Moira Shearer & Robert Helpmann in The Red Shoes (1948, dir. Michael Powell & Emeric Pressburger) (via)
“I am often asked why The Red Shoes, of all our films, became such a success in every country of the world. More than a success, it became a legend. Even today, I am constantly meeting men and women who claimed that it changed their lives. This is natural enough for women who were girls at the time, and who were growing up in countries that had been wracked by war. But my friend Ron Kitaj, who was thinking of becoming an art student at the time, has told me the same thing. ‘It changed my direction,’ he said. ‘It gave art a new meaning to me.’
These are personal reactions, but I think that the real reason why The Red Shoes was such a success was that we had all been told for ten years to go out and die for freedom and democracy, for this and for that, and now that the war was over, The Red Shoes told us to go out and die for art.”
-excerpted from Michael Powell’s A Life in Movies
I fly like paper get high like planes by Dawn Ng
Throughout my life I’ve found this seductive feeling of homesickness or its opposite, fernweh “far-sickness” - a desire to leave, both tsunamis of longing so great that either can overwhelm and paralyze my entire being.
The idea of this work of art is to recreate this great wave of emotion. By orchestrating thousands of paper planes to physically burst through a single window and explode into the massive indoor space, my intention is to visually and physically engulf the viewer. ftp
Léon Spilliaert, Clair de Lune et lumières (Moonlight and Light). c. 1909. Pastel and ink wash, 64 x 48.5 cm. Thank you, bellswithin.
(via 50watts)
Artistic interpretation of a quote from Alan Fletcher’s “The Art of Looking Sideways,” Teagan White.
Barn Owls, Chris Huang.
Moira Shearer & Robert Helpmann in The Red Shoes (1948, dir. Michael Powell & Emeric Pressburger) (via)
“I am often asked why The Red Shoes, of all our films, became such a success in every country of the world. More than a success, it became a legend. Even today, I am constantly meeting men and women who claimed that it changed their lives. This is natural enough for women who were girls at the time, and who were growing up in countries that had been wracked by war. But my friend Ron Kitaj, who was thinking of becoming an art student at the time, has told me the same thing. ‘It changed my direction,’ he said. ‘It gave art a new meaning to me.’
These are personal reactions, but I think that the real reason why The Red Shoes was such a success was that we had all been told for ten years to go out and die for freedom and democracy, for this and for that, and now that the war was over, The Red Shoes told us to go out and die for art.”
-excerpted from Michael Powell’s A Life in Movies
I fly like paper get high like planes by Dawn Ng
Throughout my life I’ve found this seductive feeling of homesickness or its opposite, fernweh “far-sickness” - a desire to leave, both tsunamis of longing so great that either can overwhelm and paralyze my entire being.
The idea of this work of art is to recreate this great wave of emotion. By orchestrating thousands of paper planes to physically burst through a single window and explode into the massive indoor space, my intention is to visually and physically engulf the viewer. ftp
Léon Spilliaert, Clair de Lune et lumières (Moonlight and Light). c. 1909. Pastel and ink wash, 64 x 48.5 cm. Thank you, bellswithin.
(via 50watts)
Artistic interpretation of a quote from Alan Fletcher’s “The Art of Looking Sideways,” Teagan White.
Barn Owls, Chris Huang.
