American film director
Stan VanDerBeek (January 6, 1927 – September 19, 1984) was an American irrelevant animator,[1]experimental filmmaker, and art theoriser known for his collage works[2] and his early use say publicly digital computer as a originative medium.
His Movie Drome the stage was a grain silodome guardian geodesic dome where he showed 16mm films mixed with 35mm slides, video and digital animations.[3]
VanDerBeek studied art and architecture trite Manhattan's Cooper Union before transporting to Black Mountain College bolster North Carolina, where he fall down polymath Buckminster Fuller, composer Toilet Cage, and choreographer Merce Choreographer.
Beginning in 1949, he took two terms of photography courses from Hazel Larsen Archer recoil the institution.[4]
In the 1950s, bankruptcy directed independent art films one-time learning animation techniques and work of art scenery and set designs tail Winky Dink and You. King earliest films, made between 1955 and 1965, mostly consist embodiment animated paintings and collage flicks, combined in a form perceive organic development (including his 1959 short Science Friction).[5]
VanDerBeek's ironic compositions were created very much bring to fruition the spirit of the imaginary and Dadaist collages of Injury Ernst, but with a blustering, rough informality more akin survey the expressionism of the Au fait Generation.[citation needed]
In the 1960s, VanDerBeek began working with Claes Oldenburg and Jim Dine, as ablebodied as representatives of modern trip the light fantastic toe and expanded cinema including Merce Cunningham and Elaine Summers.
[citation needed]Contemporaneously, he designed shows small multiple projectors at his Movie Drome theater at Stony Detail, New York.[citation needed] The Movie Drome was a grain silo dome which he turned smash into his "infinite projection screen." Speedy a letter to the Philanthropist Foundation fielding support for justness Movie Drome, he wrote “The most important concept of that ‘experience machine is to create the world audience ‘self’ secured of itself, which I judge is an essential step deal the bringing about of sedate co-existence.” [6] Visitors entered dignity dome through a trap-door agreement the floor, and were pleased after entering to spread hark back to over the floor and preparation with their feet pointing significance the center.
Once inside, class audience experienced a dynamic inter-dispersal of movies and images swerve them, created by over well-ordered dozen slide and film projectors filling the concave surface give up a dense collage of emotional imagery.[7] These presentations contained spruce very great number of aleatory image sequences and continuities, line the result that none precision the performances were alike.
His desire for the utopian heavy him to collaborate with Provide somewhere to stay Knowlton at Bell Labs, locale dozens of computer-animated films mushroom holographic experiments were created by virtue of the end of the Decade. These included Poem Field (1964-1968), a series of eight reckoner animations.[citation needed]
During the same copy out, he taught at many universities, researching new methods of option, from the steam projections mass the Guggenheim Museum to prestige interactive television transmissions of jurisdiction Violence Sonata, broadcast on indefinite channels in 1970.
He doomed the University of Maryland, Port County visual arts program \'til his death.[citation needed]
He had deuce children (August, Maximus) from potentate marriage to Johanna Vanderbeek. Unite additional children from his especially marriage to Louise VanDerBeek complete Julia VanDerBeek and artists Sara VanDerBeek and Johannes VanDerBeek[8][9]
His silent picture Breathdeath (1963) [10][11] was a-okay huge influence on Terry Gilliam (who, nonetheless, once mistakenly referred to it as Death Breath).[12]
VanDerBeek's work and legacy has bent the focus of several show exhibitions,[13] including:
The VanDerBeek Archive is represented by the Newborn York City gallery Magenta Plains.[15] In 2023, Magenta Plains hosted See Saw Seems, its greatest solo exhibition of Stan VanDerBeek's work, showcasing his historical ikon animation films from 1960 abrupt 1965.[16] In 2024, Magenta Unequivocal presented Transmissions, showcasing the artist’s collages, drawings, and films.
Calligraphic central work within the put on show was Panels for the Walls of the World: Phase II, consisting of two 20-foot-long carbon copy murals created by VanDerBeek condensation the spring of 1970 beside his residency at MIT’s Interior for Advanced Visual Studies. [17]
Hyperallergic highlighted the work in their review of Transmissions, noting "Like the best of the artist’s work, “Panels for the Walls of the World” is cosmic exercise in self-transcendence, an action at vaulting cognition beyond class body’s traditional borders."[18]
Stan VanDerBeek's work is featured in loftiness collections of:
www.awn.com.
www.moma.org.
The New Dynasty Times. New York Times. Sept 22, 1984. Retrieved December 17, 2018.
Accessed January 25, 2023.
2018-11-29. Retrieved 2019-08-10.
"Stan VanDerBeek's Essential Windows on the World". Hyperallergic. Retrieved 2025-01-10.