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Several italic letters have cursive or decorative forms; also notice the cap Y, with curved, serifless arms. Electra (1934-1935). Mac McGrew: Electra is a contemporary modern typeface designed by W. A. Dwiggins for Linotype. The light weight was drawn in 1935, the bold a few years later. Aside from its readability and distinctive character, Electra is distinguished by a choice of italic forms. Electra Italic is really a sloped roman, while Electra Cursive, released in 1944, is more nearly a conventional italic form; only the lowercase is different. Like a number of the better Linotype typefaces, Electra also has a choice of short descenders, which will cast on the nominal body, or long descenders, which must be cast one point larger. Compare Fairfield. A digital revival was done by Jim Parkinson in 2010: Parkinson Electra. Parkinson did another revival in 2017, Aluminia, exclusively for use in Bruce Kennett's 2017 book on W. . Dwiggins. Experimental 267D. Falcon (published in 1961) is an experimental font. Mac McGrew: Falcon was designed during World War II for Linotype by William A. Mac McGrew: Hingham was an experimental newspaper face, originally called Newsface, designed between 1937 and 1943 by William A. Only the 7-point size was cut by Mergenthaler, and it was used only for tests. Metro (1929-30).

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Of course, this list of titles, if not limited to five, should also accept at least Mia Hansen-Love’s Things to Come, Bertrand Bonello’s Nocturama, Benoit Jacquot’s Never Ever, the Dardennes’ The Unknown Girl, Albert Serra’s The Death of Louis XIV, Cristian Mungiu’s Graduation, Brillante Mendoza’s Ma’ Rosa, Jeff Nichols’s Midnight Special, Kaufman and Johnson’s Anomalisa and Sharunas Bartas’s Peace to Us in Our Dreams. Very little from the English-speaking world and from Latin America, hardly more from Asia (but with Hou Hsiao-hsien, Jia Zhangke, Apichatpong Weerasethakul, Kiyoshi Kurosawa and Hong Sangsoo, the previous year was flamboyant). Not to mention one of my favourites, Olmo and the Seagull by Petra Costa and Lea Glob, which went totally unnoticed. Which means what happens is less a loss of creativity than an issue of unequal access to visibility. In this respect, it seems that the internet and social media are as much a problem as a solution. Every year a receptive critic should be able to find a few commercial films as persuasive and enriching as more personal work, but it has become nearly impossible to do so. Against that, Ang Lee’s Billy Lynn’s Long Halftime Walk took an exciting step forward because, by using its speed-sharpened images to render precisely the PTSD-afflicted protagonist’s disorientation, it put technology in the service of emotions. As for Victoria, the single-shot wonder took me on a journey that made me believe in a narrative conceit of potential enormous implausibility, and I was happy for that giddy ride. Do we really need so many subject-driven documentaries on cinema screens occupying much-needed slots for holdovers, word-of-mouth slow burns or great rep programming, and taking up review space. These films made me come away from the cinema with my head buzzing, offering the cinefile’s favourite sensation of having seen a film that gives you food for thought for days afterwards. Craft and hard graft. Yep. Ambitious texturing and layering. Yep. Editing ellipsis to create story. Yep. Gripping to the last frame. Totally. These days I’m not remotely systematic when it comes to contemporary film viewing generally. But I do keep a relatively close cinephile eye on new essay film production, perhaps especially as someone interested in the essayistic forms of audiovisual expression increasingly being produced in and around academia.

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Along with the circle and other simple, abstract shapes, the square invites the viewer into a realm removed from the intimations of space and time; it evokes a purity that cannot be adequately experienced, only projected or imagined. Although I'm not accustomed to thinking of Malevich as having much of a sense of humor, the effect here is certainly amusing. The violin, a favorite Cubist subject in the hands of Pablo Picasso and George Braque, a symbol of sophistication and refinement, is here brought down to earth by being superimposed by the basic outline of a steer. The silliness in Malevich is ultimately intended to be deathly serious. Moreover, in contradistinction to Duchamp's expressed apoliticism, Malevich and many of his Russian colleagues see their work as contributing to the advancement of the social nature of humanity; by freeing themselves from prejudices, they were preparing a renewal of the body politic. Indeed, in the post-revolutionary, Leninist period, Malevich began to see nonobjectivity as the aesthetic embodiment of a new consciousness, a means of connecting with the proletariat without pandering to them. Works employing his geometric language began to appear in public spaces. This proliferation of his aesthetic was described as a kind of anti-art, a way of moving past the aesthetic distinction of the past (reserved for the wealthy and educated) and raising a new and modern mode of aesthetic thought. But while it shared a kind of anti-art agenda with the more familiar forms of Dada, it distinguished itself through its revolutionary agenda—in a country that was still seeking a foundation for its communist experiment. While what we are used to thinking of as Dada was revolutionary in the sense that it attempts to move away from accepted norms regarding art, Russian Dada (that is, all the various schools of thought that might be somewhat uncomfortably situated under that name) sought to support an actual revolution in progress. In this sense, Russian Dada was not anti-establishment, but rather attempted to buttress the erection of a new manner of governance. None While Margarita Tupitsyn's substantial essay takes up roughly half the space of the book, the remaining three essays are more modest in their length and scope. The essay suffers a bit from overreach in that Tupitsyn attempts to draw connections to many disparate (and perhaps not apposite) schools of thought and philosophy—including a relatively thin connection to Jean-Paul Sartre, fleeting references to Martin Heidegger and Siegmund Freud, and an unconvincing use of Gilles Delueze and Felix Guattari's concept of the rhizome. Given the limitations of space, none of these connections are explored in the depth required to make them convincing. Her main concern is the comedic films of the post-war period and their use of montage. Russian art of the early 20th century is too often relegated to the sidelines. This was an important period of innovation in that country. Moreover, this period in Russian art provides a fascinating insight into the way in which art and politics intertwine in a far more tumultuous and effective manner than the typical examination of their relationship. Russian Dada provides a useful introduction to this under-examined moment in art history. Andrade set for first defense of middleweight title at MSG Cache Translate Page NEW YORK (AP) — Demetrius Andrade is just a few months from winning a middleweight title but perhaps still far away from fights with the division's biggest names.

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There was something about their skillfullness and visual completeness that reminded me of updated academic history painting. These images looked made for the white mat and wooden frame of the gallery wall rather than the newspaper page. They were displayed on the front pages of our bellicose papers not as reportage, or even as spectacles of the new, but as easily recognisable, familiar looking trophies, affective images of our commitment to the coalition of the willing. When a BBC video cameraman became collateral damage, the footage his camera continued to capture as he lay wounded was broadcast, and still frames were extracted from it and frequently reproduced — particularly one showing a drop of blood on the camera filter. But this seeming irruption of the viscera of reality into the world of the image was, for me, disappointing. The cameras of other cameramen, for instance the Australian Neil Davies, had also kept on automatically filming as they died. The drop of blood seemed too arch after the Blair Witch Project, too much like the ultimate special effect. On the left-hand page were the usual generic, perfectly composed photographs I have already described: crazy arabs shouting slogans, and pious Americans getting a quick pre-battle baptism. But on the right-hand page was the image of an Israeli bulldozer which had just run over and killed a young protester as it was going about its business of demolishing Palestinian houses in a refugee camp. But why I think this photograph is for me a shock photograph is because of the surface of the image — there is something like snow or rain across the face of the photograph. It can’t be snow, and it’s highly unlikely to be rain either since the picture taken moments before, also by an unnamed photographer, is in bright sunlight. Is this an old-fashioned film-based photograph, perhaps shot on a cheap disposable camera, which has been scanned for the picture agency which distributed it, Associated Press. Or is this an image snapped on an amateur digital camera at too low a resolution, or a video frame grab, or a jpeg thumbnail pulled down off the web and interpolated, unsharp-masked and anti-aliased up to size but beyond the capacity of the original file. Whatever it is, its surface indeterminacy paradoxically means that for me it is more than just a mere image, it is a document — an object or artefact from a singular point in space and time, with a physical weight or visual heft all its own, a picture with its origins outside the digital data-flows of the media. And one can’t help noticing that within art photography there has been a return to surface, and more specifically to emulsion. For instance the National Gallery of Victoria held an exhibition earlier this year called First Impressions, which featured the work of twelve Australian artists who work in the medium of the photogram. She completed a residency here at the Museum last year and she began working with the photogram as a medium in 1995 during a collaboration with the ANU School of art’s Anne Brennan at the Hyde Park Barracks. The photogram is not like an ordinary photo, it doesn’t consist of the snapping of an anterior scene, its technical assemblage is not one of a shutter-blade vertically slicing through a cone of light projected by a lens, and thereby excising an instant from time and space. It is rather a residue of an event — the optical and chemical event of an object touching photo-paper. The photogram has a different relationship to time and history than the photograph, it doesn’t grant the present information, knowledge, detail or anecdote about the past; rather it is a generalised presence of the past still physically present within the now.

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