View allAll Photos Tagged live_projects
I had a wonderful photoshot with Shae for the (A)live Project.
I wanted to work back with the natural light so we went to a beautiful natural parc.
It such interesting to work with the natural through the years because every season has it own colour range and we have to take care of it!
thealiveproject.wordpress.com/
Facebook :
www.facebook.com/The.Project.a.Live
Cosplayer Deviant Art : shaeunderscore.deviantart.com/
National Theatre London UK - Architect Denys Lasdun - 1976
Denys Lasdun's National Theatre – one of London's best-known and most divisive Brutalist buildings – is a layered concrete landscape that Prince Charles once described as being like "a nuclear power station". Completed in 1976, the Royal National Theatre stands on the South Bank of the Thames, just downstream of Waterloo bridge. It is formed from two fly towers rising from layered horizontal terraces that wrap around the building, cascading to the river level. The design for the building was based on Lasdun's idea of "architecture as urban landscape." Lasdun was appointed to the project in 1963. With no previous experience in theatre design, he persuaded the board of theatre directors, designers and technical experts to give him the job without a team alongside him but with the drama of a solo-performance. The National Theatre was a live project for 13 years, with two years spent on the main theatre alone. Lasdun described the early design process as one of evolution, shaped by consultation with the committee. He stated that it began with the spaces of the theatres themselves, "before we even knew what the outside would look like". The structure is vast and city-like in plan. It accommodates three theatres, the largest seating 1,160 people, alongside restaurants, bars, foyers, workshops and all the mechanics necessary. The open-stage theatre, the Olivier, is shaped like a giant ancient amphitheatre and occupies a large area away from the bridge that runs along one side of the site, while the smaller Proscenium theatre, with an arch over the stage, sits on the bridge. A small studio theatre is tucked away to the east side of the building, alongside the offices and other administrative functions.
Great attention was paid to the details of the "quiet" interior of the theatre: lighting, sign posting, fittings, the auditorium seats, a change from the stucco and mirrors of theatres of the period. Lasdun even selected the crockery and cutlery for the restaurant. Internally and externally, the rough-cast concrete surface of the National Theatre shows the imprint of the sawn wooden planks used in the casting process, which were supposedly each only used twice, once on each side. Talking to Peter Hall, the National Theatre's director between 1973 and 1988, Lasdun described the use of concrete: "Concrete is a very intractable material, but it can be a beautiful material if it is used in the way its own nature intends it to be used... It is a sort of sculpture that you can only do with reinforced concrete, but you need to work to a certain scale... It is not a cosy little material."
On the river side, a series of interconnected foyers make up the main public area, in an L-shape around the two larger theatres. Admiration of the National Theatre tends to focus on the magic of these internal spaces, which tower in sections to their full height. It has come to be thought of as one of the city's key communal spaces, described as "the nation's sitting room". Lasdun himself described these spaces as a "fourth theatre". He said "I feel that all the public areas of the building, the foyers and terraces, are in themselves a theatre with the city as a backdrop." These public interior spaces merge with the terraces outside. Lasdun's strata make it hard to define where the National Theatre begins and ends. The interconnected walkways, split levels and circular stairwells of the South Bank merge with the city itself. Installations and temporary structures have occupied the terraces in the past, including a bright red auditorium by Haworth Tompkins. Skateboarders came to use the terraces and under crofts of Lasdun's National Theatre and the other buildings on the South Bank as their playground. Early on, this occupation was seen as evidence of failed architecture yet a recent successful campaign to save the South Bank skate park has acknowledged it as one of the great spaces of London. The National Theatre gained a Grade II heritage listing in 1994, only 18 years after it was built.
Despite being thought of with affection by many, such a large public building is bound to provoke controversy.
Do you like the picture ? Press "F"
Picture from a special photoshoot for The (A)live Project.
www.facebook.com/The.Project.a.Live
------------------------------
Vous aimez la photo? Appuyez sur "F"
Photo d'un photoshoot spécial pour The(A)live Project.
Suivez-nous : www.facebook.com/The.Project.a.Live
Sky TV is running a facebook live project "Portrait artist of the week" which allows anyone to join painting along as the model is streamed live for 4 hours
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
La Paris Comics Expo s'est déroulée les 27 et 28 Octobre.
N'hésitez pas à aller lire les articles de The (A)live Project :
thealiveproject.wordpress.com/category/paris-comics-expo-...
www.facebook.com/The.Project.a.Live
------------------------------------------------------------------------------------------------
The Paris Comics Expo was in Paris the 27&28 October 2012.
As usual i worked for The (A)live Project.
www.facebook.com/The.Project.a.Live
thealiveproject.wordpress.com/category/paris-comics-expo-...
I also tried the video mode of the Nikon D7000 you can check it here :
www.youtube.com/watch?v=_AzBB-jA8Co
Do you like the picture ? Press "F"
Feel free to share my work and comment my pictures.
Picture from a special photoshoot for The (A)live Project.
-------------------------------------------
J'ai aussi testé le mode vidéo du D7000:
www.youtube.com/watch?v=_AzBB-jA8Co
Vous aimez la photo? Appuyez sur "F"
N'hésitez pas à partager mon travail, et commenter mes photos.
Photo d'un photoshoot spécial pour The(A)live Project.
thealiveproject.wordpress.com
The Cliftones joined Elementree Livity Project, Sundae Drives, Cincinnati Reggae All-Stars and others for the second annual Reggae Resolution show held at Bogart's in Cincinnati, Ohio.
Do you like the picture ? Press "F"
Picture from a special photoshoot for The (A)live Project.
------------------------------
Vous aimez la photo? Appuyez sur "F"
Photo d'un photoshoot spécial pour The(A)live Project.
Do you like the picture ? Press "F"
Picture from a special photoshoot for The (A)live Project.
www.facebook.com/The.Project.a.Live
------------------------------
Vous aimez la photo? Appuyez sur "F"
Photo d'un photoshoot spécial pour The(A)live Project.
Suivez-nous :http://www.facebook.com/The.Project.a.Live
www.rtl.fr/culture/arts-spectacles/le-photographe-jr-expo...
Palais de justice à Chambéry,Law court in Chambéry.
In all these unknown persons hide full of great(tall) men
Le street-artiste et photographe français JR
Cette oeuvre monumentale, baptisée Au Panthéon !, rassemble 4.160 portraits photographiques d'anonymes de France et du monde, immortalisés tout sourire.
Conçu comme "un hommage aux grands hommes", ce projet éphémère de JR prend place sur le dôme extérieur du bâtiment, sur la coupole et la nef du temple républicain des illustres.
The street-artist and the French photographer JR
This monumental work, baptized In the Pantheon! Gather 4.160 photographic portraits of unknown persons of France and the world, immortalized all smiles.
Designed "as a tribute to the great men", this short-lived project of JR takes a seat on the outside dome of the building, on the dome and the nave of the republican temple of the illustrious ones.
Do you like the picture ? Press "F"
Picture from a special photoshoot for The (A)live Project.
------------------------------
Vous aimez la photo? Appuyez sur "F"
Photo d'un photoshoot spécial pour The(A)live Project.
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
Do you like the picture ? Press "F"
Picture from a special photoshoot for The (A)live Project.
Floow us : www.facebook.com/The.Project.a.Live
------------------------------
Vous aimez la photo? Appuyez sur "F"
Photo d'un photoshoot spécial pour The(A)live Project.
Suivez-nous : www.facebook.com/The.Project.a.Live
National Theatre London UK - Architect Denys Lasdun - 1976
Denys Lasdun's National Theatre – one of London's best-known and most divisive Brutalist buildings – is a layered concrete landscape that Prince Charles once described as being like "a nuclear power station". Completed in 1976, the Royal National Theatre stands on the South Bank of the Thames, just downstream of Waterloo bridge. It is formed from two fly towers rising from layered horizontal terraces that wrap around the building, cascading to the river level. The design for the building was based on Lasdun's idea of "architecture as urban landscape." Lasdun was appointed to the project in 1963. With no previous experience in theatre design, he persuaded the board of theatre directors, designers and technical experts to give him the job without a team alongside him but with the drama of a solo-performance. The National Theatre was a live project for 13 years, with two years spent on the main theatre alone. Lasdun described the early design process as one of evolution, shaped by consultation with the committee. He stated that it began with the spaces of the theatres themselves, "before we even knew what the outside would look like". The structure is vast and city-like in plan. It accommodates three theatres, the largest seating 1,160 people, alongside restaurants, bars, foyers, workshops and all the mechanics necessary. The open-stage theatre, the Olivier, is shaped like a giant ancient amphitheatre and occupies a large area away from the bridge that runs along one side of the site, while the smaller Proscenium theatre, with an arch over the stage, sits on the bridge. A small studio theatre is tucked away to the east side of the building, alongside the offices and other administrative functions.
Great attention was paid to the details of the "quiet" interior of the theatre: lighting, sign posting, fittings, the auditorium seats, a change from the stucco and mirrors of theatres of the period. Lasdun even selected the crockery and cutlery for the restaurant. Internally and externally, the rough-cast concrete surface of the National Theatre shows the imprint of the sawn wooden planks used in the casting process, which were supposedly each only used twice, once on each side. Talking to Peter Hall, the National Theatre's director between 1973 and 1988, Lasdun described the use of concrete: "Concrete is a very intractable material, but it can be a beautiful material if it is used in the way its own nature intends it to be used... It is a sort of sculpture that you can only do with reinforced concrete, but you need to work to a certain scale... It is not a cosy little material."
On the river side, a series of interconnected foyers make up the main public area, in an L-shape around the two larger theatres. Admiration of the National Theatre tends to focus on the magic of these internal spaces, which tower in sections to their full height. It has come to be thought of as one of the city's key communal spaces, described as "the nation's sitting room". Lasdun himself described these spaces as a "fourth theatre". He said "I feel that all the public areas of the building, the foyers and terraces, are in themselves a theatre with the city as a backdrop." These public interior spaces merge with the terraces outside. Lasdun's strata make it hard to define where the National Theatre begins and ends. The interconnected walkways, split levels and circular stairwells of the South Bank merge with the city itself. Installations and temporary structures have occupied the terraces in the past, including a bright red auditorium by Haworth Tompkins. Skateboarders came to use the terraces and under crofts of Lasdun's National Theatre and the other buildings on the South Bank as their playground. Early on, this occupation was seen as evidence of failed architecture yet a recent successful campaign to save the South Bank skate park has acknowledged it as one of the great spaces of London. The National Theatre gained a Grade II heritage listing in 1994, only 18 years after it was built.
Despite being thought of with affection by many, such a large public building is bound to provoke controversy.
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
National Theatre London UK - National Theatre London UK - Architect Denys Lasdun - 1976
Denys Lasdun's National Theatre – one of London's best-known and most divisive Brutalist buildings – is a layered concrete landscape that Prince Charles once described as being like "a nuclear power station". Completed in 1976, the Royal National Theatre stands on the South Bank of the Thames, just downstream of Waterloo bridge. It is formed from two fly towers rising from layered horizontal terraces that wrap around the building, cascading to the river level. The design for the building was based on Lasdun's idea of "architecture as urban landscape." Lasdun was appointed to the project in 1963. With no previous experience in theatre design, he persuaded the board of theatre directors, designers and technical experts to give him the job without a team alongside him but with the drama of a solo-performance. The National Theatre was a live project for 13 years, with two years spent on the main theatre alone. Lasdun described the early design process as one of evolution, shaped by consultation with the committee. He stated that it began with the spaces of the theatres themselves, "before we even knew what the outside would look like". The structure is vast and city-like in plan. It accommodates three theatres, the largest seating 1,160 people, alongside restaurants, bars, foyers, workshops and all the mechanics necessary. The open-stage theatre, the Olivier, is shaped like a giant ancient amphitheatre and occupies a large area away from the bridge that runs along one side of the site, while the smaller Proscenium theatre, with an arch over the stage, sits on the bridge. A small studio theatre is tucked away to the east side of the building, alongside the offices and other administrative functions.
Great attention was paid to the details of the "quiet" interior of the theatre: lighting, sign posting, fittings, the auditorium seats, a change from the stucco and mirrors of theatres of the period. Lasdun even selected the crockery and cutlery for the restaurant. Internally and externally, the rough-cast concrete surface of the National Theatre shows the imprint of the sawn wooden planks used in the casting process, which were supposedly each only used twice, once on each side. Talking to Peter Hall, the National Theatre's director between 1973 and 1988, Lasdun described the use of concrete: "Concrete is a very intractable material, but it can be a beautiful material if it is used in the way its own nature intends it to be used... It is a sort of sculpture that you can only do with reinforced concrete, but you need to work to a certain scale... It is not a cosy little material."
On the river side, a series of interconnected foyers make up the main public area, in an L-shape around the two larger theatres. Admiration of the National Theatre tends to focus on the magic of these internal spaces, which tower in sections to their full height. It has come to be thought of as one of the city's key communal spaces, described as "the nation's sitting room". Lasdun himself described these spaces as a "fourth theatre". He said "I feel that all the public areas of the building, the foyers and terraces, are in themselves a theatre with the city as a backdrop." These public interior spaces merge with the terraces outside. Lasdun's strata make it hard to define where the National Theatre begins and ends. The interconnected walkways, split levels and circular stairwells of the South Bank merge with the city itself. Installations and temporary structures have occupied the terraces in the past, including a bright red auditorium by Haworth Tompkins. Skateboarders came to use the terraces and under crofts of Lasdun's National Theatre and the other buildings on the South Bank as their playground. Early on, this occupation was seen as evidence of failed architecture yet a recent successful campaign to save the South Bank skate park has acknowledged it as one of the great spaces of London. The National Theatre gained a Grade II heritage listing in 1994, only 18 years after it was built.
Despite being thought of with affection by many, such a large public building is bound to provoke controversy.
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
Do you like the picture ? Press "F"
Picture from a special photoshoot for The (A)live Project.
Floow us : www.facebook.com/The.Project.a.Live
------------------------------
Vous aimez la photo? Appuyez sur "F"
Photo d'un photoshoot spécial pour The(A)live Project.
Suivez-nous : www.facebook.com/The.Project.a.Live
What : Tonari No Tsun Love Live Project
Where : Quezon City
When : June 1, 2014
Character : Minami Kotori
Cosplayer : Leny Ming
Character : Honoka Kosaka
Cosplayer : Faye Liper
Character : Sonoda Umi
Cosplayer : Miu Aihara
Game/Series/Anime/Band : Love Live ! School Idol Project
Photo by Me
About the Photo:
Another "I summon you Agito" Shoot. This was the official shoot of Tonari no Tsun's Love Live Project --- originally launched during Best of Anime 2013. A day before the said event, I was forced to watch the whole anime (season 1).
I slept so late that day that even on the next day, I'm still hearing the START:DASH Track. OTL
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
Three of Danny Williams’ intimate experimental portraits of the 60’s Warhol Factory, screened with an original, immersive live score by T. Griffin and Catherine McRae from The Quavers.
In 1966 Danny Williams disappeared. He was Andy Warhol’s lover, a filmmaker and the designer of the Velvet Underground Exploding Plastic Inevitable lightshow. Almost 40 years later, his niece Esther B. Robinson found 20 short films Williams made during the year before he vanished. Her documentary inquiry into his disappearance, A Walk into the Sea: Danny Williams and The Warhol Factory, has screened all over the world, won the coveted Teddy Award at the Berlin International Film Festival, and was released theatrically in 2008 by ArtHouse Pictures.
Danny Williams’ extraordinary intimate experimental portraits of the Warhol Factory bring us into that iconic moment with a tenderness and shimmering beauty that stand in fascinating contrast to Warhol’s own films made at the time. Lost for 40 years, these luminous documents are now finally available to be screened.
Factory Film by Danny Williams
USA, 1965, 22 minutes, digital projection, silent
Factory Film features amazingly intimate footage of Andy Warhol along with other factory stars like Brigid Berlin, Billy Name, and more.
Harold Stevenson Pts. 1 and 2 by Danny Williams, score by T. Griffin and Catherine McRae
USA, 1965, 40 minutes, live score
Harold Stevenson part 1 and 2 showcases an incandescent Edie Sedgwick along with Paul America, Ingrid Superstar and Gerard Malanga (among others). This film screens with a live soundtrack. For the luminous 40 minute film “Harold Stevenson parts 1 and 2″, T. Griffin and Catherine McRae have created a score for guitar, violin, samples and walkman. They have looked to the music that electrified The Factory in 1966 and created an immersive, oceanic abstraction of bubblegum pop, LaMonte Young-inspired drones and of course The Velvet Underground. Taking cues from modern ambient artists like Tim Hecker and Belong, Griffin and McRae bury melodies deep under shimmering drones that shift gradually over the films’ 40 minutes, evoking both the joyful optimism that pervades the footage and also the sense of lost history and promise that buried the films for almost 40 years.
The Velvet Underground by Danny Williams
USA, 1965, 9 minutes, digital projection silent
The earliest known footage of the VU, and stars the impossibly young-looking band rehearsing at the Factory. Featuring Lou Reed, John Cale, Maureen Tucker, Sterling Morrison, Gerard Malanga.
Esther Robinson is an award-winning filmmaker and producer. Her critically acclaimed directorial debut A Walk into the Sea: Danny Williams and The Warhol Factory took top prizes at The Berlin, Tribeca and Chicago film festivals; is currently in international theatrical release and available on The Sundance Channel/Netflix/I-tunes. Other producing projects include the film Home Page (Doug Block HBO/Cinemax) and PBS series Alive From Off Center. In addition to producing, Esther Robinson is also the founder of ArtHome (http://www.ArtHomeOnline.org) a nonprofit that helps artists build assets and equity through financial literacy, homeownership, self-sufficiency and the responsible use of credit.
T. Griffin is a songwriter, composer and producer working in Brooklyn, New York. Alone and with his band The Quavers he has released four critically acclaimed CDs of songs in a homespun electronic style that’s been described as ‘porch techno’. He has scored a dozen feature films and at least as many shorts, live projects, plays and art installations. Notable collaborations include Jem Cohen, Michael Almereyda, Peter Sillen, Tze Chun, Kimberly Reed, Anne Bogart, Esther B. Robinson, Sam Green and Brent Green.
As a producer and player he has worked with musical luminaries including Vic Chesnutt, Patti Smith, Tom Verlaine and members of godspeed you! black emperor, DJ/Rupture, Fugazi and The Ex. Griffin was a 2008 fellow at the Sundance Institute Composer’s Lab.
Catherine McRae has played violin and electronics and sung with The Quavers and T. Griffin Coraline, two collaborations with T. Griffin over the last 8 years, as well as numerous live collaborations with Griffin and Filmmakers such as Jem Cohen and Brent Green. She has also collaborated and toured internationally with the band Barbes and with the stage director Richard Maxwell, and performed with Patti Smith.
Scott Macaulay is a New York-based producer and the Editor-in-Chief of Filmmaker Magazine, the leading American magazine devoted to independent film. In this position, he directs the magazine’s editorial content, including special features such as its annual “25 New Faces.” As a producer and along with his partner, Robin O’Hara, and his production company, Forensic Films, Macaulay has produced or executive produced many award-winning features. They include: Peter Sollett’s Raising Victor Vargas; Harmony Korine’s Gummo and julien donkey-boy; Alice Wu’s Saving Face; Tom Noonan’s What Happened Was and The Wife; Jesse Peretz’s The Chateau’ Bryan Barber’s Idlewild; and James Ponsoldt’s Off the Black. Most recently, he produced artist Candice Breitz’s video and performance piece “New York, New York” for Performa ’09. He was formerly the Programming Director of The Kitchen Center for Video, Music, Dance, Performance and Film.
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
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Three of Danny Williams’ intimate experimental portraits of the 60’s Warhol Factory, screened with an original, immersive live score by T. Griffin and Catherine McRae from The Quavers.
In 1966 Danny Williams disappeared. He was Andy Warhol’s lover, a filmmaker and the designer of the Velvet Underground Exploding Plastic Inevitable lightshow. Almost 40 years later, his niece Esther B. Robinson found 20 short films Williams made during the year before he vanished. Her documentary inquiry into his disappearance, A Walk into the Sea: Danny Williams and The Warhol Factory, has screened all over the world, won the coveted Teddy Award at the Berlin International Film Festival, and was released theatrically in 2008 by ArtHouse Pictures.
Danny Williams’ extraordinary intimate experimental portraits of the Warhol Factory bring us into that iconic moment with a tenderness and shimmering beauty that stand in fascinating contrast to Warhol’s own films made at the time. Lost for 40 years, these luminous documents are now finally available to be screened.
Factory Film by Danny Williams
USA, 1965, 22 minutes, digital projection, silent
Factory Film features amazingly intimate footage of Andy Warhol along with other factory stars like Brigid Berlin, Billy Name, and more.
Harold Stevenson Pts. 1 and 2 by Danny Williams, score by T. Griffin and Catherine McRae
USA, 1965, 40 minutes, live score
Harold Stevenson part 1 and 2 showcases an incandescent Edie Sedgwick along with Paul America, Ingrid Superstar and Gerard Malanga (among others). This film screens with a live soundtrack. For the luminous 40 minute film “Harold Stevenson parts 1 and 2″, T. Griffin and Catherine McRae have created a score for guitar, violin, samples and walkman. They have looked to the music that electrified The Factory in 1966 and created an immersive, oceanic abstraction of bubblegum pop, LaMonte Young-inspired drones and of course The Velvet Underground. Taking cues from modern ambient artists like Tim Hecker and Belong, Griffin and McRae bury melodies deep under shimmering drones that shift gradually over the films’ 40 minutes, evoking both the joyful optimism that pervades the footage and also the sense of lost history and promise that buried the films for almost 40 years.
The Velvet Underground by Danny Williams
USA, 1965, 9 minutes, digital projection silent
The earliest known footage of the VU, and stars the impossibly young-looking band rehearsing at the Factory. Featuring Lou Reed, John Cale, Maureen Tucker, Sterling Morrison, Gerard Malanga.
Esther Robinson is an award-winning filmmaker and producer. Her critically acclaimed directorial debut A Walk into the Sea: Danny Williams and The Warhol Factory took top prizes at The Berlin, Tribeca and Chicago film festivals; is currently in international theatrical release and available on The Sundance Channel/Netflix/I-tunes. Other producing projects include the film Home Page (Doug Block HBO/Cinemax) and PBS series Alive From Off Center. In addition to producing, Esther Robinson is also the founder of ArtHome (http://www.ArtHomeOnline.org) a nonprofit that helps artists build assets and equity through financial literacy, homeownership, self-sufficiency and the responsible use of credit.
T. Griffin is a songwriter, composer and producer working in Brooklyn, New York. Alone and with his band The Quavers he has released four critically acclaimed CDs of songs in a homespun electronic style that’s been described as ‘porch techno’. He has scored a dozen feature films and at least as many shorts, live projects, plays and art installations. Notable collaborations include Jem Cohen, Michael Almereyda, Peter Sillen, Tze Chun, Kimberly Reed, Anne Bogart, Esther B. Robinson, Sam Green and Brent Green.
As a producer and player he has worked with musical luminaries including Vic Chesnutt, Patti Smith, Tom Verlaine and members of godspeed you! black emperor, DJ/Rupture, Fugazi and The Ex. Griffin was a 2008 fellow at the Sundance Institute Composer’s Lab.
Catherine McRae has played violin and electronics and sung with The Quavers and T. Griffin Coraline, two collaborations with T. Griffin over the last 8 years, as well as numerous live collaborations with Griffin and Filmmakers such as Jem Cohen and Brent Green. She has also collaborated and toured internationally with the band Barbes and with the stage director Richard Maxwell, and performed with Patti Smith.
Scott Macaulay is a New York-based producer and the Editor-in-Chief of Filmmaker Magazine, the leading American magazine devoted to independent film. In this position, he directs the magazine’s editorial content, including special features such as its annual “25 New Faces.” As a producer and along with his partner, Robin O’Hara, and his production company, Forensic Films, Macaulay has produced or executive produced many award-winning features. They include: Peter Sollett’s Raising Victor Vargas; Harmony Korine’s Gummo and julien donkey-boy; Alice Wu’s Saving Face; Tom Noonan’s What Happened Was and The Wife; Jesse Peretz’s The Chateau’ Bryan Barber’s Idlewild; and James Ponsoldt’s Off the Black. Most recently, he produced artist Candice Breitz’s video and performance piece “New York, New York” for Performa ’09. He was formerly the Programming Director of The Kitchen Center for Video, Music, Dance, Performance and Film.
Three of Danny Williams’ intimate experimental portraits of the 60’s Warhol Factory, screened with an original, immersive live score by T. Griffin and Catherine McRae from The Quavers.
In 1966 Danny Williams disappeared. He was Andy Warhol’s lover, a filmmaker and the designer of the Velvet Underground Exploding Plastic Inevitable lightshow. Almost 40 years later, his niece Esther B. Robinson found 20 short films Williams made during the year before he vanished. Her documentary inquiry into his disappearance, A Walk into the Sea: Danny Williams and The Warhol Factory, has screened all over the world, won the coveted Teddy Award at the Berlin International Film Festival, and was released theatrically in 2008 by ArtHouse Pictures.
Danny Williams’ extraordinary intimate experimental portraits of the Warhol Factory bring us into that iconic moment with a tenderness and shimmering beauty that stand in fascinating contrast to Warhol’s own films made at the time. Lost for 40 years, these luminous documents are now finally available to be screened.
Factory Film by Danny Williams
USA, 1965, 22 minutes, digital projection, silent
Factory Film features amazingly intimate footage of Andy Warhol along with other factory stars like Brigid Berlin, Billy Name, and more.
Harold Stevenson Pts. 1 and 2 by Danny Williams, score by T. Griffin and Catherine McRae
USA, 1965, 40 minutes, live score
Harold Stevenson part 1 and 2 showcases an incandescent Edie Sedgwick along with Paul America, Ingrid Superstar and Gerard Malanga (among others). This film screens with a live soundtrack. For the luminous 40 minute film “Harold Stevenson parts 1 and 2″, T. Griffin and Catherine McRae have created a score for guitar, violin, samples and walkman. They have looked to the music that electrified The Factory in 1966 and created an immersive, oceanic abstraction of bubblegum pop, LaMonte Young-inspired drones and of course The Velvet Underground. Taking cues from modern ambient artists like Tim Hecker and Belong, Griffin and McRae bury melodies deep under shimmering drones that shift gradually over the films’ 40 minutes, evoking both the joyful optimism that pervades the footage and also the sense of lost history and promise that buried the films for almost 40 years.
The Velvet Underground by Danny Williams
USA, 1965, 9 minutes, digital projection silent
The earliest known footage of the VU, and stars the impossibly young-looking band rehearsing at the Factory. Featuring Lou Reed, John Cale, Maureen Tucker, Sterling Morrison, Gerard Malanga.
Esther Robinson is an award-winning filmmaker and producer. Her critically acclaimed directorial debut A Walk into the Sea: Danny Williams and The Warhol Factory took top prizes at The Berlin, Tribeca and Chicago film festivals; is currently in international theatrical release and available on The Sundance Channel/Netflix/I-tunes. Other producing projects include the film Home Page (Doug Block HBO/Cinemax) and PBS series Alive From Off Center. In addition to producing, Esther Robinson is also the founder of ArtHome (http://www.ArtHomeOnline.org) a nonprofit that helps artists build assets and equity through financial literacy, homeownership, self-sufficiency and the responsible use of credit.
T. Griffin is a songwriter, composer and producer working in Brooklyn, New York. Alone and with his band The Quavers he has released four critically acclaimed CDs of songs in a homespun electronic style that’s been described as ‘porch techno’. He has scored a dozen feature films and at least as many shorts, live projects, plays and art installations. Notable collaborations include Jem Cohen, Michael Almereyda, Peter Sillen, Tze Chun, Kimberly Reed, Anne Bogart, Esther B. Robinson, Sam Green and Brent Green.
As a producer and player he has worked with musical luminaries including Vic Chesnutt, Patti Smith, Tom Verlaine and members of godspeed you! black emperor, DJ/Rupture, Fugazi and The Ex. Griffin was a 2008 fellow at the Sundance Institute Composer’s Lab.
Catherine McRae has played violin and electronics and sung with The Quavers and T. Griffin Coraline, two collaborations with T. Griffin over the last 8 years, as well as numerous live collaborations with Griffin and Filmmakers such as Jem Cohen and Brent Green. She has also collaborated and toured internationally with the band Barbes and with the stage director Richard Maxwell, and performed with Patti Smith.
Scott Macaulay is a New York-based producer and the Editor-in-Chief of Filmmaker Magazine, the leading American magazine devoted to independent film. In this position, he directs the magazine’s editorial content, including special features such as its annual “25 New Faces.” As a producer and along with his partner, Robin O’Hara, and his production company, Forensic Films, Macaulay has produced or executive produced many award-winning features. They include: Peter Sollett’s Raising Victor Vargas; Harmony Korine’s Gummo and julien donkey-boy; Alice Wu’s Saving Face; Tom Noonan’s What Happened Was and The Wife; Jesse Peretz’s The Chateau’ Bryan Barber’s Idlewild; and James Ponsoldt’s Off the Black. Most recently, he produced artist Candice Breitz’s video and performance piece “New York, New York” for Performa ’09. He was formerly the Programming Director of The Kitchen Center for Video, Music, Dance, Performance and Film.
Three of Danny Williams’ intimate experimental portraits of the 60’s Warhol Factory, screened with an original, immersive live score by T. Griffin and Catherine McRae from The Quavers.
In 1966 Danny Williams disappeared. He was Andy Warhol’s lover, a filmmaker and the designer of the Velvet Underground Exploding Plastic Inevitable lightshow. Almost 40 years later, his niece Esther B. Robinson found 20 short films Williams made during the year before he vanished. Her documentary inquiry into his disappearance, A Walk into the Sea: Danny Williams and The Warhol Factory, has screened all over the world, won the coveted Teddy Award at the Berlin International Film Festival, and was released theatrically in 2008 by ArtHouse Pictures.
Danny Williams’ extraordinary intimate experimental portraits of the Warhol Factory bring us into that iconic moment with a tenderness and shimmering beauty that stand in fascinating contrast to Warhol’s own films made at the time. Lost for 40 years, these luminous documents are now finally available to be screened.
Factory Film by Danny Williams
USA, 1965, 22 minutes, digital projection, silent
Factory Film features amazingly intimate footage of Andy Warhol along with other factory stars like Brigid Berlin, Billy Name, and more.
Harold Stevenson Pts. 1 and 2 by Danny Williams, score by T. Griffin and Catherine McRae
USA, 1965, 40 minutes, live score
Harold Stevenson part 1 and 2 showcases an incandescent Edie Sedgwick along with Paul America, Ingrid Superstar and Gerard Malanga (among others). This film screens with a live soundtrack. For the luminous 40 minute film “Harold Stevenson parts 1 and 2″, T. Griffin and Catherine McRae have created a score for guitar, violin, samples and walkman. They have looked to the music that electrified The Factory in 1966 and created an immersive, oceanic abstraction of bubblegum pop, LaMonte Young-inspired drones and of course The Velvet Underground. Taking cues from modern ambient artists like Tim Hecker and Belong, Griffin and McRae bury melodies deep under shimmering drones that shift gradually over the films’ 40 minutes, evoking both the joyful optimism that pervades the footage and also the sense of lost history and promise that buried the films for almost 40 years.
The Velvet Underground by Danny Williams
USA, 1965, 9 minutes, digital projection silent
The earliest known footage of the VU, and stars the impossibly young-looking band rehearsing at the Factory. Featuring Lou Reed, John Cale, Maureen Tucker, Sterling Morrison, Gerard Malanga.
Esther Robinson is an award-winning filmmaker and producer. Her critically acclaimed directorial debut A Walk into the Sea: Danny Williams and The Warhol Factory took top prizes at The Berlin, Tribeca and Chicago film festivals; is currently in international theatrical release and available on The Sundance Channel/Netflix/I-tunes. Other producing projects include the film Home Page (Doug Block HBO/Cinemax) and PBS series Alive From Off Center. In addition to producing, Esther Robinson is also the founder of ArtHome (http://www.ArtHomeOnline.org) a nonprofit that helps artists build assets and equity through financial literacy, homeownership, self-sufficiency and the responsible use of credit.
T. Griffin is a songwriter, composer and producer working in Brooklyn, New York. Alone and with his band The Quavers he has released four critically acclaimed CDs of songs in a homespun electronic style that’s been described as ‘porch techno’. He has scored a dozen feature films and at least as many shorts, live projects, plays and art installations. Notable collaborations include Jem Cohen, Michael Almereyda, Peter Sillen, Tze Chun, Kimberly Reed, Anne Bogart, Esther B. Robinson, Sam Green and Brent Green.
As a producer and player he has worked with musical luminaries including Vic Chesnutt, Patti Smith, Tom Verlaine and members of godspeed you! black emperor, DJ/Rupture, Fugazi and The Ex. Griffin was a 2008 fellow at the Sundance Institute Composer’s Lab.
Catherine McRae has played violin and electronics and sung with The Quavers and T. Griffin Coraline, two collaborations with T. Griffin over the last 8 years, as well as numerous live collaborations with Griffin and Filmmakers such as Jem Cohen and Brent Green. She has also collaborated and toured internationally with the band Barbes and with the stage director Richard Maxwell, and performed with Patti Smith.
Scott Macaulay is a New York-based producer and the Editor-in-Chief of Filmmaker Magazine, the leading American magazine devoted to independent film. In this position, he directs the magazine’s editorial content, including special features such as its annual “25 New Faces.” As a producer and along with his partner, Robin O’Hara, and his production company, Forensic Films, Macaulay has produced or executive produced many award-winning features. They include: Peter Sollett’s Raising Victor Vargas; Harmony Korine’s Gummo and julien donkey-boy; Alice Wu’s Saving Face; Tom Noonan’s What Happened Was and The Wife; Jesse Peretz’s The Chateau’ Bryan Barber’s Idlewild; and James Ponsoldt’s Off the Black. Most recently, he produced artist Candice Breitz’s video and performance piece “New York, New York” for Performa ’09. He was formerly the Programming Director of The Kitchen Center for Video, Music, Dance, Performance and Film.
Three of Danny Williams’ intimate experimental portraits of the 60’s Warhol Factory, screened with an original, immersive live score by T. Griffin and Catherine McRae from The Quavers.
In 1966 Danny Williams disappeared. He was Andy Warhol’s lover, a filmmaker and the designer of the Velvet Underground Exploding Plastic Inevitable lightshow. Almost 40 years later, his niece Esther B. Robinson found 20 short films Williams made during the year before he vanished. Her documentary inquiry into his disappearance, A Walk into the Sea: Danny Williams and The Warhol Factory, has screened all over the world, won the coveted Teddy Award at the Berlin International Film Festival, and was released theatrically in 2008 by ArtHouse Pictures.
Danny Williams’ extraordinary intimate experimental portraits of the Warhol Factory bring us into that iconic moment with a tenderness and shimmering beauty that stand in fascinating contrast to Warhol’s own films made at the time. Lost for 40 years, these luminous documents are now finally available to be screened.
Factory Film by Danny Williams
USA, 1965, 22 minutes, digital projection, silent
Factory Film features amazingly intimate footage of Andy Warhol along with other factory stars like Brigid Berlin, Billy Name, and more.
Harold Stevenson Pts. 1 and 2 by Danny Williams, score by T. Griffin and Catherine McRae
USA, 1965, 40 minutes, live score
Harold Stevenson part 1 and 2 showcases an incandescent Edie Sedgwick along with Paul America, Ingrid Superstar and Gerard Malanga (among others). This film screens with a live soundtrack. For the luminous 40 minute film “Harold Stevenson parts 1 and 2″, T. Griffin and Catherine McRae have created a score for guitar, violin, samples and walkman. They have looked to the music that electrified The Factory in 1966 and created an immersive, oceanic abstraction of bubblegum pop, LaMonte Young-inspired drones and of course The Velvet Underground. Taking cues from modern ambient artists like Tim Hecker and Belong, Griffin and McRae bury melodies deep under shimmering drones that shift gradually over the films’ 40 minutes, evoking both the joyful optimism that pervades the footage and also the sense of lost history and promise that buried the films for almost 40 years.
The Velvet Underground by Danny Williams
USA, 1965, 9 minutes, digital projection silent
The earliest known footage of the VU, and stars the impossibly young-looking band rehearsing at the Factory. Featuring Lou Reed, John Cale, Maureen Tucker, Sterling Morrison, Gerard Malanga.
Esther Robinson is an award-winning filmmaker and producer. Her critically acclaimed directorial debut A Walk into the Sea: Danny Williams and The Warhol Factory took top prizes at The Berlin, Tribeca and Chicago film festivals; is currently in international theatrical release and available on The Sundance Channel/Netflix/I-tunes. Other producing projects include the film Home Page (Doug Block HBO/Cinemax) and PBS series Alive From Off Center. In addition to producing, Esther Robinson is also the founder of ArtHome (http://www.ArtHomeOnline.org) a nonprofit that helps artists build assets and equity through financial literacy, homeownership, self-sufficiency and the responsible use of credit.
T. Griffin is a songwriter, composer and producer working in Brooklyn, New York. Alone and with his band The Quavers he has released four critically acclaimed CDs of songs in a homespun electronic style that’s been described as ‘porch techno’. He has scored a dozen feature films and at least as many shorts, live projects, plays and art installations. Notable collaborations include Jem Cohen, Michael Almereyda, Peter Sillen, Tze Chun, Kimberly Reed, Anne Bogart, Esther B. Robinson, Sam Green and Brent Green.
As a producer and player he has worked with musical luminaries including Vic Chesnutt, Patti Smith, Tom Verlaine and members of godspeed you! black emperor, DJ/Rupture, Fugazi and The Ex. Griffin was a 2008 fellow at the Sundance Institute Composer’s Lab.
Catherine McRae has played violin and electronics and sung with The Quavers and T. Griffin Coraline, two collaborations with T. Griffin over the last 8 years, as well as numerous live collaborations with Griffin and Filmmakers such as Jem Cohen and Brent Green. She has also collaborated and toured internationally with the band Barbes and with the stage director Richard Maxwell, and performed with Patti Smith.
Scott Macaulay is a New York-based producer and the Editor-in-Chief of Filmmaker Magazine, the leading American magazine devoted to independent film. In this position, he directs the magazine’s editorial content, including special features such as its annual “25 New Faces.” As a producer and along with his partner, Robin O’Hara, and his production company, Forensic Films, Macaulay has produced or executive produced many award-winning features. They include: Peter Sollett’s Raising Victor Vargas; Harmony Korine’s Gummo and julien donkey-boy; Alice Wu’s Saving Face; Tom Noonan’s What Happened Was and The Wife; Jesse Peretz’s The Chateau’ Bryan Barber’s Idlewild; and James Ponsoldt’s Off the Black. Most recently, he produced artist Candice Breitz’s video and performance piece “New York, New York” for Performa ’09. He was formerly the Programming Director of The Kitchen Center for Video, Music, Dance, Performance and Film.
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
Three of Danny Williams’ intimate experimental portraits of the 60’s Warhol Factory, screened with an original, immersive live score by T. Griffin and Catherine McRae from The Quavers.
In 1966 Danny Williams disappeared. He was Andy Warhol’s lover, a filmmaker and the designer of the Velvet Underground Exploding Plastic Inevitable lightshow. Almost 40 years later, his niece Esther B. Robinson found 20 short films Williams made during the year before he vanished. Her documentary inquiry into his disappearance, A Walk into the Sea: Danny Williams and The Warhol Factory, has screened all over the world, won the coveted Teddy Award at the Berlin International Film Festival, and was released theatrically in 2008 by ArtHouse Pictures.
Danny Williams’ extraordinary intimate experimental portraits of the Warhol Factory bring us into that iconic moment with a tenderness and shimmering beauty that stand in fascinating contrast to Warhol’s own films made at the time. Lost for 40 years, these luminous documents are now finally available to be screened.
Factory Film by Danny Williams
USA, 1965, 22 minutes, digital projection, silent
Factory Film features amazingly intimate footage of Andy Warhol along with other factory stars like Brigid Berlin, Billy Name, and more.
Harold Stevenson Pts. 1 and 2 by Danny Williams, score by T. Griffin and Catherine McRae
USA, 1965, 40 minutes, live score
Harold Stevenson part 1 and 2 showcases an incandescent Edie Sedgwick along with Paul America, Ingrid Superstar and Gerard Malanga (among others). This film screens with a live soundtrack. For the luminous 40 minute film “Harold Stevenson parts 1 and 2″, T. Griffin and Catherine McRae have created a score for guitar, violin, samples and walkman. They have looked to the music that electrified The Factory in 1966 and created an immersive, oceanic abstraction of bubblegum pop, LaMonte Young-inspired drones and of course The Velvet Underground. Taking cues from modern ambient artists like Tim Hecker and Belong, Griffin and McRae bury melodies deep under shimmering drones that shift gradually over the films’ 40 minutes, evoking both the joyful optimism that pervades the footage and also the sense of lost history and promise that buried the films for almost 40 years.
The Velvet Underground by Danny Williams
USA, 1965, 9 minutes, digital projection silent
The earliest known footage of the VU, and stars the impossibly young-looking band rehearsing at the Factory. Featuring Lou Reed, John Cale, Maureen Tucker, Sterling Morrison, Gerard Malanga.
Esther Robinson is an award-winning filmmaker and producer. Her critically acclaimed directorial debut A Walk into the Sea: Danny Williams and The Warhol Factory took top prizes at The Berlin, Tribeca and Chicago film festivals; is currently in international theatrical release and available on The Sundance Channel/Netflix/I-tunes. Other producing projects include the film Home Page (Doug Block HBO/Cinemax) and PBS series Alive From Off Center. In addition to producing, Esther Robinson is also the founder of ArtHome (http://www.ArtHomeOnline.org) a nonprofit that helps artists build assets and equity through financial literacy, homeownership, self-sufficiency and the responsible use of credit.
T. Griffin is a songwriter, composer and producer working in Brooklyn, New York. Alone and with his band The Quavers he has released four critically acclaimed CDs of songs in a homespun electronic style that’s been described as ‘porch techno’. He has scored a dozen feature films and at least as many shorts, live projects, plays and art installations. Notable collaborations include Jem Cohen, Michael Almereyda, Peter Sillen, Tze Chun, Kimberly Reed, Anne Bogart, Esther B. Robinson, Sam Green and Brent Green.
As a producer and player he has worked with musical luminaries including Vic Chesnutt, Patti Smith, Tom Verlaine and members of godspeed you! black emperor, DJ/Rupture, Fugazi and The Ex. Griffin was a 2008 fellow at the Sundance Institute Composer’s Lab.
Catherine McRae has played violin and electronics and sung with The Quavers and T. Griffin Coraline, two collaborations with T. Griffin over the last 8 years, as well as numerous live collaborations with Griffin and Filmmakers such as Jem Cohen and Brent Green. She has also collaborated and toured internationally with the band Barbes and with the stage director Richard Maxwell, and performed with Patti Smith.
Scott Macaulay is a New York-based producer and the Editor-in-Chief of Filmmaker Magazine, the leading American magazine devoted to independent film. In this position, he directs the magazine’s editorial content, including special features such as its annual “25 New Faces.” As a producer and along with his partner, Robin O’Hara, and his production company, Forensic Films, Macaulay has produced or executive produced many award-winning features. They include: Peter Sollett’s Raising Victor Vargas; Harmony Korine’s Gummo and julien donkey-boy; Alice Wu’s Saving Face; Tom Noonan’s What Happened Was and The Wife; Jesse Peretz’s The Chateau’ Bryan Barber’s Idlewild; and James Ponsoldt’s Off the Black. Most recently, he produced artist Candice Breitz’s video and performance piece “New York, New York” for Performa ’09. He was formerly the Programming Director of The Kitchen Center for Video, Music, Dance, Performance and Film.
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.