Moma’s Tomorrowland Looks Back in Wonder -- Page 1 of 3


		Moma’s Tomorrowland Looks Back in Wonder *A Manhattan trip through the student films of CalArts offers an inspiring retrospective of work form the early days of some of today’s greatest animation artists.* by Jake Friedman *Originally published July, 2006 in Animation Magazine
		If you find yourself in Manhattan this summer (through August 13), be sure to visit the Museum of Modern Art and its running tribute of CalArts student films, dubbed Tomorrowland. Only there can you see narrative and experimental student films from the past 30 years by now-famous artists and directors from Disney, Pixar, Dreamworks, The Simpsons and pretty much everywhere else.	Cal Arts
		The California Institute of the Arts and its famous animation school had a track record strong enough to catch the eye of MOMA Film & Media curator Josh Siegel, who has previously organized animation shows of works by New York’s own John Canemaker, R. O. Blechman and Tissa David. Says Siegel, “I started glancing at the resumes of various filmmakers I was interested in and noticed that what they shared was the fact that they graduated from CalArts.” Siegel took more than two years to sift through more than 1400 student films before compiling Tomorrowland, a series of programs of live-action and animated films from CalArts since its founding. “I like to see the first stirrings of talent,” says Siegel. “There’s an energy and rawness that a lot of young filmmakers have, an ambitiousness, a resourcefulness, and willingness to try new things. One of the things that interest me about CalArts, particularly in animation, is that a lot of the techniques that they used were of their own devising. For instance, David Wilson rigged his own optical printers and developed his own hologram sculptures. Naomi Uman used nail polish remover. Lyndon Barrois used gum wrappers.”
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