Disney recycles, just probably not in the way you are thinking!  They may recycle old bottles and newspapers, however they definitely recycle animation. Artist Oliver Laric points this out in his documentary Versions, featured in our Memery exhibit. Take a couple of deep breaths before watching because the evidence may taint your image of the “Wonderful World of Disney” (:45-2min):
Versions highlights the widespread re-usage of images throughout the history of art, so don’t worry, Disney isn’t only at fault. However, Laric emphasizes how such recycling of images is iconoclastic in that the art that was once unique loses much of its significance as it is re-mediated. These Disney segments are shocking because their originality and individual magic has been undermined, essentially leaving them simply as versions of one another, hence the title of the documentary.
Though Disney is not the only one reusing images and animation, it is quite rampant through their history. Â Here are some other examples of Disney’s recycling habits.
Guilty:Â Robin Hood, Aristocats, Snow White, Sleeping Beauty, Beauty and the Beast, the list goes on and on and this vid exposes them all!
One of the most fascinating aspects of a Sol LeWitt Wall Drawing is that it can never be the same from one exhibit to another.
Every time a Wall Drawing is put on display, a group of draftsmen paint or draw a new interpretation of the piece. In following Conceptual Art, when the idea behind the art takes precedence over the actual piece of artwork, LeWitt writes a set of directions of how to create each piece of artwork. The directions drive the art process.
Before creating the new piece, wherever the Wall Drawing is currently located must be painted over so it no longer exists in that setting. Even if MASS MoCA wanted to relocate one of our Wall Drawings, the artwork cannot be moved, it must be repainted in the new space.
Only one official interpretation of a Wall Drawing can exist at one time; once the previous one has been painted over, the draftsmen are free to start their work. The draftsmen then use LeWitt’s directions to create their interpretation. However, every draftsman and every space is different, meaning that each time a Sol LeWitt is put on display, it is inherently unique.
Check out how varied, and at times similar, Sol LeWitt Wall Drawings can be even when they are rooted in the same directions!
Wall Drawing 146A at MASS MoCA. Â The “A” in 146A refers to the original (146) being white wall with blue crayon and this piece having blue walls with white crayon.
Yesterday, the 50 USA Fellows for 2011 were announced and we are proud to say we have worked with six of them (That’s 12%!)
Once a year, the philanthropic organization United States Artists selects 50 exceptional artists as fellows, giving them $50,000 each. Fellows are nominated by an anonymous group, which changes each year, consisting of individuals who are well versed in the arts and live throughout the United States. Prizes are awarded to artists in Architecture & Design, Crafts & Traditional Arts, Dance, Literature, Media, Music, Theater Arts, and Visual Arts.
According to the official USA website, artists must have: “Expert artistic skills, Artistic education or training (formal or informal), A history of deriving income from those skills, A history of active engagement in creating artwork and presenting it to the public.”
As you may have noticed, we really love Sol LeWitt at MASS MoCA. This is partially because we house his retrospective, which includes over 100 Wall Drawings, the majority of which LeWitt hand selected for the exhibit. But also because LeWitt was a father of conceptual art, an innovator, as well as a comical and philosophical individual.
Here are some Sol LeWitt facts that show why we love him so much and what makes him truly unique: Read the rest of this entry »
On her last day our wonderful marketing intern Kathryn offers these reflections on her summer at MASS MoCA.
Family dinner
The summer is coming to a close, and I cannot believe how fast my time at MASS MoCA came and went. I still feel like I just sat down at my desk for the first time, with a lovely note from the previous intern Marissa. Yet, in reality I’ve experienced a ton of new things, seen some amazing art and performances, and best of all, I’ve met some truly incredible people (especially my fellow Summer Interns of 2011: Porkshire Edition) Read the rest of this entry »
Wall Drawing 146A at MASS MoCA. Â The “A” in 146A refers to the original (146) being white wall with blue crayon and this piece having blue walls with white crayon.
146 at the Guggenheim in NYC in 1972.
