Paint & Die Happy via Guernica


If all the world were populated by people in the arts, there would probably be no war. has published a wonderful article on New York artist Kathryn Lynch. The article is largely made up of an interview that journalist Haniya Ra conducted with Lynch and published in December. Although not film related, the advice and approach Lynch discusses can easily be applied to independent film.

Lynch says about her work and the city she lives: “I don’t have much to say about the New York art scene, that’s not why I paint. I am interested in the work it takes to make a piece of art, not the world around the art market.” This rings true for me and some of the indie filmmakers I’ve developed a fondness for over the years. I find the people I most get along with feel the same way and it’s alleviating to see that this sentiment exists in artists from other mediums.

I urge everyone to read the full interview as Lynch gives us pearl after pearl on why she paints and will continue to paint with or without the common interpretation of success. The article is titled “Paint & Die Happy” and can be read here.

DMW’s Future of Music Event – Coming Next Week!


DMW MusicOn February 20-21, Digital Media Wire (host to Future of TV and Future of Film) combines Digital Music Forum East and West into one large event simply named DMW Music. The event will be taking place at the Museum of Jewish Heritage, 36 Battery Place, New York, NY. Film Anthropology will be in attendance of the event.

DMW Music still has open availability for music industry professionals interested in attending, along with 500+ of the most influential music and digital media leaders as they gather in Downtown New York to socialize, share ideas, do deals and learn about new technologies and services. This year’s event will be packed with great content, stellar people and a lot of companies that are new on the music-tech scene.

Register here: For FilmAnthropology subscriber discounts, e-mail info (at) norcrossmedia (dot) com.

Art Gallery Opening: BELOW SEE LEVEL



Have you ever heard of the old Ultraman television show?  I hadn’t until I met Mike Rader, creater of the marvelously odd experimental film Man Vs. Ultraman, which was thematically inspired by the series, and whose exhibit, showcasing art he created for the film, can be seen at the Christopher Henry Gallery at 127 Elizabeth Street, New York City until January 6th.  The award winning film plays in loop on the second floor of the gallery.  Next to it, you can see the original set and some of the figurines Mr. Rader used in the film.  There’s a landscape of grass, mountains, and an alien infested tree overhung by the sun, a cloud, and a massive mask-like canvas that was the ultimate representation of the Man vs. Ultraman saga.  The film and related exhibit are about the subconscious struggle within an artist’s mind.  They depict two different facets of the artist’s psyche battling it out for dominance. Much of the artwork has been partially destroyed, such as a cloud which has a hole punched through the middle or the giant mask-like canvas which has repeatedly been repainted layer upon layer upon layer.  When asked, Mr. Rader called the act of damaging his work cathartic.

One of Mr. Rader’s signatures as an artist is canvas that has been painted then dissected and redistributed throughout the space.  This is best represented on the first floor of the gallery where a collage of canvas covers the wall and slinks over parts of the floor.  The mix of pinks and whites reminded me of the inside of the human body.  In fact, when asked, the artist described it as the “engine room of the mind”.  It is supposed to depict the subconscious drive that inspires the conflict in the film upstairs, although only brief representations of it can be seen in the actual movie.
In it’s totality, the exhibit can be seen as an exploration of the brain of an artist, containing both the desire to create and the need to destroy.  Almost every single piece of artwork in the exhibition has been cut, hit, or repainted.  The film shows an artist working, buildings being built, an infrastructure being designed, and then how it’s destroyed and yet again, rebuilt.  The exhibit features work that has been battered and changed, the final product is one that is intentionally damaged and the dichotomy between creation and destruction is constantly being depicted, prompting the age old question: In the end, are these two opposites really the same thing?
Article by Jan Major exclusive for FILM ANTHROPOLOGY
Also check out the interview FA did with Mike Rader on behalf of NewFilmmakers New York at the beginning of FallFest 2012:


Filmmaker Profile: Michael Rader


Man Vs UltramanMichael Rader is an artist in Brooklyn, who it turns out, has made a few experimental films. The most recent is MAN VERSUS ULTRAMAN, which I was introduced to by the 2012 Art of Brooklyn Film Festival.   In the main lobby of the festival where filmmakers had their movie posters up, Michael had his poster and the special thing about it was that he painted it himself and brought the canvas in and hung it up. Not a copy, not a Photoshopped Kinkos printed run off – but the actual painting. Right away I thought WOW – I have to include this guy in my profile series!

MAN VERSUS ULTRAMAN screened at the AOBFF on the one night I couldn’t actually make it to the festival so, as is common with films and filmmakers that intrigue me, I went ahead and looked for it on the NewFilmmakers WithoutABox submissions list – low and behold it was there. Around the same time I was keying it into the Fall program, I got an e-mail from the director of the festival – a forward from Michael, asking that the film be placed in the same program I had just listed it in.  What are the odds?

Now we have here, Michael’s Filmmaker Profile, filmed on location at his studio in Brooklyn, to promote his upcoming NewFilmmakers screening of MAN VERSUS ULTRAMAN. During the filming of the profile I found out that he had screened with us before, a Chaplin inspired film. Here is the story of both of those projects with clips from MAN VERSUS ULTRMAN. If you can make the 6PM program on Monday October 8th, , head on over to the Anthology Film Archives and join us!

Direct Link:

Artwork from MAN VS ULTRAMAN will be on display at CHRISTOPHER HENRY GALLERY

November 8th through December 9th 2012.

Passion Over Survival – The Public Eye


July 22, 2011

Passion Over Survival – The Public Eye

We all know Joe Pesci from some of his memorable roles in films like The Super, Goodfellas and Home Alone – but tonight I watched a film from 1992 that I didn’t even know existed: The Public Eye. This film is so unknown and unpopular that it doesn’t show up in IMDB’s instant results when searching for it and the poster on IMDB is below standard quality for their poster image content. In addition, for a Joe Pesci film with many stars involved, it only has 22 user reviews posted.

In this film, Joe Pesci plays one of his most memorable, heartbreaking and thought-provoking characters in the form of a freelance press photographer during World War II. It’s a beautiful film about a character that embodies the hungry artist, the struggle that he encounters in dealing in social settings and his inability to turn off his passion for the sake of his own survival. I absolutely loved this work of art and could very much relate to what the character was going through. It’s available on Netflix instant and I highly recommend it.

Every artist who is truly passionate about their work should give this a gander, at least once, to understand what a truly dedicated and obsessed artist goes through.