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Tina Frank 

is a visual artist – her name is internationally known as a synonym for experimental design as well as visualisations of music/ for music.

The works of Tina Frank cannot be reduced to a singular area: she is a "visual artist" – her name is internationally known as a synonym for experimental design as well as visualisations of music/ for music.

 

In 1995, Tina Frank started up her own business as a designer and was soon referred to as one of Austria’s shooting stars in web design. She designs "packing" for music. Many of her cover designs, especially those for music labels Mego/ Editions Mego (AT), Idea Records (US) have been published in numerous design reference works and are considered influential. The book Graphic Design for the 21st Century (Charlotte & Peter Fiell, Taschen Verlag) listed her among the top 100 graphic designers worldwide.

 

She has performed at music, film and multi-media festivals around the globe with musicians such as Oren Ambarchi, Chicks on Speed, Florian Hecker, Peter Rehberg, General Magic, Mia Zabelka and many more. Her videos can be found on numerous compilations and labels such as Asphodel (US), Mego/ Editions Mego (AT), Cronica (PT), Gas (JP), ZKM (DE), etc.

 

"One of the most prominent pioneers of new experimental video in Europe" (quote from Avantofestival 2003). In 2003, the Institute of Contemporary Arts, London, curated a solo show at the New Media Centre. In 2006, resfest10 presented a major work exhibition in Vienna. Her video chronomops received first prize in 2006 at diagonale 06 for best innovative, experimental-, animation- or shortfilm 2005/2006.

 

Since October 2008 she teaches as professor for graphic design & photography at the University for Arts and Design, Linz, Austria.

 

Source: Tina Frank's website

 

 

Tina Frank, *****, female

Reading

Sonic Graphics/Seeing Sound (2000) by Matt Woolman presents exemplary work from studios around the world in three sections: Notation analyses the use of sign and symbol systems in creating identity and branding for music artists, recording projects and performances; Material considers how products can package the intrinsic nature of the music they contain; and Atmosphere looks at how space and multidimensional environmeaants can be used to visualize sound. A reference section includes studio websites and a glossary. (Thames & Hudson)

Eye 76 (2010) is Eye's first-ever special issue on the dynamic and continually inspiring sector of design for music. Designers are in a privileged position to add visual drama to music; to make it more understandable and enjoyable; to communicate the intangible essence of vibrating air molecules into the worlds of words, images and moving graphics. Design can make music look good, but when they really work together you have magic. (Eye magazine)

Audiovisuology: See this sound (2010) - An Interdisciplinary Compendium of Audiovisual Culture. This all-embracing compendium brings together texts on various art forms in which the relationship between sound and image plays a significant role and the techniques used in linking the two. The entire spectrum of audiovisual art and phenomena is presented in 35 dictionary entries. (Cornerhouse)

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SEE ALSO

Jack Ox (*1948) has devoted herself to giving visual form to music. Using a system as fascinating as it is Byzantine, Ox has worked her way through painted performances of music as diverse as Gregorian chant, Bach, Debussy, Stravinsky, and Bruckner. (Artforum)

v3 / G.S.I.L.XXIX (2004) by video artist LIA shows a cut of the live audio visual performances of LIA and the Portuguese electronic band, @c, whereby both the image and the sound layer are improvised. As with the visuals, the music is also mostly digital. Muted rhythm patterns are steadily deconstructed, so that they sound increasingly like freejazz. (Lia)

VJam Theory: Collective Writings on Realtime Visual Performance (2008) presents the major concerns of practitioners and theorists of realtime media under the categories of performance, performer and interactors, audiences and participators. The volume is experimental in its attempt to produce a collective theoretical text with a focus on a new criticality based on practitioner/ artist theory in which artist/ practitioners utilise theoretical models to debate their practices. (VJ Theory)

Black (2010) by Susi Sie is focused on fear of the uncontrollable and its close relationship to fascination with the unfamiliar. All of its scenes were filmed with a Canon 5D Mark II, 100mm macro, and have been edited with no additional computer animation and effects. The original score for this short was created by Clemens Haas (1968, Germany), who studied Audio and Video Engineering as well as classical piano in Düsseldorf. (Susi Sie)

See this Sound (2009) by Liz Kotz (Author), Cosima Rainer (Editor), Stella Rollig (Editor), Dieter Daniels (Editor), Manuela Ammer (Editor) compiles a huge number of artists, filmmakers, composers and performers, reaching back into the early twentieth century and into the present to survey overlaps between not only sound and art, sound and film, and the metaphor of cinema as rhythm or symphony. Proceeding chronologically, the book takes the early cinematic eye music of Hans Richter as a starting point, noting parallel works by Walter Ruttmann and Oskar Fischinger; moving into the postwar period, the art/cinema/ music experiments of Peter Kubelka, Valie Export and Michael Snow are discussed, establishing precedents to similar work by Rodney Graham, Carsten Nicolai, Jeremy Deller and many others. (Artbook)