Aaron Cockle here today with Amy Lockhart at Anthology Film Archives; Jerry Saltz on Bill Taylor; Austin English on ‘Feininger’s Grandkids’; Spearfishing Explained (in comics format)
SHOW & TELL: AMY LOCKHART
At Anthology Film Archives, Thursday, December 7, 7:30pm
An animator with a style and sensibility entirely her own, Amy Lockhart has been drawing pictures of creepy ladies since she was seven years old. Utilizing everything from paper cutouts and puppets to digital tools, Lockhart’s films exude a handcrafted, rough-edged surrealism. Populated primarily by female figures whose body types are as distinctive and transgressive as those of R. Crumb, as well as by a cavalcade of anthropomorphized animals, objects, and shapes, her universe evokes kids-show animation seen through a distinctly demented lens, while also displaying a genuinely childlike, pre-socialized preoccupation with bodily functions. Profoundly intuitive and endlessly surprising, Lockhart’s mysterious and delirious world behaves according to a logic that’s as astonishing as it is inscrutable.
“Amy Lockhart works across a range of mediums including zines, sculptures, paintings, drawings, and animations. Her work exudes an imperfection and oddness that feels very human, at once unpredictable, heartfelt, funny, and disturbing. Many of her works feature an array of stumbling, distorted cartoon characters whose misshapen bodies limp, bend, and bulge, often while smoking, licking, drooling, or crying. Also recurring in her work are disembodied facial features, hands, and limbs, as well as various joyfully rendered muscly women, frequently missing their arms. Such characters drive her work, but there is as much pleasure and interest to be taken in the way they are drawn, animated or constructed as in what they do or who they are. The form of her work has its own rich, non-verbal meaning and content.” – Edwin Rostron, EDGE OF FRAME
SYLVA LINING (1998, 1 min, 16mm)
THE DEVIL LIVES IN HOLLYWOOD (1999, 6 min, 16mm)
MISS EDMONTON TEENBURGER 1983 IN, IT’S PARTY TIME! (2001, 17 min, digital)
MISS EDMONTON TEENBURGER 1983 IN, YOU’RE ETERNAL… (2002, 6 min, digital)
WALK FOR WALK (2005, 10 min, 16mm)
THE COLLAGIST (2009, 2 min, digital)
LANDSCAPE (2012, 8 min, digital)
JESSICA (2014, 5 min, digital)
Total running time: ca. 60 min.
I have a personal theory as to why Doucet abandoned comics, one that relates to the context of this column but might not bear out factually. Anyone who wants to correct me should do so. But bear with me: Doucet, being a extremely sophisticated artist, continued to sharpen and evolve. Her mature comics work, My New York Diary, is as sharp a piece of traditional cartooning as one can find in the alternative era. But after that story, Doucet leaves comics. My theory is that Doucet looks at what people define “real” comics as, pushes her work in that direction, and thinks, “Well… why bother with all this if this is what people want?” Her early and later work are, to me, without flaw. But I’d argue that the comics community’s view of what a serious artist must apply themselves to is a pressure that doesn’t need to be grafted on to every artist. And yet the view is so dominant that it’s hard to avoid. Someone like Doucet can master the ins and outs of traditional cartoon integrity but probably notices quicker than most what a closed system it is, how much feeling it excludes and how much one gives up to offer one’s entire art up to it.
‘Instead of opening a sketchy attachment on your computer, upload it to Google Drive and look at it in your web browser.’
Vision Box – 11-21-2017 – by Cameron Arthur
Suzy and Cecil – 11-21-2017 – by Sally Ingraham
Caleb Orecchio – 11-21-2017 – by Caleb Orecchio