Wes Anderson, director of the
2014 film The Grand Budapest Hotel, has announced his hopes of commissioning
the construction of a new themepark entirely designed by Mark Mothersbaugh,
co-founder of the band Devo, composer and visual artist. These two eclectic figures have a history
together bound in perfect harmony between their exquisitely quirky styles of
artistic expression in the forms of visual and musical content. If you are familiar with these two people and
their work, you understand that neither of their material lacks substance. I can imagine the wind begin to accelerate
past my head as I’m catapulted on a perfectly symmetrical roller coaster ride
through under ground caverns and over ice capped mountain peaks while the air
is filled with an illustrious soundscape set to images and designs of de-evolution.
This at least would be satisfying enough for me, but I am sure the collaboration of these two iconic contributors to art will result in something unimaginably more ethereal and exciting than the standard attractions of today. Mothersbaugh has scored four of Anderson’s films and is currently presenting a retrospective exhibit of his early to present work called Myopia throughout the MCA Denver building. One of his sculptures at this event plays fifty to sixty birdcalls inspired by Anderson.
MECHANICAL AVIARY, 2014, 86″ X 37″, VINTAGE ORGAN PIPES, VINTAGE BIRD CALLS, ELECTRONICS AND STEEL.
Mark's creative esteem would no doubt inject a particular strain of truth into the fantasy worlds of Wes that would certainly borderline amusement and fear. Wes Anderson’s films have repetitive palettes of 70’s pastel colors with precisely centered shots and explicit symmetry that would be ideal for theme park concepts of family oriented fun and commercial appeal. The design of Mothersbaugh ingenuity and twisted vision could set it apart from all other theme parks and effectively enlighten the entertainment industry with fresh, quality art and fun. This of course is just my imagination of what these plans could facilitate, I hope reality will exceed these speculations. Wes Anderson announced his hopes of this project in the foreword of Mark Mothersbaugh’s visual art book Myopia edited by Adam Lerner. I will surely be on the look out for more information on this topic in the future.
This at least would be satisfying enough for me, but I am sure the collaboration of these two iconic contributors to art will result in something unimaginably more ethereal and exciting than the standard attractions of today. Mothersbaugh has scored four of Anderson’s films and is currently presenting a retrospective exhibit of his early to present work called Myopia throughout the MCA Denver building. One of his sculptures at this event plays fifty to sixty birdcalls inspired by Anderson.
MECHANICAL AVIARY, 2014, 86″ X 37″, VINTAGE ORGAN PIPES, VINTAGE BIRD CALLS, ELECTRONICS AND STEEL.
Mark's creative esteem would no doubt inject a particular strain of truth into the fantasy worlds of Wes that would certainly borderline amusement and fear. Wes Anderson’s films have repetitive palettes of 70’s pastel colors with precisely centered shots and explicit symmetry that would be ideal for theme park concepts of family oriented fun and commercial appeal. The design of Mothersbaugh ingenuity and twisted vision could set it apart from all other theme parks and effectively enlighten the entertainment industry with fresh, quality art and fun. This of course is just my imagination of what these plans could facilitate, I hope reality will exceed these speculations. Wes Anderson announced his hopes of this project in the foreword of Mark Mothersbaugh’s visual art book Myopia edited by Adam Lerner. I will surely be on the look out for more information on this topic in the future.
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