The art of Andreas Martens

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Andreas Martens, artist of Rork.

A native of Germany, Andreas (Andreas Martens (1951- ) studied at the St. Luc comics school in Belgium, assisting Eddy Paape on Udolfo, before relocating to France. His genre series include Arq, Cromwell Stone, Cyrrus, Rork and its spin-off, Capricorne, as well as a number of single works such as La Caverne du Souvenir (The Cave of Memory), Coutoo, Dérives (Adrift), Aztèques, and Révélations Posthumes (Posthumous Revelations).

Previously on { feuilleton }
The art of Harry Clarke, 1889–1931

In praise of WordPress

Regular readers may have noticed the coming and going of certain features here recently, due to my experimenting with different plugins. One of the great features of the WordPress blogging software is its open source quality which allows anyone to write a plugin to extend the application. Ones I’ve been playing with over the past week are Justin Watt’s Random Image plugin which is creating the “Previously” “From the archives” images in the sidebar and the Social Bookmarks plugin which adds a “Bookmark this” feature to the end of posts. The latter I’ve disabled for now since it refuses to allow me to choose which bookmark selections are shown (del.icio.us and digg, for example), presenting instead a fruit salad of different gifs that looks messy. I may return this later if I can find a way to get it to work properly—PHP is not my forte—or find another plugin that does the required job.

The Bowes Swan

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“I watched a silver swan which had a living grace about his movements and a living intelligence in his eyes.” Mark Twain, Innocents Abroad.

The Silver Swan is perhaps the best known and best loved object in The Bowes Museum. It is musical automaton in the form of a life-size model of a swan, comprising a clockwork mechanism covered in silver plumage above a music box. It rests on a stream made of twisted glass rods interspersed with silver fish. When the mechanism is wound up, the glass rods rotate, the music begins, and the swan twists its head to the left and right and appears to preen its back. It then appears to see a fish in the water below and bends down to catch it, it then swallows the fish as the music stops and resumes its upright position. The whole performance lasts about forty seconds. In reality the fish has been concealed lengthways on a pivot in the swan’s beak and returns to this position. In real life swans do not eat fish.

The Bowes Museum site has more details about John Joseph Merlin’s splendid swan and this page has a QT movie of the automaton in action.

Lapis by James Whitney

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Lapis (1966).

Proof of the conservative nature of cinema as an artistic medium can be found in the way its abstract practitioners don’t merit anything like the attention received by Piet Mondrian or Jackson Pollock. In cinema narrative is all, and it’s ironic that when artists such as Julian Schnabel or Robert Longo turn to film they end up telling stories.

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James Whitney’s Lapis (1966) is a classic work in this field, a 10-minute animation that took three years to create using primitive computer equipment:

In this piece smaller circles oscillate in and out in an array of colors resembling a kaleidoscope while being accompanied with Indian sitar music. The patterns become hypnotic and trance inducing. This work clearly correlates the auditory and the visual and is a wonderful example of the concept of synaesthesia.

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James and his brother John were pioneers of the use of computers in animation. Looking around for stills from Lapis turned up this fascinating page of early computer graphics:

In the early 1960s digital computers became available to artists for the first time (although they cost from $100,000 to several millions, required air conditioning, and therefore located in separate computer rooms, uninhabitable ‘studios’; programs and data had to be prepared with the keypunch, punch cards then fed into the computer; systems were not interactive and could produce only still images). The output medium was usually a pen plotter, microfilm plotter (hybrid bwn vector CRT and a raster image device), line printer or an alphanumeric printout, which was then manually transferred into a visual medium.

It’s difficult to see these films outside a special screening at a gallery or arts cinema. The Keith Griffiths documentary Abstract Cinema is an excellent introduction, including both Lapis and James Whitney’s Yantra among many other short works. However, this isn’t available to buy so viewing it means scouring TV schedules or waiting for some of these neglected works to turn up on YouTube. Gene Youngblood’s 1970 book Expanded Cinema discusses abstraction and the Whitneys and is available as a free PDF download here.

Update: Lapis on YouTube again, in full this time!

Elsewhere on { feuilleton }
The abstract cinema archive