | +---+ |


Sara Ludy

Sara Ludy on Computers Club

Sara Ludy on YouTube


7 Question Interview with Jeremy Boxer, Director of the 2012 Vimeo Festival + Awards

13 December, 2011 by

Vimeo Festival + Awards 2012 Logo

Dec. 13, 2011 — Vimeo, the amiable filmmaker and artist friendly video-hosting service, opened submissions today for the second Vimeo Festival + Awards, “which celebrates the most creative and original videos online and the individuals that make them.”

Beginning today through February 20, 2012, filmmakers can submit their works for consideration in one of 13 different judged categories.

Last year, the judge panel was impressive — David Lynch judged the “experimental” category — and this year the judges will be equally impressive; however, the judges are to be announced sometime in early January.

Submit your work to the 2012 Vimeo Festival + Awards > click here.  Vimeo will award Grants of $5,000 to all of the 13 category winners, as well as awarding a Grant of $25,000 for the Grand Prize winner.

Jeremy Boxer, the Director of the 2012 Vimeo Festival + Awards, spoke with us yesterday. Mr. Boxer explains now, more than ever, is a propitious time to be an artist producing work that’s disseminated on the internet.


(1) Why should a filmmaker submit to the 2012 Vimeo Festival + Awards?

The main difference from traditional film festivals is we only accept work that has premiered online — anywhere — not just Vimeo. The majority of film festivals do not accept work that has premiered online.   Our hope is that in the future every festival will accept work that has premiered online.


(2) What categories/genres are in competition in the 2012 Vimeo Festival + Awards?

There are 13 categories.  Experimental, which is of course of interest to your readers. Lyrical is a new category this year. The Lyrical category encompasses poetic videos based on a personal world-view. These are personal representations of the way the creator looks at the world. For example, travelogues or time-lapses of a local neighborhood.  Captured is a category not based on filmmaking technique but more on what is being captured by the video, for example, a performance based work or projection art.

The other new categories include Advertising, Action Sports, and Fashion and returning categories from our inaugural Vimeo Festival + Awards are:

  • Narrative
  • Animation
  • Original Series
  • Motion Graphics
  • Music Video
  • Documentary
  • Remix


(3) Will David Lynch return to judge the experimental category?

We are announcing a few of the judges now.   The remainder of the judges will be announced January. The judges will be equally as impressive as in 2010.


(4) Filmmakers can submit their work using Vimeo via the Internet; are there post-internet distribution/exhibition opportunities in place for the winners? Will there be a time to P-A-R-T-Y?

We will have an Awards ceremony, talks, workshops and a bunch of screenings as part of the festival.   As we are 6 months out, we’re currently in the planning process and are open to ideas.   As we get closer to making that announcement, we’ll reach out to you with all of those specifics.


(5) Last year, Chris Beckman won the Experimental category award for his film OOPS.

Shortly thereafter, Beckman’s film was named an official selection of the corporate-industry-driven 2011 Sundance Film Festival and Beckman directed a commercial for Motorola, for whom he made a branded short film directly inspired by OOPS.

What potential professional opportunities are available to a filmmaker submitting to the 2012 Vimeo Festival + Awards?

Our intention is to provide filmmakers with opportunities they would never have had before. We want to provide the gold standard for what you can find online and in so doing provide filmmakers the potential to be seen by a much wider audience which could lead to their big break. Because of Vimeo’s reach, we can put a filmmaker’s work in front of an audience of hundreds of thousands.

After its discovery at the Vimeo Festival + Awards, Chris Beckman’s Oops was chosen as an Official Selection at Sundance Film Festival 2011.  Chris then went on to direct for such brands as Motorola. Sundance reached out to me directly to ask for Chris Beckman’s information for him to be entered into the festival. This was great, as it was the first time I heard Sundance was accepting films that had premiered online.

Another inaugural award winner was Onur Senturk, he had just graduated university when he entered the Vimeo Festival + Awards.  After winning for his film Triangle, due to the Festival’s exposure, Paramount asked him to create the motion design title sequence for Transformers: The Dark Side of the Moon.

The Overall + Documentary winner, Eliot Rausch, has been showered with media attention that landed him a spot on the Carson Daily Show and more commercial work than he ever expected to see in his lifetime.  He’s in post- production on his latest documentary — a film he was able to produce with the grant money he received from winning the 2010 Vimeo Festival + Awards. He has gone on to be offered more work than he knows what to do with.

To give you a sense of what Vimeo can do for filmmakers, here is another very recent example.  A few weeks ago, James Curran, a 28 year old from UK, put up his own homage credit sequence for “Tin Tin.”   The beautiful animated piece came to the attention of Steven Spielberg who hired him for his next film.

You never know who might be watching.


(6) If you could send a submitting filmmaker one special message, what would it be?

The goal of Vimeo Festival + Awards is to expose your film to a much wider audience.   We welcome you to submit and we wish you all good luck!


(7) Anything else you want to add?

We’re just hoping that more filmmakers will submit so that more of them have a chance at all of these incredible opportunities in existing and new categories added for 2012.



—> Submit

2012 Vimeo Festival + Awards

Jeremy Boxer on Vimeo

Submit : : 2012 Vimeo Festival + Awards

Seven Question Interview with Matt McCormick, Portland-based Filmmaker and Artist

20 April, 2011 by

Matt McCormick filmmaker and artist Matt McCormick filmmaker and artist Matt McCormick filmmaker and artist

Matt McCormick is an ardent filmmaker and artist who resides in Portland, Oregon. He is an eminent maker in the avant-garde and independent sphere of cinema — voted one of the best filmmakers of the 21st century, according to a poll conducted by the Film Society of the Lincoln Center — Matt found early success with his well-known short The Subconscious Art of Graffiti Removal (2002, narrated by Miranda July), which was named in  ‘Top 10 / Best of 2002’ lists in both The Village Voice and Art Forum magazine.

Matt collaborates with notable artists; Matt makes music videos for recognized bands: Broken Bells, The Shins, Miranda July, Sleater-Kinney, The Postal Service, YACHT, Al Burian, Eluvium, Patton Oswalt, and Calvin Johnson, to name a few.

Matt McCormick has an aptitude for successfully distributing his films, whether it be D.I.Y. and starting his own distribution label (Peripheral Produce) and founding the PDX Film Festival, or simply just making great work and having it exhibit in a theatre, gallery, or festival.

“Matt has had three films screen at the Sundance Film Festival, and has had work screened or exhibited at MoMA, The Serpentine Gallery, The Oslo Museum of Modern Art, the Reykjavik Art Museum, The Seattle Art Museum, and in 2007 he was selected to participate in both the Moscow Biennial and Art Basil.  He has received awards including Best Short Film from the San Francisco International Film Fest, Best Experimental from the New York Underground Film Fest, and Best Narrative from the Ann Arbor Film Festival.

Matt’s debut feature film Some Days are Better Than Others premiered at SXSW and was invited to screen in the New Directors / New Films series presented by MoMA and the Film Society of Lincoln Center.  Starring Carrie Brownstein and James Mercer, the film was acquired by Palisades Tartan and will be released theatrically in the spring of 2011.”


(1) During your early days of filmmaking, what were the challenges, and how did you surmount? What are the onerous aspects of the filmmaker’s journey?

I get the sense that the challenges never really cease. Even when I talk to my super successful filmmaker friends, I am always surprised to hear how difficult things can be. For me, the early challenges were as simple as getting access to equipment and finding venues that would screen my work. From there, the challenges largely became more internal — wanting to grow as an artist and make work that felt like a progression, or simply arranging your life so that the demands of filmmaking are not impeded on by other lifestyle choices. But I think the challenges are almost always there, from being frustrated because you want to make something, but lack the resources, to having made something, but being disappointed with how it turned out or was received. And then there is the whole “how am I going to make a living?” to boot. I think as a filmmaker, you just have to deal with it, and understand that there are challenges around every corner.


Seven Question Interview with Rafaël Rozendaal, Netherlands Artist

23 December, 2010 by

http://www.muchbetterthanthis.com/ MUCH BETTER THAN THIS .COM BY RAFAEL ROZENDAAL – 2006 – WWW.NEWRAFAEL.COM


Viewing the art of Rafaël Rozendaal evokes a warm and curious feeling: he produces incredible work, featuring bold and beautiful graphic, thoughtful use of colour and eloquent animation, lifting the digital canvas to higher plane. Thinking of Rafaël Rozendaal gives me a warm feeling; I often think about Rafaël, and I picture him leading a well-rounded life, traveling, having fun, living free, having fun, and eating healthy.

Rozendaal is an artist from Amsterdaam, Netherlands, and he makes websites as art pieces, those pieces are sold with domain name, the work remains public, and the name of the collector is displayed in the title bar.
Rozendaal has lived in Amsterdam, Rio, Los Angeles, Paris, Tokyo, Portland and Berlin. He lives and works in hotels. Some of his websites, including the wonderful Much Better Than This .com animation (top), appear in this interview as flash animation embeds. Rozendaal works with paper, too, sometimes translating his animated work to the off-set color print, and he also takes the black ink to the white paper, producing charming ink drawings available for purchase. Be sure to visit Rafaël’s website, newrafael.com. View his C/V here.

Mr. Rozendaal is the founder of B.Y.O.B. (Bring Your Own Beamer): “BYOB (Bring Your Own Beamer) is a series of one-night-exhibitions hosting artists and their projectors.”

Continue reading for seven questions with Mr. Rozendaal.


7 Question Interview with Petra Cortright

7 October, 2010 by

Petra Cortright is a traveler, an internet artist who currently resides in California, whose work plies the territory of webcam performance, computer graphics and graphic art, animated .gifs, the webcam music video, other sortings of media that are bejeweled with web gems, and other videos that artfully hype the youtube-dance-video come what may.

Petra Cortright was born in 1986, in Santa Barbara, California, and has has resided in New York City, New York; Portland, Oregon; Toyko, Japan; and Berlin, Germany. She is a member of the Nasty Nets Internet Surfing Club, Loshadka Internet Surfing Club, and Computers Club. She has studied at Parsons School of Design in New York and California College of the Arts in San Francisco. Click here for Petra’s C/V and bio.

Her work has made its way ‘cross the interview and o’er the international scene, including the New Museum in New York, the Venice Biennale, Adbusters Magazine (Nov/Dec ’08 issue), the sixth annual Stan Brakhage Symposium (2010, Film Studies at the University of Colorado, Boulder), the (now defunct) New York Underground Film Festival, and  her Endless Pot of Gold CD-Rs installation (Nasty Nets collaboration) piece exhibited at the 2009 Sundance International Film Festival.

Petra and her work makes the internet splash, with her work snagging brickbats and inciting plaudits. In August 2007, Petra’s work stirred some dirt with a puzzled Patty Johnson, artfagcity.com founder and veteran art-blogger:

Four days ago Tom Moody posted Petra Cortright’s webcam video and since then I’ve been struggling to articulate why the aesthetics of this piece of [sic] go beyond taking a few clip images from the web and slapping them on a video. Unlike a David Shrigley piece, which uses humor so obvious its value requires no explanation, a cam featuring a still figure, dancing pizzas, and falling snow to an electronic beat may require a little more discussion.


Probably the most amusing aspect of this work lies in the fact that it’s basically a documentation of a live performance, in which you watch someone concentrate on their computer screen for the duration of a song. I realize this comment tends to incite a host of responses most of which begin something to the effect of “So why am I looking at this?”, and while there’s no response to this if you don’t find the redundancies of web surfing that so many net artists like to highlight funny, there’s also a level of virtuosity in the live arrangement of gifs etc, that needs to be called to attention.

Patty seemingly warmed to Petra’s internet work with an near-end conclusion of, “Cortright’s webcam piece succeeds because her dancing pizzas are unexpected, and the snow and lightening seem almost delicately placed.”

Petra’s work speaks for itself, and Patty of artfagcity makes a peppery bullet point: love-it-or-hate-it, multiple viewing explicate. Her work verily is an internet new-media culture thing. Below is a seven question interview with Petra Cortright.

sparkling (2010)

(1) What corner of the Internet do you call home?
gmail/gchat/gtalk since i live in an “isolated” place so its where i talk to all my friends. fb/fb chat doesn’t feel very solid. the fb chat format is annoying and i really dislike being sent actual information in a fb message — i always forget to reply because they get buried so fast under some type of event invite messages



7 Question Interview with Duncan Malashock, Brooklyn-based Artist and Filmmaker

27 September, 2010 by

artist chat with duncan malashock

Duncan Malashock is a Brooklyn-based artist and filmmaker whose work we have featured before — that being his 2006 piece, Road, and Pyramid (2008). His work was featured in the recent REFRESH exhibit at the AXIOM Center for New and Experimental Media. Duncan makes “analog videos that are concerned with the history of creative technology.” He also makes interactive websites and recently started making sculptural pieces using projections. Duncan was born 1982, San Diego, southern California, and graduated Bard College 2005, BA Integrated Arts.

(1) What do you make and what aesthetics do you pursue?
duncan-malashock-artist-photoI’m interested in our relationship with technology, specifically within the context of the Internet as a day-to-day activity, and in light of the history of the use of technology as a way of representing ideals. I make analog videos that are concerned with the history of creative technology, and in exploring what I understand as the ideals of early computer art. I also make interactive websites as public artwork, and that work emphasizes exploring interaction and simulations as their own media. Lately I’ve also started making sculptural pieces using projections, either from laser light or digital projector, which explore both of these sets of ideas, with a focus on the interaction between the “immaterial” content and physical spaces and objects.

Digital video, 2009

(2) Your thirst for inspiration: what is something you love, but can not get enough of? Does your thirst for this inspire and guide your art; how does your work correspond with its influences?
duncan-malashock-just-chillin2I think most of my interests come from my background. I’m from Southern California, so that’s probably why I’m obsessed with ideas like self-created identity, lifestyle marketing, and the possibilities of technology, our understanding of which has largely been shaped by the Californian intersection of phenomena like the Human Potential Movement and Silicon Valley. My dad is a modern dance choreographer, so that’s probably why I’m interested in the expressive qualities of motion and physical performance, both of which are involved a lot, both actively and latently in my work. Simulations come up a lot in my work as a way of exploring these interests. Sometimes an interactive or static simulation of an object or process will form the basis for a new piece. I’m always reading when I’m working on something, and often times that manifests itself in the form of subjects or titles for pieces.

7 Question Interview with Ben Russell, Chicago-based Artist

15 September, 2010 by

an image of ben russell, chicago-based filmmaker and artist

Ben Russell is a Chicago-based filmmaker, artist, art instructor at the University of Illinois at Chicago, curator, and a great keynote speaker. Perhaps he may be considered a terminologist, for he seemingly has coined the term/genre “psychedelic ethnography,” judging by his writings and recent inspiring lecture at the MCA.

Mr. Russell’s recent three-hour ethnography Let Each One Go Where He May (2009) won a FIPRESCI award at the 2010 International Film Festival Rotterdam. It is a pioneering film in the ethnographic sphere of cinema: an experimental ethnographic film “shot almost entirely with a 16mm Steadicam rig in thirteen extended shots of nearly ten minutes each.”

In the past, Ben developed stimulating relationship with east-coast-Providence-Baltimore-area noise/punk/underground music scene, whence Black Dice was a hardcore band, a period whence he documented the live-event of a Lightning Bolt concert, slow-motion live-action action that is Mr. Russell’s first documentary/ethnographic film, Black and White Trypps Number Three.

In this interview, Ben talks about how he made an underwater remake of the 1991 cinematic classic, Boyz n the Hood.

Trypps #5 (Dubai), (3 min, 2008, color, silent)

Trypps #5 (Dubai), (3 min, 16mm, color, silent, 2008)

(1) HEADS AND TAILS (as a metaphor for your filmmaking career): what are your words on: the heads/leader (your start), where you are now, and your tails (however you interpret tails).


I ran away from home when I was six or seven because my parents wouldn’t let me watch Superman on TV; Aliens (1986) was my first R-Rated movie; I had nightmares for weeks from overhearing the sountrack to The Shining (1980).  I grew up in the suburbs of Southern California where I got to watch five hours of television a week and would spend my weekends in triple features at the Mission Viejo Mall.  I remember watching everything I could, liking all of it.  I played Raiders of the Lost Arc (1981) and sometimes Dune in my backyard, made out with a girl named Kim during the credits of Neverending Story 2, made an underwater video remake of Boyz N Tha Hood at summer camp.  I don’t remember watching foreign films or documentaries, or at least I didn’t search ‘em out – MTV [i.e. “I want my MTV”] and Max Headroom (1987–1988) and TWIN PEAKS were the bits of media that really blew my mind. “Welcome to the Jungle” totally freaked me out – that image of Axl Rose screaming in an electric chair = proof of image-power.

I went to college to make art and be a marine biologist.  I made emotionally fraught photographs of my first girlfriend, lived in Australia for a year and learned about Flaherty, ethnography, Foucault, and conceptual art.  I studied with an anthropologist whose research was on Easter Island, I went to Papua New Guinea for 50 minutes, and some time later I returned to Providence, USA, where I made videos under Gregg Bordowitz’s watch and three 16mm films under Leslie Thornton’s quiet stare.  Public art, falling asleep during Dead Man (1994), wheatposting, video installation with bark chips, BADLANDS projected in the Fort Thunder parking lot, Wend Kuuni (1992) and cinema-time, Black Dice as a hardcore band.  Time passed and I traded Providence for Suriname – two years in the Peace Corps, the only movies I saw in the Paramaribo theater were out-of-focus (Saving Private Ryan, 1998) or burning in the gate (70s GERMAN PORN).  Those theaters later became churches, then casinos.  I lived in a jungle village, learned an obscure language, wrote a letter a day on a missionary’s typewriter, shot three rolls of super-8 and decided to be a poet.


Studio Visit with Lewis Khlar, Los Angeles-based Filmmaker

7 September, 2010 by

Studio Visit with Filmmaker Lewis Klahr from Wexner Center on Vimeo.

Earlier this year, the Wexner Center visited the Los Angeles-based studio of award-winning animator, Lewis Klhar.

Klhar works with found footage: found still images, to be accurate. He culls and clips images from old magazines, books, printings, and so forth. He uses other inanimate materials as well. Most of his imagery looks like it originated from Don Draper’s (Mad Men) creative team, i.e., Klhar mostly uses advertisements from the 1950s–’60s.

Klhar considers himself a re-animator. Looking at Klhar’s studio, it’s apparent that Klhar is a pack-rat, and looking at his breadth of work, it’s evident that Klhar is a fecund pack-rat. Studio visits are fun to watch.

During this video-visit, Klhar was working on his film Wednesday Morning Two A.M.; Wednesday Morning journied-on to the 2010 International Film Festival Rotterdam, where it won a Tiger Award for Short Film.

April Snow, Klhar’s latest, will screen at the 2010 NYFF Views from the Avant-Garde as part of the Séance Programme, Sunday OCT 3 2010.

More on Lewis Klhar here.

Audio Interview: Robert Breer Interviewed by Charles Levine, July 1970

1 September, 2010 by


(7″ IPS; 1/4″ REEL-7″; 00:45:46)

Found via Anthology Film Archives / UbuWeb

Filmmaker Charles Levine interviews animator/artist Robert Breer at his home in Palisades, New York. They cover Breer’s transition from painting to film, his years spent in Paris, neo-plastic painting, W.K.L. Dickson’s Mutoscope, image and sound composition, modes of exhibition, audience impact and the conventions of cinema.

Video Interview: Peter Hutton, Robert Gardner, the Screening Room (1977)

6 August, 2010 by

Peter Hutton (At Sea, 2007, Skagafjordur, 2003, Looking at the Sea, 2001), an eminent experimental filmmaker from Michigan, visited the Screening Room Series, in March 1977, to screen excerpts from his films and discuss his experiences with filmmaking and education; Hutton is interviewed by Robert Gardner. Gardner is a eminent visual anthropologist who is widely known for his 1965 ethnographic film, Dead Birds (1965). Throughout the years, Dead Birds has functioned as essential referential material and a common case study in the world of anthrology, visual anthropology, and ethnographic filmmaking. Dead Birds in referenced in essential ethnographic readings, including Karl Heider’s book, Ethnographic Film, and Jay Ruby’s book, Picturing Culture: Explorations of Film and Anthropology. (Click here to visit Gardner’s website.)

Gardner developed and hosted The Screening Room, and the program ran from 1972–1981. The Boston-based program offered independent filmmakers an opportunity to screen and discuss their work on a commercial (ABC-TV) affiliate station. Gardner interviews the filmmakers in a minimal-intellectualist setting that’s somewhat comparable to the aesthetics of the Charlie Rose show. The Screening Room also featured filmmakers Robert Breer, John Whitney SR, Jean Rouch, Jonas Menkas, Bruce Baillie, Jan Lenica, John and Faith Hubley, Emile DeAntonio, Ricky Leacock, Yvonne Rainer and Michael Snow, and other notables.

In this interview, excerpts from Hutton’s films include: July ’71 in San Francisco (1973), Images of Asian Music (1973-1974), Florence (1975), New York Near Sleep for Saskia (1972), and footage from New York Portrait: Chapter One (1978–1979). (Click here to view Peter Hutton’s filmography.)

The featured video above is only an 11 minute excerpt; the original episode ran 72 minutes, and is available as a digital download, rental or purchase, from the Documentary Educational Resources website. Enjoy!

Five Question Interview with Blake Whitman, Vimeo Founder

3 August, 2010 by

I recently interviewed the founder of vimeo, Blake Whitman, for Inspired Magazine, a daily selection of graphic design and web design inspiration. We briefly discussed the current the 2010 Vimeo Film Festival and Awards.

Click here to read the five question interview.