1:34 minutes
Paint and Unpaint is an animation by Kota Ezawa based on a scene from a popular 1951 film by Hans Namuth featuring Jackson Pollock. At first glance, due to the oversimplified silhouettes Ezawa employs, the connection between his animation and Namuth’s film may not be obvious. However, when seen side by side, Ezawa’s piece is a faithful reproduction of the scene—up until a point in which his sequence begins playing in reverse, effectively unpainting every brushstroke. The scene in Namuth’s film is remembered by many for its experimental nature: with the camera pointed towards the sky, Pollock paints onto a sheet of glass as Namuth films the process from the opposite side. Through this unique viewpoint, what results is a filmic device that effectively conveyed Pollock’s process of “action painting” to wide audiences. As Ezawa gives this iconic scene a new life as a digital animation, he adds an additional layer of separation from the original source of focus, which is Pollock’s paint. Ezawa’s choice to reference Namuth relates to his ongoing investigation of the symbolic power of images in the mainstream. Allegedly, Namuth was more interested in the image of Pollock than his actual work, and as the author of several photographs and the 1951 film, his own role as image-maker was essential in conveying Pollock’s process to audiences and contributing to his fame. As much as the original film is about Pollock, Ezawa’s retake is constructed around Namuth’s representation of the iconic artist, and the degree to which it was responsible for constructing his identity in our social imaginary.
Kota Ezawa borrows images from the news, art history, and pop culture and turns them into cartoon-like stories. He produces flat and two-dimensional imagery via his light-boxes, works on paper, and animations. These works are often inspired by important moments in history, such as the assassinations of John F. Kennedy and Abraham Lincoln, the O.J. Simpson trial, and media coverage of former National Football League (NFL) player Colin Kaepernick kneeling during the national anthem as a symbol of protest. Ezawa’s animations, which he describes as “moving paintings,” make use of a labor-intensive technique that requires the artist to recreate each frame with close attention, producing hundreds of illustrations via digital drawing and animation software. He is best known for a signature style that embraces vibrant colors and simple forms, stripping detail from images to leave only essential attributes and environments. This reductive technique does not diminish the power of the image, as it turns to the familiar historical or cultural context to fill any gaps left by the artist’s erasures. However, the gesture also invites viewers to think about how these erasures might destabilize the reliability of public memories, highlighting the faulty process of collective remembering and what it tends to overlook.
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In her 2011 webcam video, Sickhands , Cortright poses before her in-computer camera, as her hands, hair, and body begin waving and rippling vertically across the screen, distorted by software effects...
The Crime of Art is an animation by Kota Ezawa that appropriates scenes from various popular Hollywood films featuring the theft of artworks: a Monet painting in The Thomas Crown Affair (1999), a Rembrandt in Entrapment (1999), a Cellini in How to Steal a Million (1966), and an emerald encrusted dagger in Topkapi (1964)...
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The archival images used by Frida Orupabo in her collages trace stereotyped representations of race, gender, sexuality and violence...
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While his works can function as abstract, they are very much rooted in physicality and the possibilities that are inherent in the materials themselves...
Clarissa Tossin’s film Ch’u Mayaa responds to Frank Lloyd Wright’s Hollyhock House (constructed 1919–21) in Los Angeles, an example of Mayan Revival architecture...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
The Crime of Art is an animation by Kota Ezawa that appropriates scenes from various popular Hollywood films featuring the theft of artworks: a Monet painting in The Thomas Crown Affair (1999), a Rembrandt in Entrapment (1999), a Cellini in How to Steal a Million (1966), and an emerald encrusted dagger in Topkapi (1964)...
The Simpson Verdict is a three-minute animation by Kota Ezawa that portrays the reading of the verdict during the OJ Simpson trial, known as the “most publicized” criminal trial in history...
Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...
Eclipse is a series of screenprints from Jordan Kantor’s larger vitrine installation that included reworkings of a single image of a small group viewing an eclipse through shielding cut-outs...
Victory at Sea is a simple mechanism made from cardboard and found materials that mimics the Phenakistoscope, an early cinematic apparatus...
Apartment on Cardboard (2000) is an exterior view of an abstracted apartment building...
Streaming: the best films about artists | Movies | The Guardian Skip to main content Skip to navigation Skip to navigation From left: Kirk Douglas as Vincent van Gogh in Vincente Minnelli's ‘unabashedly gorgeous' Lust For Life (1956); ‘raw, restless' Jeffrey Wright in Julian Schnabel's Basquiat (1996); the Swedish artist and mystic Hilma af Klint in Halina Ryschka's documentary Beyond the Visible (2019)...
A History of Performance Art | Blog | Royal Academy of Arts Pussy Riot’s protest performance Illustration by Lucinda Rogers A History of Performance Art Read more Become a Friend A History of Performance Art By Kelly Grovier Published 16 October 2023 With Marina Abramović taking over the Main Galleries at the RA, we look at some other artists who have shaped the history of performance art...