Meanwhile #210
It’ll make a new kind of sense when seen together.
Welcome to Meanwhile, in which I bundle together the finest hyperlinks loitering in my tabs and drop them into your inbox – fuel for the week ahead. Check out previous editions for further inspiration, fascination and procrastination.
“In my first year working with the large-format camera I saw how it was too slow for street work. I thought if I had a subject against which I could pit street life, perhaps I could develop a strategy for working in the city. My goal was to have the Empire State Building ever-present, presiding over the scene like a Mount Fuji, while I would watch for the signs of daily life that would make a new kind of photographic sense when seen all together.”
Popped into Tate Modern for the first time in ages – particularly loved seeing Joel Meyerowitz’s Empire State. Tempted to try something similar in old York.
Coming soon from Unit Editions: 1,000 Marks, a collection of symbols and logotypes designed by the Pentagram since its founding in 1972. It’s BIG. Seriously, the girth of the thing. Crikey.
Winona Ryder visits Criterion’s closet, shares her profound connection to Hirokazu Kore-eda’s After Life, recalls the deep impact Gena Rowlands had on her life and career, and selects favorites by Gordon Parks, Jim Jarmusch, Albert Brooks, and John Sayles. SEE ALSO: There is no love affair more enduring than Ryder and a black jacket and a Tom Waits t-shirt.
When a film doesn't look like its concept art – another fantastic read from Animation Obsessive, looking at the influence and frustrations of Disney artist Mary Blair.
A brief lesson explains the visual impact of an early cinematic favourite, the Sustained Two-Shot.
Julia Schimautz on how to make a risograph animation.
“Stålenhag's most personal work yet, Swedish Machines explores masculinity, friendship, and sexuality in a queer science fiction tale about two young men stuck in the past – and in each other’s orbit.” – only a couple of days left to back Simon Stålenhag’s long-awaited new art book.
“Please roll the back window down and approach the White Zone at exactly 2.6 mph. Staff are standing by to launch your student into the window, Dukes of Hazzard style, with a trebuchet handmade by the LARP Club. If you cannot achieve this speed in the requisite time, simply CIRCLE THE BLOCK” — McSweeney’s new school year drop-off and pick-up rules.
That is all.
Have you been to see Nothing Lasts Forever by Peter Mitchell at Leeds Art Gallery? If not, would highly recommend!