Thanks so much to everyone who came out to see Minnesota animation at MinnAnimate 5 last night! Here are some photos from the Q and A’s.
Trevor Adams re-writes cinema history by cutting the film emulsion off the film base with sharp objects, subjects it all to pen and paint and flashes it all before our eyes. He is a magician who reveals infinity with the tiniest movements. Which is another way to say that he works directly on film, animating dreamlike stories of the lives around him.
John Akre is an animator and videomaker who lives in Minneapolis. He co-owns Green Jeans Media with Beth Peloff and has made three animated features and something like 100 animated shorts that have screened around the world. He likes to take stop motion animation to the streets with his Sloppy Films Animation Station. He teaches animation to young people at schools, after school programs and summer camps, and to slightly less young people at Hamline University.
Lukas is from Saint Paul, Minnesota. He is currently studying animation.
Misha Ardichvili is a film-maker from Roseville, MN. He recently graduated high school and spends his time film-making at a local television station (CTV North Suburbs). He made Deadringer last summer as a part of his internship and finished animating in the fall.
Brian Barber is an animator, illustrator and designer in Duluth, MN. He works on TV Ads, music videos, corporate videos and more. You can see his work at http://brianbarber.tv and at http://brianbarber.com
Susan Shay Brugger
Susan has been animating in Flash/Animate for a number of years, focusing on non-humans relating to other non-humans. When she’s not animating, she designs motion graphics and supervises CGI and 3d production at Theory Studios.
Adam Dargan is an experimental animator and filmmaker working to bridge the gap between traditional and contemporary art-making practices. He works primarily with analog film to explore texture and movement of the medium. Then uses his knowledge of 3D software to manipulate these analog images into 3D environments. The combination of analog and digital mediums allows him to create imagery that highlights new perspectives on the media we are typically exposed to.
Cody Greene is an independent animator who deals in simple shapes and color to deliver short, but poignant stories.
Cable Hardin has been making films and animation for tv, film, and web for decades. He also teaches film and animation at South Dakota State University as well as organizing animation and film exhibition (SoDak Motion/SoDak Animation Festival, 2008-present). Cable has also specialized in makeup special effects for film and tv. Other titles in his filmography include White Out (2015), The Uncle Mike Show (2013), Look to the Sea (2010), Beard and Moustache Experiments (2008) and Ancestors (2006).
Ed Heyl is an animator, artist and fool who lives in Minneapolis.
Robert Jersak is a full-time faculty member at Century College and a part-time animator on his own time. He still doesn’t know what he’s doing. He’s taking it all one frame at a time.
Eric Kreidler is a Minneapolis-based motion designer and animator. He is co-owner with his wife Gretchen Blase Kreidler of eg design, a creative studio specializing in graphic design, motion design, illustration, and animation. Eric has directed children’s music videos for Sesame Street, Danny Weinkauf, and The Bazillions.
Marcie LaCerte is an animation student in Minneapolis. She’s interested in experimental media art and spends most of her free time watching videos on the Internet. She also likes psychology, podcasts, sleeping, and eating.
Olubukola Laditan has been in the entertainment industry for over 7 years. He is an independent animator who lives in Minneapolis Minnesota.
Noah Lawrence-Holder is an illustrator and animator from Madison, Wisconsin. He began attending the Minneapolis College of Art and Design in 2013. He has a penchant for cheese and small dogs.
Adam Loomis is a Minneapolis resident and self-taught animator.
Ian Lueck, a Wisconsin native, has been an independent filmmaker and animator for almost two decades. His work has been featured at the Los Angeles Film Studies Center and the Trylon Microcinema in Minneapolis, as well as numerous video sharing sites on the web.
Wayne Nelsen has currently made 47 animated videos.
Beth Peloff is a video maker and teacher who works in both documentary and animation. Her films have played at film festivals both locally and nationally, including the Minneapolis St. Paul International Film Festival and the Sodak Animation Festival.
Polzine is an experimental animator with a BFA from MCAD. She currently continues to make experimental animations, and looks forward to a teaching position at Perpich in the fall.
I’ve been creating stop-motion animated films since I was a little boy and I’d like to think I have a bit of a knack for it. I’m hoping it will get me through the rest of my life.
I am a local animator from Minneapolis, I graduated from the Minneapolis College of Art and Design with a Bachelor’s of Fine Arts degree. I love working in character animation, it’s definitely my favorite kind of animation. I find people in general fascinating, how different everyone is. I’m a very observant person and people watching is one of my favorite pastimes.
Tom’s been making animated films since 1990.
Josh Stifter has animated for longer than he can probably remember. He’s created animation for Kevin Smith, CNN, Sparkhouse, and runs his media company Flush Studios out of his basement. He also is a dad on occasion.
Anna Taberko is a Minnesota based animator. Her focus is the abstractness created in the natural environment, whether through color or form.
Leo Winstead is an illustrator and filmmaker based out of the Twin Cities. Leo has been involved with various film projects over the last 20 years, starting with short stopmotion vignettes shot on super-8 which then lead to 16mm film and video production during college. He produced the storyboards for the film The Quiet Storm (2000) about domestic violence, while an undergraduate at the Minneapolis College of Art & Design. Other projects have included This Is My Body (2008), where he worked as storyboard artist, animator, and 2nd unit director and more recently Akello & the Lion (2010), an animated film dealing with the effects of the conflict in Uganda involving the LRA.
I am a multi-media artist, born and raised in Minneapolis, MN. I received a Bachelors of Science in Art from University of WI-Stout, and an MFA from University of MN. I have a PhD from University of Leeds. I have exhibited my work nationally and internationally, and have participated in film and video screenings at the Walker Art Center and Weisman Art Museum on Minneapolis, MN, and the National Museum of Photography, Film & Television, Bradford, England. I have participated in numerous artist residencies, including at Art in General, NY. I am a recipient of the McKnight Foundation visual arts Fellowship and the Bush Foundation Fellowship in art. My work is concerned with notions of place, identity and the ubiquitous everyday, and how disparate information can come together to create new meaning.
This is the program that will show at 6 pm on September 8 for MinnAnimate 5.
The Big Bang
by students at Talahi Community School
These three stop motion animated films were created by 4th and 5th graders at Talahi Community School in St. Cloud working with COMPAS Teaching Artist John Akre.
Why? The Movie
by Jacob and Ruby
Mint Ice Cream
by Martin and Susan
These two shorts were created during the IFP Photoshop/Flash Animation Camp in August 2016.
Gerald the Gerbil
by Elizabeth and AJ
These two shorts were created during the IFP Stop Motion Animation Camp in July 2016.
Love, Fire, Home
by Raices Youth Program
by Yaneli, Lillibeth, Oscar, Remigio, Vicky, Marilyn
The Darkness that Brought Love
by Star, Ricardo, Jessica, Vanny, Leslie
These films were created by youth in the Raices Youth Program at Centro Tryone Guzman with Teatro del Pueblo.
6 Second Films
by SPNN Youth
This short video is a compilation of short (6 second long) pieces that were created during the 2015 SPNN Youth Intern Program. The pieces were submitted to the Minnesota Museum of American Art’s Really Short Film Festival, who asked people to submit videos about what summer looks like to them.
by Breon Jones
This video was created as part of the #GuerrillaTeens project at SPNN, a partnership with the Guerrilla Girls and other local arts organizations. Through this project, youth participants had the opportunity to explore the problems affecting their communities and create media for a collaborative public art project.
by Misha Ardichvili
A young man is haunted by his dream in this live-action/rotoscope animation hybrid film.
How Does it Feel
by Noah Lawrence-Holder
A short animation exploring the complexity and erasure of black identity.
The Little Ships
by Marcie LaCerte
A visual music animation created to the tune of “The Little Ships” by Jean-Jacques Perrey. Inspired by the work of Oskar Fischinger, Norman McLaren, and Christopher Hinton.
by Anna Taberko
A dream of falling. MCAD graduation film.
by Lukas Anderson
The film Ecdysis is a visual representation of the process of moulting.
Under the Bed
by Lea Redding
A young girl hears mysterious noises in her room at night, she believes it’s just her cat, but it is so much more.
This Is It
by Adam Dargan
Everyone has their own path. A path can rush with acceleration or slow to a crawl. A path can grow large and unpredictable or small and uninteresting. Only a person on their path can change it.
The path does not care if you are invested in it. Whether you love it or hate it, praise it or ignore it. The path moves onward with or without you. You can allow the path to fly under the radar or you can examine it by finding your breath for the present moment. You are the path and the path is you.
We are often so caught up with distractions that we forget to take a breath and experience the ‘now’. Remember, This Is It.
Here is the program for the 7:30 pm Independent Animation Showcase in MinnAnimate 5
“Water Cycle” by The Bazillions
by Eric Kreidler
Set to the fantastic music of Minneapolis kindie rockers The Bazillions, this video uses animated watercolor (analog and digital) to tell the story of precipitation, accumulation, evaporation, and condensation that makes the water cycle go!
by Leo Winstead
“PRIME” is a science fiction tale set in the distant future. It concerns mankind’s search for a cure to a virus that has caused near extinction of the human race. A scouting vessel lands on a remote planet and retrieves a humanoid that resembles one of man’s early ape-like ancestors. Could he be the answer to the cure they have been searching for?
by Edward Heyl
Hermione discovers a new variation of a favorite spell and Furiosa takes care of business.
Piracy is Not a Victimless Crime
by Cody Greene
Piracy Is Not A Victimless Crime tells the story of a young boy developing an unhealthy nostalgia for the glue of envelopes after his dad is placed on death row for pirating Disney movies.
The Between of Tin Visions
by Mara Zoltners
We live in unsettling times, and the images of disruptive incidences and occurrences are now transmitted live, and the viewer has the opportunity to watch an event unfold in real time. I take photos during these live transmissions with the intent to gather through imagery the ‘totality'” of news events and to re-present them. The images have taken form in an ongoing animated work titled THE BETWEEN OF TIN VISIONS. The title takes inspiration from the term ‘tin ear’ which in musical circles means a lack of ability to distinguish musical tones in subtle and sensitive ways. Vision and understanding can take on this similar kind of insensitivity. THE BETWEEN OF TIN VISIONS aims to organized the images as a metaphor for the insensitivity of vision within the cascade of news spectacle.
Minneapolis Beneath the Asphalt Pt. 4 – Open Streets East Lake
by John Akre
During the Open Streets event on East Lake Street, people visited the Sloppy Films Animation Station to create stop motion animation and talk about what is beneath the surface of Minneapolis.
Playtime for Monsters
by Olubukola Laditan
Playtime For Monsters is a parody about monsters. Instead of monsters being angry they are just having fun.
by Robert Jersak
Is it time to eat yet? Food Time is an animated, channel-surfing collage of experiences with, and without, food.
by Adam Loomis
2D animation music video for local Minneapolis fuzz-punk band, Ego Death.
by Ian Lueck
Silverware Force: It began with a video game, then spawned an entire media franchise.
10 Things You’ll Learn in the First Year of Being a Dad
by Josh Sifter
Being a dad is hard. Here are some thing’s you’ll learn to help you be the best dad you can be!
Created for Z-fest Film Festival.
by Jack Quincey
Just another day in the life of a lazy cartoonist wannabe fast food worker.
by Cable Hardin
They’re everywhere and often hard to get rid of.
The Exorcism of Jack O’Lantern
by Susan Shay Brugger
Eek A Spyder must exorcise Jack O’Lantern only to face and even more sinister enemy.
by Margaret Polzine
Truthful Innards is an exploration of the complex layers that form around the body after trauma. Depersonalization, isolation, anger, and finally, healing.
by Wayne Nelson
Tom Cassidy remembers the traveling performers at Olympic Park.
by Trevor Adams
The inevitable progression of time presses on faces, bodies, and vision, leaving behind only music and nature in this image poem hand scratched on 16mm film.
by Beth Peloff
After the death of her husband, an elderly women tries to come to terms with her new life.
by Brian Barber
Rich Mattson and the Northstars – “Old Gene.” Music video done for the 2016 Duluth Homegrown Music Festival. Filmmakers are assigned a random song from a local band and they make a video.
The Sparrow’s Flight
by Tom Schroeder
A last collaboration with my dead friend Dave Herr.
Submissions are now open for MinnAnimate 5, which will be on September 8th. Submit now by clicking the Submit button above. Submissions close on July 31.
Adama, an animated feature film set in Africa, is playing at the Minneapolis St. Paul International Film Festival on April 10 and 16. It leads a line-up of animated films at the festival that includes several animated shorts, including two that were part of the screening at MinnAnimat IV. Find more info here: http://prod3.agileticketing.net/WebSales/pages/info.aspx?evtinfo=204004~163a5c15-c3ae-4635-ba12-bbe995cbeb29&epguid=906defef-8dd5-42cd-9ca5-755e829b0ee9&
I saw and heard the Trevor Adams screening at Cellular Cinema on October 18th, and am still seeing so much of it. Cellular Cinema, curated by Kevin Obsatz, has been featuring Experimental Film at the Bryant Lake Bowl for a year now, and the Adams show was the first time that it featured the work of one filmmaker.
Adams laboriously hand-scratches, draws and paints over 16mm film, most of which already has other images on it. Some of these images he himself has filmed, others are found footage. He cuts them together to create a vibrating Cultural Anthropology of the inside and outside lives of the community he is in, and of himself.
He works on 16mm film, and the whole program was projected from two reels, with an intermission to allow for the reel change. Some soundtrack elements were created in advance from found and recorded sound and music, some played directly from the film projector, other soundtrack sounds and music were created on the spot by audio artist Mike Hallenbeck, a frequent Adams collaborator, from his perch in the high back row of the BLB theater.
Adams’ work of the last five years, separate films, were edited together with film leader countdowns between some of the pieces, but it read as one unified movie, a tour of his life and thought from the last five years, from his home in downtown Minneapolis to the places he visited and the people whose community he shares.
It ended with a trip to Colorado to visit the film lab that processes and prints his films. He took the trip with a friend and Adams’ skeptical conversations with his friend about the lost world of Atlantis play on the audio as the image tours the very real Colorado landscape of craggy rocks and trees. From the non-existent past of Atlantis, Adams’ camera sweeps across the film processing equipment at the Cinema Lab, and his stylus pen scratches the films he will make next as they crazily jump and wind their phantom way through the equipment to final print, if this rare film lab is still around for that.
In Adams’ work you see both the smooth time and particle stillness of film. Film is 24 still pictures every second projected to look like one continuous moving picture, and the films that Adams shot or found languidly reveal the people and landscapes that he encounters and thinks about. He often creates multiple exposures, hand-masking out parts of the frame to create handmade instantaneous edits that sometimes make a point, or a visual pun, or beauty itself.
But then he scratches and draws on the individual frames of film. He animates in a thumbnail-sized space the ghosts, skeletons, spirits and outlines that are within and without the world. He points out elements of death – sketching out the skeleton of a friend walking over a freeway bridge in a landscape of silent traffic honks and danger – and also possibility and hope – rays of light beaming out of the heads of people. He animates scenes on top of scenes, auras and ghosts alive in the deathwalk of zombie office workers in the downtown Minneapolis skyways, but also celebrates the people at a Wisconsin dance by turning them into long-exposure swirls of spirit.
Adams photographs people when they are becoming something else, when they are behind masks and puppets in the May Day Parade, when they are staring at the camera because they are puzzled by his noisy Bolex in an age of silent phone-cameras. He etches out the person, the glow within, always dancing, always jumping up and down with life to counteract the death that photography forces when it freezes the moment.
Adams’ work reveals to us that the photographic image always captures surface and performance, even and especially of people who don’t want to be photographed. It takes his scratched-out field notes to reveal the underlying crazy dance of chance, coincidence and stubbornness that underlies it all.
He also embeds his films with his poetry. He scratches or double exposes words that interact with the image, uses puns and jokes and references that might only carry meaning to certain friends of his. The text, often jumping up and down, revealing itself letter by letter, forces you back into the flat plane of the film image that his drawings and images leave behind in their hypnotic depth. The words prevent you from falling too far, both distance you from the filmic dreamscape and return you deep into your own mind.
Adams’ films are pretty much impossible to describe. They must be seen, or dreamed in the presence of others, but as Adams himself pointed out at the end of the screening, this is a one time thing, a comet brought to you by Cellular Cinema. To see his films on film, with the projector going in and out of focus, with the sound of jumping splices, with Mike Hallenbeck looming over everything splashing our backs with waves of sound, is the only way to experience his mind, his visions, his observations, his amazing fidgeting Cultural Anthopology of sun and air.