1968 hand scratched and hand colored 8mm film -- my least self-conscious conceptual work, I suppose. Made in an evening from developed but unexposed reel left over from narrative film that my fellow student, Bart Cohen, and I made for a project in English. I was 17 and just goofing around after a long night of editing. (3.6mb 0:03:21 silent)
	1972 Morning Paper -- claymation (0.8mb 0:00:10 silent)
	1972 Shootout at the JS Korral -- cast includes my future in-laws, Jack Keeney, Jr (scowling in the thumb), Matt Thayer, Pat Keeney, Jack Keeney, and (briefly), their collee, Doogie. Everyone wanted to die in the film, and did. 2007 titles replace the original hand-written and unreadable ones (5.1mb 0:04:40 silent)
	1972 Go Cart animation -- 20 or 21 year old me racing around the yard (1.9mb 0:00:20 sound)
	1972 or 1973 Flying -- experimenting with the moving clouds background. Ink on paper. (1.5mb 0:00:17 silent)
	1973 Sculpture -- final project at KCAI sculpture fall, 1973 to represent 3D work in 2D. I'd majored in sculpture at U of PA, but KCAI department was a shock and I didn't 'fit' well. My instructor said the film was the most interesting work I'd done during the semester and gave me a "C", I think. The original film was about 10 minutes -- this version has been sped up and shortened considerably (2.9mb 00:02:38 narrated)
	1975 the making of Mother Mother -- my 24 year old self painting and animating. (8.0mb 0:01:26 narrated)
	1975 8mm test of Mother Mother -- one of a series of test animations(1.6mb 0:00:18 silent)
	1975 16mm Mother Mother (final but never completed) -- gouache on paper cut-out animation of a recurring nightmare I had during childhood. About four months of long days and late nights. Only previous showing was a screening in my living room for director John Altman fall, 1975 -- he said, "Keep up the good work! What do you plan for a soundtrack?" (4.8mb 0:04:15 narrated)
	1976 Lothar running (Steve's dog) -- ink outline of Steve's dog, Lothar, running, drawn to repeat infinitely. (1.7mb 0:00:18 silent)
	1976 paper ducks -- one or two hundred duck contours cut out of construction paper -- holes animated first, then cut-outs. (1.5mb 0:00:17 silent)
	1976 Steve jumping (outlines) -- ink outlines accumulated on single sheet. (0.9mb 0:00:09 silent)
	1976 Steve jumping (filled in) -- about 1,000 ink-filled contours on tracing paper. (1.8mb 0:00:20 silent)
(more to follow, eventually)

Labels: animation

¶ 4:20 PM 0 comments links to this post

Last night, Linda and I had a ball at the Kemper Museum of Contemporary Art here in Kansas City. It was the opening of their new show, Backstage Pass: Collecting Art in Kansas City which runs September 7–November 4, 2007.

(l-r) Roger Shimomura paintings, Chuck Close prints, Mike Lyon drawings
play short video of exhibition highlights, (2.5 minutes 2.7mb)

By pairing artworks from area private collections with examples by the same artists represented in the Kemper Museum’s permanent collection, this exhibition offers visitors a rare opportunity to see outstanding paintings, photographs, and sculptures by internationally acclaimed artists, including Willem de Kooning, Duane Hanson, Deborah Butterfield, Helen Frankenthaler, Lezley Saar, and Mike Lyon, among others, normally housed in private homes and offices. The diversity and quality of the featured works are not only a testament to Kansas City’s rich history of supporting the visual arts through public and private patronage, but also proof to the thriving support and enthusiasm for the arts in the city today.
...(from Kemper Museum of Contemporary Art)...

Partial catalog of exhibition with mention on page 2 (click image to view PDF)

Backstage Pass showcases noteworthy paintings by prominent American artists Richard Estes, Helen Frankenthaler, Joan Mitchell, and Frank Stella, highlighting the level of commitment and intensity shared by many area collectors.

Equally important are the collections that include works by artists that reside in the Kansas City area, such as Wilbur Niewad, Roger Shrmomura, and Michael Sincair. Portraits by Andy Warhol and Kansas City-based Mike Lyon illustrate the gratifying relationship that often develops between artist and patron-arguably one of the most enjoyable facets of championing living artists.

Rachael Blackburn Cozad, Director
Christopher Cook, Curator

Wow! What a thrill!

-- Mike

Labels: drawing, Exhibitions

¶ 5:53 PM 4 comments links to this post