Mark Dean does not have the monopoly on using recycled classic film footage as the raw material for video works. Graham Ellard and Stephen Johnstone have created an equilibrium-knocking, eyeball-zapping beast of a video in their 1999 work, Wall of Death. This is an installation with a vengeance, where the viewer walks into the inside of a large open-topped cylinder which simulates the inside of a fairground wall of death set-up. But, once inside, instead of being orbited by twitchy high-torque, low-revving Indian drag-bikes centrifugally stuck to the walls, the viewer is surrounded by a screen around which a video projection from two rotating cameras shows high-speed car chases between a selection of American coupÃ©s and roadsters. These are grabbed from a selection of Hollywood classics such as Bullitt. Here, however, we witness a wild-goose chase, as cars from different movies chase each other without the remotest chance of catching or being caught. Watching this spectacle is an enervating experience, as visually exhausting as the real thing would be mentally exhausting.
Pentagram partner Marina Willer’s team has created an overarching visual system for literary event, Hay Festival, and its many global offshoots and projects, in a bid to bring clarity to
No, No, No, No, Yes editor, David Dunn, tells us what he has learned about creating a winning book cover.
The Welsh political party has suggested it may be changing its name to the New Wales Party, in a bid to be more “inclusive”, particularly towards non-Welsh speakers. We look
The online streaming service will work on a range of screens, from TVs to tablets, and will let players switch from watching games on YouTube to playing them instantly.