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Nancy Andrews
updated: 05/25/2009
website: www.nancyandrews.net
 
   
 
 
     
 
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Portfolio Keywords:  animals, autobiographical, memory, psychological, surreal
 
 
untitled by Nancy Andrews
untitled
ink and photocopy on paper
2007
22" x  30" 
untitled by Nancy Andrews
untitled
ink and pencil on paper
2008
22" x  30" 
untitled by Nancy Andrews
untitled
ink and pencil on paper
2008
22 " x  30 " 
untitled by Nancy Andrews
untitled
ink and pencil on paper
2008
22" x  30" 
untitled by Nancy Andrews
untitled
ink and photocopy on paper
2008
22" x  30" 
untitled by Nancy Andrews
untitled
ink and pencil on paper
2008
22" x  30" 
untitled by Nancy Andrews
untitled
ink on paper
2008
22" x  30" 
untitled by Nancy Andrews
untitled
ink on paper
2008
22" x  30" 
untitled by Nancy Andrews
untitled
ink on paper
2008
22" x  30" 
untitled by Nancy Andrews
untitled
ink and photocopy on paper
2007
22" x  30" 
untitled by Nancy Andrews
untitled
ink and pencil on paper
2008
22" x  30" 
untitled by Nancy Andrews
untitled
ink and pencil on paper
2009
22 " x  30 " 
untitled by Nancy Andrews
untitled
ink and pencil on paper
2009
22" x  30" 
untitled by Nancy Andrews
untitled
ink and pencil on paper
2009
22" x  30" 

Artist Statement
In the 1990’s when I learned animation as part of my MFA at The School of the Art Institute of Chicago, I became enamored with early animations based in vaudeville acts of the turn of the century: Gertie the Dinosaur (Winsor McCay, 1914), and animations based on “lightening sketch” artists likeThe Enchanted Drawing (1900, Edison), Humorous Phases of Funny Faces (1906, Blackton), and Fantasmagorie (Cohl). I started to incorporate animated chalk drawings into my films; these films were part of performances with spoken bits and songs. Woods Marm, Hedwig Page, Seaside Librarian, The Reach of an Arm, all began as film elements within a performance and later became films that stood alone.

The Ima Plume Trilogy, completed between 2003-2006, features a public illustrator (chalk talk artist). During the last film of the trilogy, The Haunted Camera, I experimented with animating ink drawings on large paper (22”x 30”) by shooting close-ups of various parts of the drawings. For about a year after a life threatening event and major surgery, I was too weak to make films and drawing became my art form. In my newest film, On a Phantom Limb, these ink drawings became the basis for most of the animation in the film. More recently I made drawings prompted by a collaboration with, playwright, Lisa Leaverton (www.trickhouse.org). These drawings were directly influenced by George Herriman’s Krazy Kat.

Currently, drawing is something I engage in as a way of externalizing my ideas, thoughts and things that are more unformed and subconscious than thoughts. As Ima Plume says, near the end of The Haunted Camera, “There were things I could draw pictures of, and there were things that couldn't be drawn. More and more I was attracted to the second category. There were things I wanted to describe, but I didn't know how. There were things that I wanted to show but there was no way to show them.” For me, drawing is an attempt to get nearer to those things.

Artist Bio / CV
EDUCATION
The School of the Art Institute of Chicago, Master of Fine Arts, 1995
The Maryland Institute, College of Art, Bachelor of Fine Arts, 1983
GRANTS, FELLOWSHIPS, RESIDENCIES
LEF New England, Moving Image Fund (2008)
John Simon Guggenheim Fellowship (2008)
LEF New England, Moving Image Fund (2004)
Maine Arts Commission, Artist Fellowship (2002)
Illinois Arts Council Fellowship (1999)
Roger Brown Residency (1998)
Franklin Furnace Fund (1997-98)
Illinois Arts Council Fellowship (1996)
James Nelson Raymond Fellowship (1995)
Franklin Furnace Fund (1995)
Maryland State Arts Council (1991)
National Endowment for the Arts (InterArts, 1990)
Art Matters, Inc. (1990)
COLLECTIONS
The Museum of Modern Art
Bibliotheque Nationale, Paris, France
The School of the Art Institute of Chicago, Flaxman Film Collection
HONORS and AWARDS
Outside the Frame Award, Maine Film Academy, 2007
Films featured at the 52nd Flaherty Seminar, 2006
Marvin Felheim Award Special Jury Prize , Ann Arbor Festival , 2004
Juror, The Ann Arbor Film Festival, 2003
One-person, evening length shows at The Museum of Modern Art in 2000, 2003, 2004, 2006
Screening Committee's Choice Award for Narrative Integrity , Ann Arbor Festival, 2001
Marvin Felheim Award Special Jury Prize , Ann Arbor Festival , 2001
Black Maria Film and Video Festival and Tour, First Place (Juror’s Choice), 2000
FILMOGRAPHY
The Haunted Camera (2006), The Dreamless Sleep(2004), Monkeys and Lumps (2003), The Reach of An Arm (2000), Hedwig Page, Seaside Librarian (1998), Woods Marm (1996), An Epic Falling Between the Cracks (1995)
SELECTED FILM EXHIBITIONS
Transmodern Festival, Baltimore, MD
Nova, Cinema Bioscoop, Brussels, Belgium
Cinema Project, Portland, OR
Pacific Film Archives, Berkeley, CA
Museum of Modern Art, New York
Gene Siskel Film Center, Chicago
Maine International Film Festival
Taiwan International Animation Festival
Balagan Films, Boston
52nd Flaherty Film Seminar
MADCAT International Women’s Film Festival