Tal Rosner

Artist/Filmmaker

Project :: Year

TV

Classical/Contemporary Music

Dance

Music Promo

Large Scale Installation (outdoors)

Gallery

Other

Features/Reviews

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STRANGE/1.4
Tal's music video is featured in 1.4, where he talks to Lyndy Stout about the making of STRANGE.
Onepointfour Magazine Online/2 November 2012/Day Feature.

The Most Incredible Thing Revival/Evening Standard
'...the design team of Katrina Lindsay, Tal Rosner and Lucy Carter produce a dystopia that almost thrills the eye enough to make you forget it’s meant to crush the spirit.'
London Evening Standard/28 March 2012/The Most Incredible Thing Review by Clifford Bishop.

In Seven Days/Gramophone Podcast
Click here to stream or download for free.
Tal was featured in the January 2012 edition of the Gramophone Magazine Podcast, talking to editor-in-chief James Jolly about In Seven Days DVD release by Signum Classics.
Gramophone Magazine Online/19 January 2012/January Podcast.

In Seven Days + Nancarrow DVD/The Times
'Locked in at home, the force is concentrated. Now you revel as shape, rhythm and dynamics interact...all is exuberance as blobs dance, circles pulse and spindles multiply into an emerald jungle...'
The Times/16 December 2011/In Seven Days Album Review by Geoff Brown.

In Seven Days + Nancarrow DVD/Berryman Blog
'There is real precision in the integration of the visuals...and music not only in the motivic processes but the harmonic material, textural changes and orchestration all captured by a visual gesture.'
Steven Berryman blog/www.stevenberryman.wordpress.com/December 29 2011/In Seven Days Album Review.

Chronograph/Create Digital Motion
‘LA-based Casey Reas (known to many as co-creator of ,Processing) worked with Tal Rosner to produce shifting generative murals in what I think is a triumph of digital expressionism.’
Create Digital Motion/8 December 2011/In Expressionist, Elaborate Compositions, Reas + Rosner Generate Mural on Gehry by Peter Kirn.

The Most Incredible Thing/The Times
'But perhaps it is Tal Rosner’s film and digital graphics that are most outstanding, especially in Act Two when the clock springs into three-dimensional life.'
The Times/23 March 2011/The Most Incredible Thing Review by Donald Hutera.

The Most Incredible Thing/Variety
'Against the backdrop of Tal Rosner's ingenious projections on a huge clock-face screen...'
Variety/23 March 2011/The Most Incredible Thing Review by Karen Fricker.

In Seven Days/The Birmingham Post
'Rosner’s visuals, a continually mutating kaleidoscope of colours, create an effective multi-dimensional experience, a sensory explosion that marks the most successful meeting of music and visuals yet.'
The Birmingham Post/18 March 2011/London Sinfonietta, at Symphony Hall by Elmley de la Cour.

The Most Incredible Thing Preview/The Daily Telegraph
The Daily Telegraph/17 February 2011/The Most Incredible Thing: Pet Shop Boys interview for the ballet by Sheryl Garrett.

Polaris/The New Yorker
'At Frank Gehry's New World Center, in Miami Beach, the fusion of live music and film is so seamless that it almost heralds a new genre.'
The New Yorker/14 February 2011/Schubert on the Beach by Alex Ross.

Lachen Verlernt/The New York Times
'The rhythms and moods of this harmonically rich work, at first peacefully lyrical and then frantic, were mirrored by Mr. Rosner’s images...'
The New York Times/31 January 2011/A Violinist Layers Back with Relative Newcomers by Vivien Schweitzer.

Polaris/Los Angeles Times
'...beautifully shot with images imaginatively designed to roam the sails.'
Los Angeles Times/27 January 2011/Music review: The potential of the New World Center in Miami Beach by Mark Swed.

Polaris/The Miami Herald
'Polaris proved an intense and hypnotic experience...as repetitive patterns in the orchestra gained intensity and force, the hall's five curvy projection screens displayed images of waves crashing on rocks...'
The Miami Herald/26 January 2011/Orchestra resplendent in its new New World Symphony's futuristic home by David Fleshler.

Chronograph and Polaris Preview/Los Angeles Times
Los Angeles Times/26 January 2011/Dispatch from Miami: New World Center preview by Mark Swed.

Chronograph/The Miami Herald
'At sunset Tuesday, the New World Symphony will debut an unexpected piece of art: a 7,000-square-foot-video mural...'
The Miami Herald/25 January 2011/Display has music and more by Arianna Prothero.

In Seven Days/New York Times
'...riveting, restless and kaleidoscopically colourful...Mr. Rosner explodes bits of still pictures into intricate geometric designs and shifting patterns.'
The New York Times/7 January 2011/A Soundtrack for the Chaos, Light and Dark of Creation by Anthony Tommasini.

Polaris/NWS
New World Symphony Opening Week Programme/November 2010.

Polaris and Lachen Verlernt/New York Times
The New York Times/12 September 2010/Arts - The New Season Classical Previews.

Video Mural and Polaris Feature/The Miami Herald
'The London-based Tal Rosner - who, along with digital artist Casey Reas, will create the inaugural video mural for Frank Gehry's New World Symphony campus - is on the phone, contemplating the possibilities of art writ large. For a video artist, the 7,000-square-foot screen that looms over the adjacent park, just of Miami Beach's Lincoln Road, is Art Broadway.'
The Miami Herald/9 May 2010/NWS gears up for a dazzling opening by Tom Austin.

Video Mural and Polaris/The Miami Herald
The Miami Herald/South Florida Extra Magazine/5 May 2010/NWS reveals opening events by Tom Austin.

Family Tree/The Observer Magazine
The Observer Magazine/Show and Tell/This Week: Pet Shop Boys/21 February 2010.

Design Week/Cover feature
'Equally at home with high or low culture, Tal Rosner works across film, fine art and graphics to deliver pieces for concert halls and youth TV. Dominic Lutyens tracks down the London-based Israeli with a love of the abstract.'
Design Week/Profile and Cover/Volume 25/Number 4/28 January 2010/Hitting a high note/movie maestro Tal Rosner by Dominic Lutyens.

Shots Magazine/Special feature
'Rosner has presented his work around the world...but despite its diversity, there is something that links it all: his unique visual eye. Rosner's films are all strikingly different form other work and quite hypnotic.'
Shots Magazine/Interactive Content/Special Feature/Issue 114/May 2009/Muse Media by Belinda Archer.

Timeout London/In the studio
'Tal Rosner is a Bafta-winning artist and filmmaker whose commercial and personal projects combine multiple layers of sound, music and visuals.'
Timeout London/Art Section/19-25 March 2009/In the Studio with Tal Rosner by Helen Sumpter.

Without You at Tate Modern/Illuminations
‘It's a film of colour and surface and form, of painterly qualities and pastoral sounds, shot in industrial suburbia and sharply edited as a visual and aural dance for the senses. This is Len Lye for the twenty-first century, extending a modernist tradition of abstract animation that looks back to Walter Ruttmann and Oskar Fischinger...’
Illuminations blog/www.illuminationsmedia.co.uk/6 December 2008/Big screen, little screen by John Wyver.

Without You/Dazed and Confused
‘There is this really distinct composition of star-speckled noises, someone driving, someone shouting…It really reflects what I’m trying to do, to capture the feel of the place, I think that people are now becoming much more aware of the technology, and I like that people know how to do things…what it actually takes to make X or Y.’
Dazed and Confused/HEAD 2 HEAD/Vol. 2 Issue 65/September 2008/Artists Tal Rosner and Emily Richardson Take Animation to a New Level by Francesca Gavin.

Skins/BAFTA Magazine
‘Snaring any BAFTA is an achievement but for Television Craft award winner Tal Rosner, it’s just the beginning'.
Academy/BAFTA Magazine/Vol. 3 Issue 3/August 2008/24-SEVEN by Anwar Brett.

In Seven Days/Los Angeles Times
‘…Rosner has merely succumbed to the same temptation that many of us find increasingly hard to resist. Full of the life of our own times yet so rooted in the past that it feels like family…"In Seven Days" is a sort of ode to Disney Hall and the Southbank's Royal Festival Hall…We begin with dappled river current and can maybe imagine the creation of the seas and land, the sun and stars, life, us…Crazy fugues ricochet. The colors amaze. One listens and looks with delight for half an hour. People left the hall with smiles on their faces.’
Los Angeles Times/29 May 2008/Adès continues with his spellbinding ways by Mark Swed.

In Seven Days/TLS
‘…It was composer John White who once divided music into “obsessive moments” and “development noise”. The cleverness of Rosner, in accompanying Adès’s work is in finding something meaningfully to do with both. He begins with semi-abstract wave patterns, which may be the tide flowing past the Festival Hall, and adds blob-shapes that multiply and morph like the heavily inked “notes” from the busier pages of Cornelius Cardew’s Treatise…‘
Times Literary Supplement/16 May 2008/Big bang complements by John L. Walters.

In Seven Days/The Daily Telegraph
‘Rosner's previous projects have included animating Stravinsky as part of a mesmerising DVD with the Labeque sisters, and the title sequence for the television series Skins, which earned him a Bafta…Judging from the extracts that I was shown…Adès’s music is magnificently expressive, and Rosner’s images complement it wonderfully, tracing a journey from chaos to form.’
The Daily Telegraph Review/19 April 2008/Disney's Fantasia - The Sequel by Peter Culshaw.

In Seven Days/Sunday Times Culture Magazine
‘…the work, involving six large screens on which a dazzling fantasy of colour and semi-abstraction sustained itself for half an hour, could hardly be more alluring. The music was just as dazzling as the visuals, and was its own kind of novel imagery…One left the hall lost in a kaleidoscope of colour, touched by an exquisitely decorative experience.’
Sunday Times Culture Magazine/4 May 2008/Ring them bells - but sparingly by Paul Driver.

In Seven Days/The Independent on Sunday
‘…Rosner’s imagery plays on six screens: bold geometrics in brilliant colours, monochrome glimpse of Hungerford Bridge and Frank Gehry’s Walt Disney Concert Hall frames to look like the sails and hulls of giant ships…what filmmaker and composer share is their complete confidence in playing with history.’
The Independent on Sunday/4 May 2008/A romantic voice in an unromantic age by Anna Picard.

Stravinsky-Debussy DVD/Deceptively Simple
#1 Katia and Marielle Labèque, Stravinsky/Debussy (KML 1112/1113) 'With fantastically intricate videos by Tal Rosner, the duo pianists light up Stravinsky's Concerto for Two Pianos and more'.
2007's Top 10 Classical CD/Deceptively Simple blog/5 December 2007/Music and culture from Chicago music journalist Marc Geelhoed - classical music critic for Time Out Chicago.

Future of Sound at the British Library/Pixelist
'[Rosner] has a poetic way of capturing the rhythms of travel and matching them to music, especially the Stravinsky pieces. His creative use of editing, screens side-by-side splicing disjointed journeys together in time to the rhythm shows a great understanding of time and visual space…I find the black-on-light-blue contrasts of telephone poles and different train-side machinery growing out of themselves as if they were anchored in pools of still water utterly captivating'.
Pixelist blog/www.pixelist.info/13 November 2007/The Future of Sound at the British Library by Pixelpusher.

Essays

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Without You by Jeremy Myerson
'Without You can be read in a number of ways – as a pure visual design essay that is a delight to the eye, a critique on modernism, as a lament for the pastoral.'

Stravinsky/Debussy DVD Overview by Bruno Di Marino
‘Tal Rosner's interpretation of both Stravinsky and Debussy, far from conditioning listeners' imagination, perfectly captures the rhythm and plasticity of the two composers, and refers to the notions of scansion, serial pattern, and sound transformation.’