Short Film // Current TV

Up Close: Photographs of Candid Intimacy

“Up Close” is a collection of photographs that features the exceptional talent of four photographers whose images capture people, places and events with candid intimacy. “Up Close” traces the significant legacy of Australian photographer Carol Jerrems alongside that of contemporary artists Larry Clark, Nan Goldin and William Yang.

The collection takes its inspiration from the way each artist candidly depicts a social milieu and urban life of the 1970s and early 1980s. Sharing an interest in sub-cultural groups and individuals on the margins of society, each artist reveals a remarkable capacity to provide an empathetic glimpse into semi-private worlds through intimate depictions of people and their surroundings.

Jerrems’ photography was associated with a feminist and political imperative, a preoccupation with subcultures, forgotten and dispossessed groups, especially Aboriginal communities of the time. Larry Clark unflinchingly turned the camera onto himself and his amphetamine-shooting coterie to produce “Tulsa” (1971), a series of photographs repeatedly cited for its raw depiction of marginalized youth. With its grainy shot-from-the-hip style, “Tulsa” exposes a world of sex, death, violence, anxiety and boredom capturing the aimlessness and ennui of teenagers.

Larry Clark's influenced Nan Goldin and a generation of artists who aspired to break with the more traditional documentary modes. Mining the emotional depths of her friends, lovers and family, Goldin's work reveals a riveting intimacy while uncovering the bohemian life of New York’s Lower East Side. Goldin says, “I was documenting my life. It comes directly from the snapshot, which is always about love.”

William Yang’s photographs from the 1970s further the snapshot aesthetic through journeying into the intimate world of his particular social milieu: drag queens, Sydney gay and inner-city culture. Yang’s direct, unpretentious photographs provide a unique chronicle of marginalised groups especially as he put it: “…people who are gay, who were invisible, who were too scared to come out. During gay liberation people became visible, people became politicized, and there was a Mardi Gras that was a symbol of the movement.”

This piece includes a number of high-resolution photographs, a remarkable slide show and two documentary short films.

http://disembedded.wordpress.com/2010/10/26/up-close-photographs-of-candid-intimacy/“Up Close” is a collection of photographs that features the exceptional... more

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Italiani 2.0 Trailer

Trailer: Due compagni di viaggio attraversano lʼItalia alla scoperta di persone... more

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The Rocket Jump

Let there be rocket jump

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She Farted and Created the World!

“She Farted and Created the World” is a curiously humorous two-minute... more

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Moon: A Little Boy Comforts the Freezing Moon

“Moon” is a delightful, superbly realized two-minute animated short film... more

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A Joyously Bloody Work Anthem: Kill Your Co-Workers!

“Kill Your Co-Workers” is a wonderful animated robot music video created... more

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Burden: A Lone Man’s Defiant Battle to Save Earth

“Burden” is a widely acclaimed, spectacular short film directed by Michael... more

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Murdering People Who Disagree With You

The 10:10 organisation — heavily funded by big industry — just released... more

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'Oops' Short Film collecting broken cam footage

Winner for vimeo 2010 experimental award, Oops shows the build and up and footage of a... more

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Last Minutes with Oden:The Experience of Loss and Grief

“Last Minutes with Oden” is a deeply engaging, extremely heart-wrenching... more

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Harry Callahan: A Retrospective Collection of Color Photography

An American original and a self-taught photographer, Harry Callahan (1912-1999) was... more

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William Eggleston: Democratic Camera and Photographs, 1961–2008

“Democratic Camera and Photographs, 1961-2008” is a retrospective... more

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Weegee: Remembering the American Photographer Who First Made Night Noir

Arthur Fellig, better known as Weegee (1899-1968), was the son of an Austrian rabbi, who came with his family from Europe to New York City. Independent-minded, for a time he aimlessly drifted around, did odd jobs and lived in the city’s flophouses. Finally, he discovered photography, a revelation that transformed him into a man with an obsessive mission. From the 1930′s through the mid-1940′s, Weegee was a freelance crime and street photographer for New York City tabloids, ceaselessly prowling inner-city streets during the graveyard shift. He loved the darkest hours, because then he had the photographic turf all to himself, but also owing to the fact that the most evil of crimes are carried out at night, under the cover of darkness.

Always prepared, Weegee stalked the streets in a car equipped with a police radio, a typewriter, developing equipment, a supply of cigars and a change of underwear. He was a one-man photo factory: he drove to a crime scene, took the pictures, developed the film in his car trunk and delivered finished the prints himself. Weegee was well aware of social problems in the city, documenting the struggles of people living through the Depression, the sufferings of people who experienced segregation and violent racial bias attacks, and the hardships of indigent immigrants packed into already poverty-stricken, desolate and crime-ridden neighborhoods of the city, especially the Lower East Side.

Eventually, the glamor of Hollywood beckoned, and Weegee moved there in 1946, where he worked in the film industry as an actor, consultant and photographer. He socialized with big-name Hollywood stars and got small acting parts in films, but he never really felt like he fit into what he called “The Land of the Zombies” and moved back to Manhattan in 1951, where he lived until his death in 1968.

This piece includes a number of vintage black&white photographs, a slide show and three documentary short films.

http://disembedded.wordpress.com/2010/10/10/weegee-remembering-the-american-photographer-who-first-made-night-noir/Arthur Fellig, better known as Weegee (1899-1968), was the son of an Austrian rabbi,... more

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A Short film from New Mexico "New Methico, A Love Story"

Action/Drama/Love Story. A journey through experience and emotions torn apart by... more

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Asparagus: An Erotically Surreal Dream inside Pandora’s Box

“Asparagus” is a stunning animated short film created by Suzan Pitt, a matted-cel work that film critics have hailed as a visionary masterpiece and one of the most lavish and wondrous animated short films ever made. “Asparagus” is the now classic film that assured Pitt’s reputation as a major American animator. After taking four years to make, “Asparagus”, completed in 1979, won awards around the world, including First Prize at the Oberhausen Film Festival in Germany and awards at Ann Arbor, Baltimore and Atlanta Film Festivals in the United States.

Pitt went on to produce a number of other notable animation projects, as well as to design the first two operas to include animated images for the stage (“Damnation of Faust” and “The Magic Flute”) in Germany. In addition, she created large multimedia shows at the Venice Biennale and at Harvard University. A former Associate Professor at Harvard University, Pitt has been the recipient of a Guggenheim Fellowship, a Rockefeller Fellowship and three production grants from the National Endowment of the Arts. She presently teaches in the Experimental Animation Program at the California Institute of the Arts.

“Asparagus” is designed like a Pandora’s box, opening up visions into the depths of a woman’s inner world, merging sensual and surrealistic imagery conceived in the form of a Freudian dream. Its mythical visual narrative and dreamscape focuses on erotic metaphors and intellectual references that reflect a thoughtful manner of artistic creativity deeply imbued with the vital nexus between formal experimentation and the exploration of the obscure, dark forces that lurk behind human psyche and praxis.

Defying analytic efforts since the 1980s, “Asparagus”, arguably Pitt’s finest work, is a deeply symbolic reflection on issues of female sexuality, art and identity, and that’s probably as far as one can go. The visual narrative is as lavish and vibrant as it is elusive and hermetic, and Pitt’s claim that “Asparagus” was not designed with an intention to be reflected upon but rather to be emotionally experienced seems reasonable in the face of immense interpretive difficulties raised by the struggle between its unstoppable flow of onirical but culturally familiar imagery, as well as our equally untamed desire for exegetical decomposition.

This piece includes a number of colorful illustrations, a slide show and the acclaimed animated short film.

http://disembedded.wordpress.com/2010/10/09/asparagus-an-erotically-surreal-dream-inside-pandoras-box/“Asparagus” is a stunning animated short film created by Suzan Pitt, a... more

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08:18

Tuesday morning we discovered...

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Exposed: Voyeurism, Surveillance and the Camera

“Exposed” is a photographic collection presently on exhibition at... more

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Tatooine: The Entire Star Wars Trilogy in a Two-Minute Paper-Toon

“Tatooine” is a wonderful remake of the Star Wars Trilogy, a two-minute... more

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Beyond Color: Early Works in American Color Photography

“Beyond Color” is a stunning collection of vintage color photographs that... more

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Balloons, Balloons, Balloons: It’s a Wonderful Balloon Fiesta!

“Balloon Fiesta” is a delightfully cheerful three-minute short film by the... more

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