There's one by Kathy Rose, "Booklings" which has a bunch of happy people and cats morph out of a woman at a desk.
"Wipes2" (as in squared) drawn by Paul Glabicki is a white-on-black play on planear geometry.
Sara Petty's "Family of Four" is an interesting experiment. She was one-of-a-kind when it came to pastel pencil animation. The translation to black and white flipbook is intellectually satisifying in that light -even it's it doesn't pack the expected fun of the format.
Roger Kukes' "Flowering" starts with a blank page and finishes a bunch of 70s deco-inspired flowers. I don't know Mr. Kukes, and only looked him up while writing this entry. Man, are those some nice drawings. They're in the vein of Jim Woodring or Kim Deitch, but altogether something their own. The roots of those flowers may not be Aubrey Beardsley or Edward Burne-Jones after all. They're very likely descended from Bosch and Bruegel.
Speaking of the Deitch family tree, the only other person I know from this collection is Tony Eastman. His "Peepin' and a Hidin'" is cartoon animation in a flipbook.
He shows us a really simple and great cartoon explosion.
Anticipation, I guess. It's a flipbook so who knows?
Object pops down.
Boom! (little, replacing object -all in one drawing)
Pow! Complication of boom. Smoke. Action lines. Explosion is jagged.
Here emerges as explosion "wipes" clear frame. He's revealed by smoke. Jagged primarily out of frame.
Just smoke and hero.
Smoke start blowing passed. Dissipating.
Few puffs, hero's on his way.
Here's George's flipbook. With his love of "anti-cartoons", you can forget what a nice cartoon animator he can be.
The New York animation scene likes to think of itself as a community. I don't know how this was 30 years ago -but if these little flipbooks are any evidence, there was a community of sorts.
The difference between then and now, to me, is the notion of "experiment". Experimental filmmaking is not a big part of the dialog today.
Last year's ASIFA-East "experimental" winner lives in Boston -and the film can hardly be considered "experimental" or "avant garde" by 21st Century standards. It's a lovely piece of work, but safe and fairly mainstream.
If you look at the two "Avoid Eye Contact" DVDs, there are 34 films. Only one is obviously "experimental" -Rohitash Rao's "Coffee", handful of others are boundary pushing ("Roof Sex", "Fetch", a couple gems from George Griffin).
It's not like there are no experimental filmmakers in New York. Somehow, traditional animation (as represented by ASIFA, the animation hegemony) has fallen out of touch with the Norman McLaren's of the world.