|
Lorna Mills and Sally McKay
Digital Media Tree this blog's archive OVVLvverk Lorna Mills: Artworks / Persona Volare / contact Sally McKay: GIFS / cv and contact |
View current page
...more recent posts
 TV screen gif by Sally McKay |
Tom Sherman, "How To Watch Television", from Cultural Engineering (Ottawa: National Gallery of Canada, 1983), p.56Sit so close, you can't follow the action. The edits come too fast this close. Turn the channel selector. Turn it again.Turn the contrast up. If you have a focus control, turn it so the image is grainy. Toughen up the image. Just a touch of fine tuning ... press your face on the screen. Keep your eyes open. It's beautitul up close. You can feel the charge on your face. You can sense it when you close your eyes. The cool light is red inside. |
Goodridge Roberts, Bright Day, Georgian Bay, 1961. Royal Bank Financial Group's Corporate Art Collection |
 (detail) |
B.C. Binning, Atomic Foundation, 1950. Artists 4 Kids, Original Prints by Canada's Finest Contemporary Artists |  (detail) |
Frederick H. Varley, For What? Canada's Digital Collections |
 (detail) |
| George Elliot (1953): "Colour of course, is the first element to be sacrificed if painting is put in front of the television camera. Can you imagine a Goodridge Roberts landscape without Roberts' very private blues and greens? Binning's subtleties of colour are an important part of his charm. Varley's disturbing palette of piercing greens, blues, cold pinks and earth are essential to the uniqueness of Varley. [...] A painting needs an intellectual presence before it can work its magic. Placing anything between the viewer and the painting kills the viewer." Excerpts from: George Elliot, "A Warning to Artists," in Canadian Art, Spring 1953, p.10-6 (as reprinted in Video re/View, Peggy Gale and Lisa Steele, eds., Toronto: Art Metropole/VTape, 1996, p.20) | |