Podcast appearances and mentions of len lye

Rebecca Fawkner worked at New Plymouth's Govett-Brewster Art Gallery, home of the Len Lye Centre, for 20 years. Her passion for sparking curiosity and creativity in young people has led to the release of her new book 'Ziggle - 65 WAYS TO BE AN ARTIST THROUGH THE WORLD OF LEN LYE.' 

The Len Lye Centre in New Plymouth has unveiled a new work from the acclaimed New Zealand kinetic sculptor and film-maker. Storm comprises three pieces - two never before seen in this country - and has only ever been exhibited once before in New York during the 1960s. Our Taranaki Whanganui reporter Robin Martin went along for a sneak preview.

Wendy Lawrence helps Lance give us an audio description of Len Lye, way ahead of his time scratching film in time to jazz before exhibiting Trilogy at the Govett Brewster Art Gallery, which now hosts much anticipated sensory art tours filling us in with details others seldom know.

In this special episode of Money on the Left, the MotL Collective shares an audio recording from a conference panel titled, “Monetary Modernism.” Featuring papers by Scott Ferguson (University of South Florida), Rob Hawkes (Teesside University), and Maxximilian Seijo (University of California, Santa Barbara), the panel was presented at the Hopeful Modernisms conference organized by the British Association for Modernist Studies (BAMS) at University of Bristol, June 22 - 25, 2022. The conference sought to revive hopeful and more generative impulses in modernist art and literature, challenging a persistent view of modernism as relentlessly bleak and angst-ridden. It did so, moreover, for a present moment similarly burdened by dead-end accelerationist and pessimist imaginaries. The panel begins with Rob Hawkes. He introduces the BAMS audience to the wide-ranging contributions of the Money on the Left Editorial Collective. He also makes the case for reading Georg Friedrich Knapp's early twentieth-century chartalist approach to money as a modernist project deeply entwined with myriad other aesthetic modernisms. In the first presentation, Scott Ferguson explores how Len Lye's Rainbow Dance (1936), a short experimental promotional film for British public postal banking,embraces the abstractness, publicness, and heterogeneous plentitude of both money mediation and avant-garde cinema. In the second talk, Rob Hawkes uncovers how tensions between fixed and fluid understandings of identity formation and history inform John Maynard Keynes' chartalist-inspired writings on money as much as Nella Larsen's 1929 novella Passing and Ford Madox Ford's 1933 novel The Rash Act. Lastly, Maximilian Seijo's presentation carefully works through metaphors for money in Virginia Woolf's book-length feminist essay, A Room of One's Own (1929), complicating the text's appeals to monetary substances and fluids by teasing out its experimental approach to imagining non-patriarchal infrastructures for provisioning aesthetic work. If you are interested in the texts and images that accompany some of the presentations, see here for Rob Hawkes' slides and here for Scott Ferguson's PowerPoint deck. 

New Talk Art!!! JUBILEE SPECIAL with an ACTUAL QUEEN!! We meet Rose Matafeo, the BAFTA nominated comedian, writer and actor from New Zealand. Self confessed "curious nerd" who has a passion for art, craft and photography.We discover Rose's joy for creating her own artworks including dioramas and miniature models, photography and Lomo cameras, her obsession with the Pepper's Ghost illusion technique, textile art, embroidery and crochet. We learn about her artistic family including her artist father and how she was encouraged to collect and live with art since childhood!! We explore her passion for comic book artists and fanzines!! We also discuss the work of New Zealand experimental artist Len Lye.Rose's critically acclaimed show Horndog won the award (formerly the Perrier) for Best Show at The Edinburgh Fringe Festival and was nominated for Best Show at the Melbourne International Comedy Festival. She has since recorded the show as a special for HBO MAX. Rose is a regular face on TV. Her own sitcom, Starstruck, which she has written and stars in was commissioned by BBC3 in the UK and HBO Max in the US. Season One premiered on BBC One and BBC Three in the UK where it became the channel's best performing new comedy of the year with over three million requests on BBC iPlayer to date, and later on HBO Max in the US, the show was also pre-sold to over 50 territories including Australia (ABC) and New Zealand (TVNZ). The show is a critical and ratings success and has returned to BBC3 and HBO Max for a second series in 2022. In the US, Rose has performed a stand up slot on Conan (TBS). In New Zealand Rose was the lead writer and star of the sketch show Funny Girls (TV3), and a regular on panel show 7 Days (Three Now NZ). 2020 saw her star to great acclaim in the feature Baby, Done (Piki Films). She also co-hosts the podcast Boners of the Heart with fellow comic Alice Snedden. Follow @RoseMatafeo on Instagram. Watch Rose's TV show Starstruck, Series 1 and 2 (including Russell Tovey himself) at BBC iPlayer: https://www.bbc.co.uk/iplayer/episodes/p09djx02/starstruck See acast.com/privacy for privacy and opt-out information.

Lance Girling-Butcher talks to Geoff Aiken about his visual memories and dreams, being treated for glaucoma, being disorientated by hearing loss and how dyslexia helped him find solutions on the council. We hear about toilet designs, book clubs, Len Lye, the Festival of Lights, and much more.

New Plymouth commuters could be forgiven for being a little distracted this morning - as one of the city's more notable landmarks - Len Lye's Wind Wand sculpture - dangled from a helicopter on its way across town.  The 48-metre long artwork was being returned from a maintenance overhaul and was carried to its prime spot on the Coastal Walkway.

Richly blessed with world-beating nature trails, my first dose of outdoorsy soft adventure was on New Plymouth’s universally feted Coastal Walkway, the envy of many a New Zealand town. It was the perfect balmy autumn’s evening, and the shoreline trail was a hot ticket, with hundreds of folk lustily embracing a twilight stroll, as the slanting light of day’s end gilds the shoreline.The award-winning path which skims the Tasman Sea for 13km, not only offers celestial coastal vistas and world-class surf breaks, but is crowned with some compellingly large works of art. Keep walking north of the city to encounter the dramatic wave-like Te Rewa Rewa Bridge (freshly repainted), while Len Lye’s iconic breeze-bending kinetic sculpture, the Wind Wand, remains a much-adored city landmark.A botanical oasis at any time of year is the time-honoured sanctuary of Pukekura Park. Previously, I’ve savoured the city’s annual illuminated extravaganza, the TSB Festival of Lights, which transforms the park into a spangled wonderland. Transcending the summer holidays, Pukekura Park comes alive after dark with theatrical lighting installations and ingenious artworks.But regardless of the time of year, this inner-city paradise boasts exquisitely landscaped gardens, the lustrous Fountain Lake and a staggering variety of native and exotic plant collections. Change it up with an anecdote-rich guided tour to ensure you don’t miss the park’s star specimens and hidden gems, like the 2000 year old Puriri tree, the oldest hospital still standing in New Zealand, and a major film location for Tom Cruise’s The Last Samurai.Ever since our pioneering days, Taranaki has been nicknamed the Garden of New Zealand and I revelled in some of the region’s botanical stars, including Tūpare. Nearly 80 years old, the restored Chapman-Taylor Arts & Crafts homestead and garden is a stately sight to behold. Sculpted from a hillside overlooking the Waiwhakaiho River, walk the winding paths cut into the hillside for sigh-inducing vistas and intimate garden rooms.Grand coniferous trees such as dawn redwoods, kauri, rimu and giant redwoods set the framework for the garden. They are supported by beautiful deciduous specimens such as the dove trees, tulip trees and liquidambars – the autumn show at Tūpare is very special. Smaller trees, typically maples and magnolias, are favoured alongside rhododendrons, camellias, azaleas and hydrangeas, all carefully planted by Sir Russell Matthews in 1932.Further afield, in the shadow of Taranaki Maunga, Hollard Gardens is a botanical bucket-lister, a Garden of National Significance that was established in 1927 by Bernie and Rose Hollard, now in public ownership. Bernie believed that the best plants were the ones worth waiting for. The plant that he bred and was well known for was the Rhododendron Kaponga which took 12 years to flower.The gardens remain an abiding legacy of almost a lifetime of tireless work by a private individual. It is a quintessential woodland garden, a joy to leisurely free-roam. Head gardener, Shannon, led me around its finest features, from the mature and intimate Old Garden to the buzzing diversity of the New Gardens. Hollard has recently been accentuated by the wonderfully popular family corner, complete with playground, free barbeques and kitchenette.Just east of Eltham, I ventured to the barnstorming conservation success story at Lake Rotokare. Home to the Lake Rotokare Scenic Reserve, this sublime 230 hectare predator-free environment is a cradle of native and endangered flora and fauna. It is the largest lake and wetland protected by a ring fence, which was constructed in 2008. (Rotokare translates as “rippling water.”) Alongside the8km long fence, their pest-trapping programme has eradicated 12 million mammals, allowing 9 threatened species to be reintroduced to the sanctuary.They include the North Island brown kiwi, North Island saddleback, North Island robin and the Hihi/Stitchbird. The kiwi r...

“ANTICORPS” au Palais de Tokyo, Parisdu 23 octobre 2020 au 3 janvier 2021Extrait du communiqué de presse :Curatrices / Curateurs : Daria de Beauvais, Adélaïde Blanc, Cédric Fauq, Yoann Gourmel, Vittoria Matarrese, François Piron Et Hugo Vitrani, assisté·e·s de Camille Ramanana RaharyAvec les artistes : A.K. Burns, Xinyi Cheng, Kate Cooper, Pauline Curnier Jardin, Kevin Desbouis, Forensic Architecture, Lola Gonzàlez, Emily Jones, Florence Jung, Özgür Kar, Nile Koetting, Tarek Lakhrissi, Carolyn Lazard, Len Lye, Tala Madani, Josèfa Ntjam, Dominique Petitgand, Ghita Skali, Koki Tanaka, Achraf Touloub.Réaction quasi épidermique à la crise sanitaire et sociale, l'exposition Anticorps, conçue par l'équipe curatoriale du Palais de Tokyo, donne la parole à 20 artistes de la scène artistique française et internationale qui, avec des oeuvres récentes ou nouvelles, prennent le pouls de notre capacité à faire corps ensemble et à repenser notre façon d'habiter le monde.L'expérience du confinement et l'adoption de la distanciation physique et sociale, à l'échelle mondiale, nous font reconsidérer l'hermétisme de nos corps. Avions-nous oublié à quel point nous étions poreu·x·ses ? La vulnérabilité de nos enveloppes corporelles fait surgir autour de nos foyers, de nos cercles sociaux, de nos pays, encore davantage de frontières, de barrières, hérissées d'inquiétudes et de suspicions. Cette situation accroît des inégalités déjà présentes, en termes de privilèges de classe et d'exposition aux risques. Mais dans l'écartement qui s'est renforcé entre public et privé, nous réalisons finalement que tout nous touche de manière plus exacerbée et nous incite à redéfinir nos liens comme nos proximités.« Pourquoi nos corps devraient-ils s'arrêter à la frontière de la peau ? », demandait Donna Haraway (1). Anticorps s'offre comme une exposition qui tente de penser à travers les peaux, en s'attachant à développer plusieurs registres de l'affectivité, de la présence et de l'haptique, cette exploration du sens du toucher sans que celui-ci soit physiquement activé. La « mise à distance » pousse à une volonté renouvelée de contact.Les artistes réuni·e·s au sein d'Anticorps font état de caresses, de murmures, de souffles et de menaces qui questionnent nos réactions et transactions émotionnelles, nos rapports sociaux. Si l'exposition ne fait pas de la crise sanitaire actuelle un sujet, les oeuvres, ainsi que les relations tissées entre elles, permettent de questionner la distance et le toucher, considérant ces deux termes comme intrinsèquement politiques et poétiques.La polysémie du titre de l'exposition est dès lors manifeste : il s'agit à la fois d'accepter les nouvelles normes imposées de l'être-ensemble (distance) tout en ouvrant la perspective d'un autre érotisme social (toucher). Il paraît nécessaire, comme le préconisait Susan Sontag (2), de remplacer les métaphores militaires souvent attachées au fonctionnement de nos systèmes immunitaires par un autre lexique, et de nous préoccuper davantage d'hospitalité. Anticorps invite à parcourir le Palais de Tokyo à la fois comme un foyer (in vitro) et comme un réseau mouvant (in vivo). Cela permet de réfléchir autrement aux communautés éphémères que le Palais de Tokyo peut créer et rassembler et tout particulièrement aux relations suggérées entre les publics et les oeuvres.(1). Donna Haraway, « Manifeste cyborg », Paris, Exils, 2007(2). Susan Sontag, « Le sida et ses métaphores », Paris, Christian Bourgois, 1989 : « La maladie est vue comme une invasion d'organismes étrangers, à laquelle le corps réagit par ses propres opérations militaires, telle la mobilisation des «défenses» immunologiques, et la médecine se fait «agressive» […] Les métaphores militaires contribuent à stigmatiser certaines maladies, et par conséquent celles et ceux qui en sont atteints. » (pp. 130-133) Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Geboren wurde der Künstler Len Lye in Neuseeland. Er war ein wichtiger Exberimentalfilmer der 1930er bis 1950er Jahre. Dabei blieb es aber nicht. Seine Kreativität entwickelte sich stets und sein Interesse an "Bewegung" kannte keine Grenzen. E schuf kinetische Skulpuren und zahlreiche Zeichnungen. Das Tinguely Museum führt den Zuschauer in die Welt von Len Lye und reist somit durch seine Gedanken und Visionen. Die Austellung zeigt über 150 Werke des verstorbenen Künstlers.

Thank you for listening to this talk, produced by the Art Gallery of South Australia. Hear from Director Rhana Devenport ONZM as she introduces the new acquisition by the experimental antipodean, Len Lye. For further information visit www.agsa.sa.gov.au photo: Nat Rogers

We had the privilege of having a good old chinwag with Jagwar Ma founder, video artist, producer and movie scorer Jono Ma. We discuss the story of their early explosion onto the scene and getting signed, the early days of the band, Len Lye, meeting Andrew Weatherall and what happens when a musician starts fucking hating music! We find out the current status of the band and get a glimpse into the scene he's starting in Byron Bay. And greyhound racing, plenty of talk about greyhound racing! Even if you don't know the band that well, it's an interesting insight into what makes one of Australia's most creative musicians tick.

The 76 Small Rooms team talk to Andrew Patterson and some of the users of the new Len Lye Gallery in New Plymouth.

It's the first CIRCUIT Cast for 2014! In this months pod we talk to Australian artist Nathan Gray about his decision to withdraw from this years Sydney Biennale, just hours before the Biennale ended it's association with controversial sponsor Transfield Holdings. Panellists Martin Patrick and Abby Cunnane join host Mark Amery to dissect the Adam Art Gallery exhibition Cinema and Painting. From New York we are joined by the one of the show's artists, Mr Ken Jacobs, who with his wife Florence discuss the relationship between the aforementioned two mediums, Jacobs' 3D cinema and also share an anecdote about Len Lye in New York during the 1960s. Image: Ken Jacobs, film still from The Guests, 2013. 3D Archival footage transferred to digital video, DCP, b/w, surround-sound, 74mins. Courtesy of the artist.

Imagine a world wherein the people who wrote history books were artists, the books occasionally read like poetry, and the stories in them ranged from Monty Python skits to the natural history of chameleons to the making of classic sniper films. Pick up Hanna Rose Shell‘s new book, and you can imagine (for a few hours, at least) that you’ve stepped into such a world. Hide and Seek: Camouflage, Photography, and the Media of Reconnaissance is a history of the visual and material practices of strategic concealment between the first publication of the Origin of Species and the end of WWII. Shell has structured the book around three historically and conceptually linked stages in the history of camouflage: static, serial, and dynamic. Each stage comes to us full of fascinating characters, from Abbott Thayer with his painted potatoes to Len Lye with his filmic tattoos of dancing color. The text is a fabric of words and images, interweaving reproductions of the photos and stencils and taxidermied creatures of Shell’s historical actors with her own work as a visual artist. There are tattoos. There are feather paintings. There is an overcoat owned by William James and there are aerial reconnaissance photos. This is an electric and surprising world, and one that is well worth visiting in the pages of Shell’s book. Learn more about your ad choices. Visit megaphone.fm/adchoices

Imagine a world wherein the people who wrote history books were artists, the books occasionally read like poetry, and the stories in them ranged from Monty Python skits to the natural history of chameleons to the making of classic sniper films. Pick up Hanna Rose Shell‘s new book, and you can imagine (for a few hours, at least) that you’ve stepped into such a world. Hide and Seek: Camouflage, Photography, and the Media of Reconnaissance is a history of the visual and material practices of strategic concealment between the first publication of the Origin of Species and the end of WWII. Shell has structured the book around three historically and conceptually linked stages in the history of camouflage: static, serial, and dynamic. Each stage comes to us full of fascinating characters, from Abbott Thayer with his painted potatoes to Len Lye with his filmic tattoos of dancing color. The text is a fabric of words and images, interweaving reproductions of the photos and stencils and taxidermied creatures of Shell’s historical actors with her own work as a visual artist. There are tattoos. There are feather paintings. There is an overcoat owned by William James and there are aerial reconnaissance photos. This is an electric and surprising world, and one that is well worth visiting in the pages of Shell’s book. Learn more about your ad choices. Visit megaphone.fm/adchoices

Imagine a world wherein the people who wrote history books were artists, the books occasionally read like poetry, and the stories in them ranged from Monty Python skits to the natural history of chameleons to the making of classic sniper films. Pick up Hanna Rose Shell‘s new book, and you can imagine (for a few hours, at least) that you’ve stepped into such a world. Hide and Seek: Camouflage, Photography, and the Media of Reconnaissance is a history of the visual and material practices of strategic concealment between the first publication of the Origin of Species and the end of WWII. Shell has structured the book around three historically and conceptually linked stages in the history of camouflage: static, serial, and dynamic. Each stage comes to us full of fascinating characters, from Abbott Thayer with his painted potatoes to Len Lye with his filmic tattoos of dancing color. The text is a fabric of words and images, interweaving reproductions of the photos and stencils and taxidermied creatures of Shell’s historical actors with her own work as a visual artist. There are tattoos. There are feather paintings. There is an overcoat owned by William James and there are aerial reconnaissance photos. This is an electric and surprising world, and one that is well worth visiting in the pages of Shell’s book. Learn more about your ad choices. Visit megaphone.fm/adchoices

En 1880 avec son Praxinoscope à projection, Émile Reynaud parvient à coupler la synthèse graphique du mouvement avec la lanterne magique, créant une nouvelle technique de peinture animée lumineuse, distincte des formes antérieures de projection et qui précède le cinéma photographique. Inventeur et artiste accompli, il crée ensuite le jeu expressif des personnages peints et animés dans ses Pantomimes Lumineuses, puis la Photo Peinture animée. De toutes ces inventions on peut retrouver des développements au fil des évolutions du cinéma, des films absolus au dessin animé narratif, en passant par les films coloriés et les hybridations graphiques et photographiques. Cependant la peinture animée en tant que technique "directe" va principalement se développer dans le cinéma expérimental, notamment avec les films de Len Lye et McLaren à partir des années 1930.