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jeremystrele · 5 years ago

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10 Unmissable Art Exhibitions Of 2020

Art

by Sally Tabart

Henri Matisse – ‘The sorrow of the king (La tristesse du roi)’ , 1952. gouache on paper, cut and pasted, mounted on canvas. Courtesy of AGNSW.

Henri Matisse – ‘Blue nude II (Nu bleu II)’ 1952. Courtesy of AGNSW.

Henri Matisse – ‘Decorative figure on an ornamental ground (Figure décorative sur fond ornemental)’, 1925. Courtesy of AGNSW.

Matisse: Life & Spirit November 2020 – March 2021 Art Gallery of New South Wales, NSW

It’s no surprise that one of the most prestigious galleries in the country, Art Gallery of New South Wales (AGNSW) will show a dynamic exhibition from one of the most famous and influential artists of all time, Henri Matisse.

Exclusive to AGNSW, Matisse: life & spirit, masterpieces from the Centre Pompidou will show over 100 works spanning six decades from the French master.

Developed alongside the Centre Pompidou in Paris, known for its unmatched collection of Matisse works, Matisse: life & spirit will be the greatest single exhibition of Matisse masterworks ever to be seen in Sydney. Yep – you’ll be able to see his famed cut-outs, but also his adventures in paintings, sculptures, and drawings, tracking the vast and varied exploration of his artistic career. This is TRULY unmissable!

Left to right: Dhuwarrwarr Marika Makassan, swords and long knives, Carlene Thompson, Kipara and Kalaya. Photo – courtesy of MAGNT.

Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) August 8th 2020 – January 31st 2021 Museum and Art Gallery Northern Territory, NT

Now in its 36th year, the Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) is a major highlight for the Museum and Art Gallery of Northern Territory (MAGNT) in Darwin. This fantastic exhibition spotlights emerging and established Aboriginal and Torres Strait Islander artists across a varying range of mediums, and attracts more than 85,000 visitors.

This exhibition is so important for visitors to gain an insight into First Nations People’s perspective in both contemporary interpretations, as well as those steeped in generations of tradition. It also offers some prize money of up to $50,000 for winning artists, courtesy of longtime sponsor Telstra. All finalists’ work will be displayed in the world-class exhibition, opening in August.

Left: Mikala Dwyer: a shape of thought featuring The Angel; Possession; Sigil for Heaven and Earth by Mikala Dwyer, Art Gallery of New South Wales, Sydney, 2017. Photo – Mim Stirling. Right: Julia Robinson, Australia, 1981, Beatrice, 2019–20.

Adelaide Biennial of Australian Art February 29th – June 8th 2020 Art Gallery South Australia, SA

This year the Art Gallery of South Australia welcomes the hugely popular Adelaide Biennial of Australian Art back for its 30th year. Known for its risk-taking and expansive vision, the Biennial welcomes the wild, wacky, weird and wonderful.

The theme of the 2020 iteration is Monster Theatres, inviting artists to bring to life the ‘monsters’ of today. As described by curator Leigh Robb, ‘Monsters ask us to interrogate our relationships with each other, the environment and technology. They force us to question our empathy towards differences across race, gender, sexuality and spirituality.’

Artists involved in the Biennial include Abdul Abdullah, Polly Borland, Yhonnie Scarce + many more!

Olafur Eliasson, Riverbed 2014. Photo – Natasha Harth, QAGOMA.

Water December 7th 2019 – April 26th 2020 Gallery of Modern Art, QLD

Brisbane’s Gallery of Modern Art never fails to disappoint with its innovative, world-class programming – and Water is no exception! Exploring the theme of, you guessed it, Water, this exhibition explores this vital element from the perspective of artists around the world.

Here is some of what you can expect, according to GOMA:

‘Walk across a vast, rocky riverbed created by Olafur Eliasson. See animals from around the world gather together to drink from Cai Guo-Qiang’s brilliant blue waterhole. Gaze at Peter Fischli and David Weiss’s snowman frozen in Brisbane’s summer heat. Traverse a cloud of suspended gymnastic rings in a participatory artwork by William Forsythe. View the tidal currents rise and fall around Angela Tiatia. Reflect on the cultural traditions of bodies of water with Judy Watson, and on the long history of our reliance on water through Megan Cope’s re-created midden.’

Left to Right: Photo by Beth Wilkinson for Lindsay. Stanislava Pinchuk, ‘Topography : Topsoil Storage II, Fukushima Nuclear Exclusion Zone.’ Pin-holes on paper, 2017. Image courtesy of the artist. Photo – Matthew R. Stanton. Stanislava Pinchuk, ‘Topography : The Road to the Fukushima Daiichi Nuclear Plant’. Pin-holes on paper, 2017. Photo – Matthew R. Stanton.

Stanislava Pinchuk June 27th – October 4th 2020 Heide Museum of Modern Art, VIC

Stanislava Pinchuk (also known by her pseudonym, Miso) has emerged as one of Australia’s intriguing contemporary artists in the last decade. The Ukranian-born, Melbourne-based artist captures the changing topographies of war and conflict zones through data mapping, making tiny, individual pin pricks to realise these patterns – an incredibly labour-intensive and mentally and physically draining process that appears effortless, and beautiful.

This major exhibition at Heide Museum of Modern Art in Melbourne will feature a survey of Stanislava’s most powerful pinprick projects from the past five years, accompanied by terrazzo-like sculptures comprised of pieces of debris left behind in conflict zones.

Know My Name: Australian Women Artists 1900 to Now May 30th – September 13th 2020 National Gallery of Australia, ACT

The National Gallery of Australia (NGA) celebrates its ongoing initiative to increase representation of artists who identify as women with Know My Name: Australian Women Artists 1900 to Now.

Drawing on works from the National Gallery’s own collection, as well as others from across Australia, Know My Name showcases the work of lesser-known artists alongside Australian greats from different times, places and cultures.

As part of the broader Know My Name initiative, a new commission by the Tjanpi Desert Weavers will be on display at the National Gallery. Patricia Piccinini’s iconic Skywhale (2013) will also see its new counterpart, Skywhalepapa (2020) ascend over Canberra on its maiden voyage, travelling alongside Skywhale eight times during the exhibition period.

Left: Pierre Bonnard – French 1867–1947 The dining room in the country, 1913. Right: India Mahdavi (designer). Jardin d’intérieur – collection for La Manufacture de Cogolin. Images courtesy of the NGV.

Pierre Bonnard designed by India Mahdavi June 5th – October 4th 2020 National Gallery of Victoria

While Sydney-siders enjoy the masterful works of Henri Matisse, Melbournites won’t miss out on the opportunity to experience an incredible exhibition of another beloved French painter! The exquisite works of Pierre Bonnard will be on show at the National Gallery of Victoria (NGV) for their major winter showcase, a kaleidoscopic exhibition of 150 works from the painter with a fondness for domestic scenes and rural life. Pierre Bonnard has been developed in partnership with Musee d’Orsay in Paris.

Described by Matisse, a close friend of Bonnard’s, as ‘a great painter, for today and definitely also for the future’, this groundbreaking exhibition spans paintings, drawings, photographs, folding screens and early cinema, depicting scenes of modern 20th century France in bright, vivid colours.

Aside from the opportunity to see one of the works of this beloved painter, what makes this exhibition absolutely unmissable is the design of the show itself. Iranian Paris-based designer India Mahdavi (the interiors genius behind the iconic pink Gallery at Sketch restaurant in London) has been commissioned by the NGV to bring Bonnard’s extraordinary works to life, elegantly balancing historical references with contemporary culture in an immersive experience.

22nd Biennale of Sydney, NIRIN November 8th 2020 – 16th February 2021 Various locations, NSW

First held in 1973 as part of the opening celebrations of the Sydney Opera House, the Biennale of Sydney is now in its 22nd year and is one of Australia’s blockbuster contemporary art events.

Taking place across six major sites – Art Gallery of New South Wales, Artspace, Campbelltown Arts Centre, Cockatoo Island, Museum of Contemporary Art Australia and the National Art School – the Biennale of Sydney will see 94 artists from 47 countries

Under the guidance of multidisciplinary artist and this year’s Biennale Artistic Director Brook Andrew, the 12-week exhibition is titled NIRIN, meaning ‘edge’ in Brook’s mother’s Nation – the Wiradjuri people of western New South Wales. He says, ‘Optimism from chaos drives artists in NIRIN to resolve the often hidden or ignored urgency surrounding contemporary life.’

Carriageworks Commissions Rebecca Baumann: Radiant Flux, January 8th – June 14th Reko Rennie: REMEMBER ME, January 2020 – January 2021 Kate Mitchell: All Auras Touch, January 8th – March 1st Daniel Boyd: Video Works, January 8th – March 1st

Australia’s largest multi-arts centre, Carriageworks, has been home to some pretty major large-scale installation commissions in its time (who could forget German artist Katherina Grosse’s otherworldly technicoloured universe in 2018?). This summer, four new site-specific commissions from leading Australian artists Rebecca Baumann, Daniel Boyd, Kate Mitchell and Reko Rennie have taken residence in the epic historical space.

Spanning over 100-metres, Rebecca Baumann’s Radiant Flux sees every glass surface of the building’s exterior covered in a film that changes colour at every angle, flooding the space with kaleidoscopic light that will never be the same twice.

A study in human energy, All Aurus Touch by Kate Mitchell captures an aura portrait for each of the 1,023 census-recognised occupations.

Video Works by Kudjala/Gangalu artist Daniel Boyd features three major video installations, where gallery walls will be mapped with the artist’s otherworldly, infinite cosmos.

Interdisciplinary Kamilaroi artist Reko Rennie references the massacre of First Nations people in Remember Me, a massive illuminated sign that will remain on display for the whole of 2020, the year marking the 250th anniversary of Captain Cook’s first landfall.

Installation view of the Archibald, Wynne and Sulman Prizes 2019 exhibition at the Art Gallery of New South Wales, Sydney. Photo: AGNSW.

Archibald, Wynne & Sulman Prizes May 9th – September 6th 2020 Art Gallery of New South Wales, NSW

The Archibald, Wynne & Sulman Prizes are some of the most prestigious and highly anticipated art events in the country. Since its inception in 1921, The Archibald Prize the most well-known of the three awards celebrates paintings of notable figures that reflect Australian culture across areas including art, media, entertainment, politics, sports and more. The works are always a great capsule to represent Australian culture of the moment.

Finalists for the Archibald (portrait), Wynne (landscape/scenery) and Sulman (genre/subject) are shown in an exhibition that starts at the Art Gallery of New South Wales, and tours at select galleries around Australia for the remainder of the year.

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kebee-s · 6 years ago

Video

vimeo

Sport Chek - Closing Ceremony from Duncan Elms on Vimeo.

One of 8 spots created for Canadian brand Sport Chek, for their Winter Olympic Campaign 2018. This one for the Closing Ceremony.

Working with the awesome team at Elastic.tv for the agency Anomaly, I was the Creative Director on the project from pitch through to final delivery leading a team of designers, animators, modelers and editors.

The agency and client really loved our initial treatment and asked us to produce one hero 60 spot and six additional 30’s each focusing on different athletes as well as a closing ceremony 60 spot.

Credits:

Post Production Design Studio: Elastic Creative Director: Duncan Elms Storyboards: Lance Slaton Designers: Felix Soletic, Carlo Sa, Mert Kizilay, Lynn Cho, Peter Sickbert-Bennett Animators: Thomas McMahan, Lucy Kim, Jeffrey Jeong, Alex Silver, Mark Feldman, CJ Cook, Viraj Ajmeri, Matthew Shadis Editors: Andrew Young, Pascal Leister Modelers: Joe Paniagua, Rie Ito, Mike Kash Rigging/Animation: Josh Dyer Producer: Michael Ross Executive Producer: Luke Colson Head of Production: Kate Berry Managing Directors: Linda Carlson & Jennifer Sofio Hall

Agency: Anomaly Toronto Chief Executive Officer: Franke Rodriguez Executive Creative Director: Dave Douglass

Art Director: Richard Brown Copywriter: Matthew Donne Designer: Tim Chuang Managing Director: Candace Borland Account Supervisor: Kait Babin Account Director: Karim Tubbeh Account Exec: Caitlin Croley

Producer: Megan Flett Planner: Paul Lipson, Jordanna Tannenbaum, Alex Avandano

Live Action Production Company: 7th Floor Director: Kyle Topping Director of Photography: Viktor Radiks Live Action Producer: Megan Flett

SOUND Sound Design: Berkeley Studios Sound Engineer: Jared Kuepner

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str9led · 6 years ago

Video

vimeo

Sport Chek - "Do Not Attempt" from Duncan Elms on Vimeo.

One of 8 spots created for Canadian brand Sport Chek, for their Winter Olympic Campaign 2018.

Anomaly wanted to create a spot that would contrast with the traditional glossy pieces audiences are use to seeing for the Olympics. Something subversive that focused on the insane, risky and dangerous challenges faced by the athletes instead of the beauty and grace we normally see. The idea behind the spot was for it to be a disclaimer, so the challenge was to produce a spot that was true to the disclaimer style but also visually engaging and unique. They also wanted to highlight some key sports, so we chose to create a dark gritty world that the athletes of these sports could live within and intercut this with the disclaimer aesthetic.

The agency and client really loved our initial treatment and asked us to produce one hero 60 spot and six additional 30’s each focusing on different athletes as well as a closing ceremony 60 spot.

Credits:

Agency: Anomaly Toronto Chief Executive Officer: Franke Rodriguez Executive Creative Director: Dave Douglass

Producer: Megan Flett Planner: Paul Lipson, Jordanna Tannenbaum, Alex Avandano

Live Action Production Company: 7th Floor Director: Kyle Topping Director of Photography: Viktor Radiks Live Action Producer: Megan Flett

SOUND Sound Design: Berkeley Studios Sound Engineer: Jared Kuepner

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aulternateimages · 6 years ago

Video

vimeo

Sport Chek + “Do Not Attempt" from Elastic on Vimeo.

Client: Sport Chek Agency: Anomaly Toronto

Chief Executive Officer: Franke Rodriguez Executive Creative Director: Dave Douglass

Producer: Megan Flett Planner: Paul Lipson, Jordanna Tannenbaum, Alex Avandano

Production Company: 7th Floor Director: Kyle Topping Director of Photography: Viktor Radiks Live Action Producer: Megan Flett

SOUND Sound Design: Berkeley Studios Sound Engineer: Jared Kuepner

0 notes

god27dog · 7 years ago

Video

vimeo

Sport Chek - Closing Ceremony from Duncan Elms on Vimeo.

One of 8 spots created for Canadian brand Sport Chek, for their Winter Olympic Campaign 2018. This one for the Closing Ceremony.

The agency and client really loved our initial treatment and asked us to produce one hero 60 spot and six additional 30’s each focusing on different athletes as well as a closing ceremony 60 spot.

Credits:

Agency: Anomaly Toronto Chief Executive Officer: Franke Rodriguez Executive Creative Director: Dave Douglass

Producer: Megan Flett Planner: Paul Lipson, Jordanna Tannenbaum, Alex Avandano

Live Action Production Company: 7th Floor Director: Kyle Topping Director of Photography: Viktor Radiks Live Action Producer: Megan Flett

SOUND Sound Design: Berkeley Studios Sound Engineer: Jared Kuepner

0 notes

char27martin · 8 years ago

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Collecting Poems into a Book: 5 Poets Share Their Method

I’ve been enjoying going through previous poet interviews to see how poets have shared common experiences–often in unique ways. So here’s one more directed around the concept of collecting poems into a book.

*****

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In addition to the listings, there are articles on the craft, business, and promotion of poetry–so that poets can learn the ins and outs of writing poetry and seeking publication. Plus, it includes a one-year subscription to the poetry-related information on WritersMarket.com. All in all, it’s the best resource for poets looking to secure publication.

Click to continue.

*****

Ha Ha Ha Thump, by Amorak Huey

Amorak Huey for Ha Ha Ha Thump

“I had written an earlier manuscript of poems about blues music and blues musicians that for a long time I truly thought would be my first book. I sent that out repeatedly—55 times over two years—and it came close several times, but never found a home. That’s probably for the best, as such things usually are in hindsight.

“Anyway, while I was sending that out, I was also writing new poems, and eventually, I had a lot of them, and I put together a manuscript and started sending out that one, too. It didn’t land, either, but I kept writing poems, and eventually had so many that I split that manuscript in two, and one of those was Ha Ha Ha Thump. It went through a number of revisions along the way, and eventually Sundress took it.”

(Read complete Amorak Huey interview.)

Megan Volpert on assembling poems for collections

“Yes, I’ve basically stopped thinking about each piece in isolation. They each have to stand alone, of course, but more and more often I am beginning with the big idea then drilling down to determine its component parts. I know what sort of machines I’m after, so I really proceed more from what the total function of the book will be and then write bits and pieces as I stumble across applications of the project’s main functions in my daily life.

Only Ride, by Megan Volpert

“Only Ride, in particular, is based on a series of constraints. It’s all prose poems between 95 and 110 words, with titles that are complete sentences. My previous collection was the Warhol thing, which was so sprawling and research heavy that I really wanted to work on something more compact and minimal next. I typed most of them on my phone, on the train during my morning commute. I’d let a batch sit in my notepad for a month or so, then revise the whole pile over a couple hours on a weekend. I knew my subjects, so when I reached my target of 66 pieces, I laid them all out on the floor and organized first based on chronological order of the events in the poems then for the right emotional arch within each subject or time period.

“Other stuff can present itself for more obvious arrangement, for example, the 1976 book will report historical events in a straightforward chronological order, one month per chapter. I do prefer organic methods like that. My first two collections still feel well organized, but I agonized over those little piecemeal frankensteins, which in hindsight seems unnecessary.”

(Read entire Megan Volpert interview.)

Todd Davis on assembling poems for collections

“I’m very much a daily writer and thinker. My mind tends to gravitate toward certain subjects based upon my experiences—in the woods, on the rivers, with the books I’m reading.

“For example, yesterday I was deep in on a small stream in the 41,000 acres of game lands above the village where I live. My son and I were taking a long hike and fishing for native brook trout. I came across an amazing caterpillar on the walk—it was lime green with what looked like small spines or quills covering its body. At the end of these spines where bright, vivid colors—red and yellow and blue. I hadn’t seen this caterpillar before, and when I returned home, with the help of the photos I took, I was able to spend time looking through my field guides, discovering that this was the caterpillar that would later turn into a cecropia moth (Hyalophora cecropia), the largest native moth in North America.

“Several years ago at the top of the mountain above our village, I was hiking on an extremely foggy morning. Mornings like this many flying creatures settle to earth because nature’s “ground traffic control” has cancelled their flights. I’ve come across a kettle of kestrel and other beautiful raptors on mornings like this. That particular morning, however, it wasn’t raptors that I found but a cecropia moth clinging to a long blade of grass in a meadow. I spent more than 30 minutes photographing it, studying it, trying to express how enamored I was by its beauty. (Yes, I tend to talk to the natural world!)

“I tell you this story because, like William Stafford whose example means a great deal to me, I go daily into the world simply to be with the miraculous range of human and nonhuman creatures, to observe what is unfolding, to attend to what is too often ignored. Out of this act of paying attention, I write my poems, trying to spend a few hours at my desk each day.

“After a few years I begin to see the patterns of what the act of paying attention has afforded me. Once I feel the body of a book beginning to take shape, I place poems on the floor of my office and start to see what happens when a poem makes neighbors with another poem. It’s a bit like chemical reactions. Just as individual images or sounds in a poem, when juxtaposed with other images or sounds in the same poem, cause a reaction between them, so do individual poems in a collection. It’s fun to see how a poem will be transformed when it finds a particular place in a collection.”

(Read whole Todd Davis interview.)

Hive, by Christina Stoddard

Christina Stoddard on assembling Hive

“I’m not sure the process was at all typical. Most of the poems in Hive are written in the voice of a teenage girl who’s coping with a lot of violence, which in turn leads her to push against the confines of who her family wants her to be and the existence of the God she’s been raised to believe in. But that girl is a persona I discovered halfway into writing the book, not something I was consciously trying to create when I started.

“The truth is that I had actually written two other poetry manuscripts before Hive. I tried sending those manuscripts out to book contests and never got anywhere, so in 2011 I sat down to interrogate and overhaul them after getting some good advice from a mentor. As I did that, I realized there were a few recurring themes and decided to concentrate on those. This adolescent girl kept showing up, too, a voice who would eventually become the speaker in Hive. It’s amazing what you can learn about your writerly obsessions by reading hundreds of pages of your own work in one sitting.

“So when I put together the collection, I did it by choosing poems from my entire body of work over the past ten years. In a way, you could say that the earliest versions of Hive were curated rather than written, but it didn’t stay that way for long. Although I cannibalized my other manuscripts to get material for Hive, as things evolved and I figured out what Hive wanted to be, I ended up throwing out most of those older poems and writing new ones. Only five of the 40 poems in Hive’s table of contents were written prior to 2011, and all of them have been reworked considerably.

“If you’re wondering what happened to the first two manuscripts I wrote, they are moldering away in my file cabinet where they’ll probably never see the light of day again. But I’m okay with that. Even though it can feel impossible to let go of something that isn’t working, especially when you’ve put so much effort into it, sometimes letting go is the best choice. In economics, that phenomenon is called the sunk cost fallacy; people are extremely reluctant to give up on anything they’ve already invested in or purchased, even when it’s unwise or unhealthy not to.

“Hive is a significantly better book than the others. I couldn’t have written it without having first done those practice runs, even if I didn’t realize at the time that they were only practice.”

(Read full Christina Stoddard interview.)

Traci Brimhall on assembling Our Lady of the Ruins

“I feel like the poems cohered as I chose a final ordering for the book, though I didn’t write the poems with a certain structure or overarching narrative in mind. I knew all my poems were about a mid-apocalyptic wandering, but the nature of the poems ranged really widely as I wrote. I cut over a couple dozen poems from the final draft because they didn’t fit with the narrative that emerged through ordering.”

(Read complete Traci Brimhall interview.)

*****

Robert Lee Brewer is the editor of Poet’s Market and author of Solving the World’s Problems. Follow him on Twitter @robertleebrewer.

*****

Check out these other poetic posts:

Bryan Borland: Poet Interview.

Wednesday Poetry Prompts: 373.

20 Best Tips for Poets.

The post Collecting Poems into a Book: 5 Poets Share Their Method appeared first on WritersDigest.com.

from Writing Editor Blogs – WritersDigest.com http://www.writersdigest.com/whats-new/collecting-poems-book-5-poets-share-method

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its-ya-girl-phoeni · 30 days ago

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@azure-aeon-dragonica

(After Bonnie explains what happened to her) Becky: (confused, whispering to Megan) I don't get it... Megan: Our friend turned into a little dude that smells like feet. What's to get?

#shitpost #fnf #friday night funkin #just a regular fnf mod #exe oc #bonnie freeman #boyfriend fnf #bf fnf #fnf minus #becky boyd #megan borland #beta boyfriend #mean boyfriend #incorrect quotes #source: shrek the third

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downtherabbitholewithlucy · 2 years ago

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Before Megan Thee Stallion

Before Dwight on The Office

Before the KXVO Pumpkin Dance meme

THERE.

WAS.

WES BORLAND

HAPPY HALLOWEEN YA’LL

#Wes Borland #Limp Bizkit #nu-metal #make way for THE icon #down the rabbit hole

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str9led · 6 years ago

Video

vimeo

Sport Chek, Do Not Attempt - Bobsled from Duncan Elms on Vimeo.

One of 8 spots created for Canadian brand Sport Chek, for their Winter Olympic Campaign 2018.

Credits:

Agency: Anomaly Toronto Chief Executive Officer: Franke Rodriguez Executive Creative Director: Dave Douglass

Producer: Megan Flett Planner: Paul Lipson, Jordanna Tannenbaum, Alex Avandano

Live Action Production Company: 7th Floor Director: Kyle Topping Director of Photography: Viktor Radiks Live Action Producer: Megan Flett

SOUND Sound Design: Berkeley Studios Sound Engineer: Jared Kuepner

0 notes

str9led · 6 years ago

Video

vimeo

Sport Chek - Closing Ceremony from Duncan Elms on Vimeo.

One of 8 spots created for Canadian brand Sport Chek, for their Winter Olympic Campaign 2018. This one for the Closing Ceremony.

The agency and client really loved our initial treatment and asked us to produce one hero 60 spot and six additional 30’s each focusing on different athletes as well as a closing ceremony 60 spot.

Credits:

Agency: Anomaly Toronto Chief Executive Officer: Franke Rodriguez Executive Creative Director: Dave Douglass

Producer: Megan Flett Planner: Paul Lipson, Jordanna Tannenbaum, Alex Avandano

Live Action Production Company: 7th Floor Director: Kyle Topping Director of Photography: Viktor Radiks Live Action Producer: Megan Flett

SOUND Sound Design: Berkeley Studios Sound Engineer: Jared Kuepner

0 notes

str9led · 7 years ago

Video

Sport Chek - "Do Not Attempt" Mikkelson from Duncan Elms on Vimeo.

One of 8 spots created for Canadian brand Sport Chek, for their Winter Olympic Campaign 2018.

The agency and client really loved our initial treatment and asked us to produce one hero 60 spot and six additional 30’s each focusing on different athletes as well as a closing ceremony 60 spot.

Credits:

Agency: Anomaly Toronto Chief Executive Officer: Franke Rodriguez Executive Creative Director: Dave Douglass

Producer: Megan Flett Planner: Paul Lipson, Jordanna Tannenbaum, Alex Avandano

Live Action Production Company: 7th Floor Director: Kyle Topping Director of Photography: Viktor Radiks Live Action Producer: Megan Flett

SOUND Sound Design: Berkeley Studios Sound Engineer: Jared Kuepner

0 notes