Calling all Warhol fans, iMovie jockeys, and aspiring video directors! Here's your chance to show off your skills and get in on the excitement and spirit of our upcoming exhibition, Andy Warhol: Other Voices, Other Rooms. Just create a short :15 second commercial for the exhibition (there are a few stipulations below), post it to YouTube, and send the address of your creation to us--that's it.
The winning clip (as selected by our staff) will become instant members of our Warhol Club, meaning, among other benefits, free admission to the exhibition for its entire run, as well as a $250 gift certificate from the Wexner Center Store. What's more, your clip will run on broadcast TV throughout the fall promoting the Warhol exhibition.
Rules and Directions:
- All video clips must be exactly :15 seconds in length
- do not use copyrighted Andy Warhol artwork or any other copyrighted materials, this will disqualify your entry
- be funny, memorable, weird, and/or unique
- title your YouTube clip "Andy Warhol: Other Voices, Other Rooms - Wexner Center"
- send the address of your YouTube clip along with your name to email@example.com
- entries accepted through September 2, 2008
- winning entry will be notified by September 5, 2008
Text on Screen:
- clip must contain the following text on screen (separately, or together) for a readable amount of time:
- "Andy Warhol: Other Voices, Other Rooms"
- "Exclusive U.S. Presentation"
- "September 13-February 15"
- "Wexner Center for the Arts"
Projectionist Bruce Bartoo atop the 70mm print and holding a DVD of 2001
It has only been five months since I last blogged about 70mm technology so I will contain myself, but walking into our projection booth the other day I was once again taken aback by the sheer scale of a 70mm print. With a running time of 141 minutes, the print of 2001: A Space Odyssey is even more imposing than that of Vertigo and will in turn be overshadowed by the print of the three-and-a-half-hour Lawrence of Arabia which we're screening in October. If you attend our screening of 2001 on Friday night and want to see the print and projection set-up in person just ask an usher or knock on the booth door before the film begins (or at intermission) and our incomparable projectionist Bruce Bartoo will show you the goods.
If you come to this screening, be sure to let us know what you thought in the comments section below.
One of America’s greatest and most influential living filmmakers, Bruce Conner, died yesterday morning at his San Francisco home at 74 years of age. His experimental films changed the course of film and pop culture, from the use of found footage in the landmark A Movie (1958) to the way that the combination of music and imagery employed by Conner in Cosmic Ray (1961), Breakaway (1966), and Mongoloid (1978) was ripped off by countless music videos without the understanding, depth of feeling, and ideas contained within the Conner originals. Conner’s work as a visual artist—in the form of assemblages, collage, and photography—seems to get more recognition with each passing year; his photography work is part of the current Carnegie International.
One of the less-frequently remarked upon themes within many of Conner’s films is the spirit’s attempt to transcend the material world. Today seems like a fitting day to look at two of Conner’s films that emphasize this element, one in a pop mode and the other poetic. Both are about as perfect of films as you could ever hope to find.
Breakaway stars Toni Basil on the screen and on the soundtrack. Hopefully this film is what history will remember her for.
The tremendously undervalued Take the 5:10 to Dreamland (1976), one of Conner’s greatest achievements, is a much more meditative affair and the dissolve between the feather and the rocket is one of the most rapturous cuts in the cinema. (Although computer screens may not lend themselves to conveying the ecstatic moment in general. Both Breakaway and Dreamland should really be seen as projected light on a movie screen for them to be experienced fully.)
– Chris Stults, Wexner Center Film/Video Assistant Curator
This track-by-track description of Matmos' excellent new album, Supreme Balloon from Brainwashed, is rare look inside the mind of duo Drew Daniel and Martin Schmidt, and the depths to which their keyboard and synthesizer fetish collection is plunged. One can only hope some of this gadgetry makes its way to the Wexner Center for their July 23 show. [tix]