emsh (13. 662)

Via { feuilleton }, we are pleased to have had made the acquaintance of visual artist and experimental filmmaker, Ed Emschwiller, a WWII veteran who used his GI bill educational stipend to study at École des Beaux Arts (there meeting his wife and co-creative, scif-fi novelist Carol Fries) and the Art Students League of New York in the late 1940s. Using his veterans’ benefits again, the couple bought a house in Levittown, pursuing their art from a home studio—described as the only beatniks in the, segregated, planned community of Long Island. Often using Carol as a model for his commercial work, Emschwiller (usually signing his painting with the titular abbreviation) created covers for pulp publications including Galaxy, Infinity and Astounding Stories magazines, as well as paperback covers for Philip K Dick and Samuel R Delaney, whom considered his wife a peer. Despite a lucrative career and garnering several Hugo Awards (see previously here and here), in the early 1960s—in part inspired by Andy Warhol and the New American Cinema movement—Emschwiller turned to Factory-style filmmaking in suburbia with multimedia performance vignettes, as well as cinematography for documentaries on diverse subjects from Bob Dylan, voter-registration drives in Mississippi to the New York art scene for diverse commissions from the US Information Agency, NASA and Expo ’67. In the late 1970s, Emschwiller became interested in computer animation, eventually becoming professor and provost of the CalArts of the institutions television workshop and laboratory. More examples of Ed Emschwiller’s work spanning all the stages of his career and incomplete filmography are curated by Dennis Cooper at the link above.