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Which clippings match 'Material Experimentation' keyword pg.1 of 1
15 JULY 2014

Diagram for the structure of teaching at the Bauhaus / Schema zum Aufbau der Lehre am Bauhaus

"The individual elements of the Bauhaus teachings are inscribed in a circular shape. The areas of the preliminary course and building are conspicuously delineated from the core of the instruction–the workshops with their accompanying subjects–by a drawn double ring. This is due to the special position that both of these teaching areas occupied: In order to even be accepted to the study programme at the Bauhaus, it was necessary to successfully complete the preliminary course. And only the most talented students could qualify for participation in the building theory course. The schema also indicates the length of the respective educational units."

Fig.1 Walter Gropius, Schema zum Aufbau der Lehre am Bauhaus, 1922, veröffentlicht in: Staatliches Bauhaus Weimar, 1919–1923 Bauhaus–Archiv / Museum für Gestaltung, Berlin.

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TAGS

1922apprenticeshipart and design educationatelier methodBauhaus DessauBauhaus SchoolBauhaus WeimarBauhaus-KolloquiumBerlin • circular disk • colour theorycourse modulescraft and designcurricula designcurriculumcurriculum designdesign and makingdesign curriculumdesign educationdesign formalismdesign school • design workshops • hierarchical model • learning and teachinglearning through practicematerial experimentationmaterial interventionsmaterial practice • Museum fur Gestaltung • programme modulesschema • Schema zum Aufbau der Lehre am Bauhaus • Staatliches Bauhaus • studio approachstudio coursestudio practice • study programme • Walter Gropiusworkshops

CONTRIBUTOR

Simon Perkins
01 JANUARY 2011

Len Lye: an innovative explorer of cameraless filmmaking

"Cameraless film refers to a method of producing moving image where the artist or filmmaker bypasses the photographic process and directly manipulates film stock (either additively or subtractively) with methods such as drawing, collage and painting. Due to the inherent difficulties of generating handmade images on film, direct animation doesn't lend itself to pictorial illusion or linear narratives. The imagery tends to be atavistic, animistic, frenetic; and due in part to this visual proximity to pure abstraction, the conceptual content of this genre has been largely overlooked. Since they sit so ambivalently between fine art and cinema, both camps have historically positioned these films as being principally concerned with formalism and material experimentation. But revising this apprehension, Zelluloid: Filme Ohne Kamera brings together a selection of films, tracing the ideational threads which significantly inform and influence this manner of filmmaking.

In 1935, Len Lye's film A Colour Box was so different in its use of filmic language that the Brussels Film Festival had to invent a new prize for it to win. As vivid and enchanting today as they were visionary and challenging, Lye's animated shapes dancing to the percussion of popular Cuban and African music were a hit with audiences more accustomed to viewing cinema in its industrial, commercial capacity. The very act of painting abstract imagery on film was a conceptual leap in terms of severing film's indexical relationship with the world and using it to explore an abstract, synaesthetic experience."

(Genevieve Allison, 5 August 2010, EyeContact)

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TAGS

1935 • A Colour Box • abstraction • Aldo Tambellini • Amy GranatanimationAotearoa New Zealandart • Barbel Neubauer • Belgium • Brussels Film Festival • cameraless film • Cecile Fontaine • cinematic languagecolourcraftcreative practicedesign formalismDieter Rothdirect animationdirect filmdirect manipulationdrawing • Emmanuel Lefrant • experienceexperimental filmfilm making • film stock • filmmakerfine arthandmadeHarry Smith • Hy Hirsh • Ian Helliwell • imageryJennifer ReevesJennifer West • Jose Antonio Sistiaga • kiwi short filmsLen Lye • Luis Recoder • Marcelle Thirache • material experimentationmaterial practicematerialist cinemamethodmoving imageNew Zealand cultureNorman McLarenpaintingpattern • Pierre Rovere • pioneerpure abstraction • Schmelzdahin • scratch filmsequence designStan Brakhagesynaesthesia • Takahiko Iimura • Tony Conradvisual artsvisual culturevisual languagevisual spectacle

CONTRIBUTOR

Simon Perkins
25 MARCH 2005

Free Radicals: implied space through rhythmical scratches

"In Free Radicals Len Lye put aside his interest in colour and concentrated on a stark, black and white use of the 'direct' method, by scratching on black leader. He has described the film as 'white ziggle–zag–splutter scratches ... in quite doodling fashion.' The film's title is a reference to modern physics –– 'free radicals' are particles of energy –– but the visual style is still reminiscent of tribal art."

(re:voir vidéo distribution)

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