In this post, I describe some of my interactive animated artworks that incorporate archival sources. In particular, I focus on three titles: Flora (2018)–which is on view at the Museum of Photographic Arts (San Diego, CA) in the exhibition Illusion:…
The absence of a memorial policy for animated films, in Tunisia and throughout Africa and the Middle East, is mainly explained by a lack of awareness of this art not only among the large audience but also among the insiders.…
Our society is either at the precipice of the most significant informational loss or the beginning of a new golden age of recorded information. The capabilities of the Internet, much like film and the printing press, has skewed our collective…
Archives are divine. They have the power to transport us back to a forgotten time; they can suggest, with tantalizing incompleteness, new revelations about a hitherto familiar subject; and they can bend, warp, break, and remake history. Archives are also…
Ireland’s geographical position is an important factor to consider when taking into account the animation practices and techniques that were developing in both North America and Europe during the early-twentieth-century. Irish artists and filmmakers traveled widely for education and exhibition…
Several years ago, I wrote an article for Print Magazine’s online blog Imprint about a book written by artist/cartoonist Edwin George “E.G.” Lutz – a 1920 manual titled Animated Cartoons – How They Are Made Their Origin and Development. According…
The Center for Visual Music (CVM), a nonprofit archive based in Los Angeles dedicated to visual music and experimental animation, has extensive mixed media animation collections. Its largest collections are the films of Oskar Fischinger and Jordan Belson, plus Fischinger’s…
The animation process often combines film and fine arts practices, whether for experimental or commercial production. Animation filmmakers make use of commercially available artist supplies (paints, inks, brushes, pencils) and specific equipment (pegbars or drawing tables), but also more unconventional…
With the archival turn in film and media studies and the increasingly diverse range of archives private, hybrid or institutional that exist both on and off line, animation scholars are confronted again with a longstanding problem. How do we find…
How can archivists, academics and practitioners collaborate to promote and make animation archives easily accessible through workshops, cataloguing, and displaying data? Knowledge is vital in terms of looking after vulnerable media, communicating on what material should be kept for permanent…
