tag:blogger.com,1999:blog-18073355258466332402024-03-13T06:54:34.379-07:00Polly RobinsonAnonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.comBlogger167125tag:blogger.com,1999:blog-1807335525846633240.post-66610638169497260472013-05-16T04:32:00.005-07:002013-05-16T04:32:56.474-07:00Pippilotti Rist - I'm not the girl who misses much. <div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<br /></div>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/TJgiSyCr6BY" width="420"></iframe><br />
<br />
<span class="Apple-style-span" style="color: #444444; line-height: 21px;"><span class="Apple-style-span" style="font-family: inherit;"></span></span><br />
<div style="line-height: 1.75em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 21px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span class="Apple-style-span" style="font-family: inherit;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"In post-production the artist manipulated the video, speeding up and slowing down certain sequences of the footage and soundtrack so that her voice alternates between a high-pitched squeal and a funereal dirge. As Rist sings her energetic dancing causes her breasts to pop out of her dress. She bends and flails her arms and lifts her skirt above her head. She approaches the camera, flashing a wide lipsticked smile. As the soundtrack slows to a low moan, she slides down the wall almost off-camera, then re-emerges as the tempo picks up to a frenetic, cartoon-like pace. The comic sonic manipulations and endless repetition of the title phrase turn the words she is singing into a meaningless mantra.</span></span></span></div>
<span class="Apple-style-span" style="line-height: 21px;"><span class="Apple-style-span" style="font-family: inherit;"><div style="color: #444444; line-height: 1.75em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 21px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Rist also modified the colour balance so that some sequences of the video appear as if seen through a red filter while other parts are washed in blue. As the work progresses the horizontal and vertical hold are increasingly distorted, fragmenting the image. A series of juddering freeze frames creates the appearance of a fluctuating line that punctuates the surface of the screen with the rhythmic cadence of a heart monitor. Rist intends these distortions to reflect subjective experience. She has said, ‘In </span></span><i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">I’m Not the Girl Who Misses Much</span></span></i><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">, the ... use of different speeds is for me an exorcistic dance. When I present things in slow motion, I would say that’s “reality”, because our perception of time is subjective. When you’re nervous, a half hour can feel like an eternity, and when you’re feeling contemplative, it goes so fast. So time is extremely relative’ (quoted in Harris)." - Tate - Rachel Taylor</span></span></div>
<div style="line-height: 1.75em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 21px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
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<span style="line-height: 120%;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="color: #444444;">Pippilotti
Rist is an artist that I have looking at due to her vast use of video
installations, after I did the off sight exhibition it made me think more about
how to show my work and I hate seen her show ‘Eye Ball Massage’ at the Hayward
Gallery and she had many different ways of showing her pieces. Her piece “I’m
not the girl who misses much’, made me think of the last two videos I have
made. The video is heavily edited in postproduction altering the speed and
colour and is highly repetitive. She intends these distortions to portray a
subjective experience, which is now what I am trying to achieve in my videos.</span><span class="Apple-style-span" style="color: #666666;"><o:p></o:p></span></span></span><br />
<br />
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Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-76688106762063317982013-05-15T13:38:00.001-07:002013-05-15T14:23:04.928-07:00Another new tester video <div dir="ltr" style="text-align: left;" trbidi="on">
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<div dir="ltr" style="text-align: left;" trbidi="on">
<br /></div>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/6vEOOAt2d3o" width="560"></iframe><br />
<br />
Here I have repeated a clip slowing it down progressively in each repeat. The movement and sound becomes more and more distorted, the movement is emphasised and exaggerated and the sound, especially the laugh turns from something light to something more sinister and disconcerting.<br />
<br />
<br /></div>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/-WRo0hj1YKY" width="560"></iframe><br />
<br />
Here again I have slowed down and repeated the clip but also reversed </div>
Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-72168791209157642302013-05-15T04:30:00.000-07:002013-05-15T04:57:49.606-07:00New video <div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<br /></div>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/2mm4dctn0EU" width="560"></iframe><br />
<br />
<br />
This is just another video testing out new footage ideally it would be played really loud and projected on a big screen<br />
<br />
I have layered duplicated images and sounds, tested out using left to right panning with the sound, highly saturated it and altered the speed.<br />
<br />
Something that I think is a problem with this is it's direct relationship to London and tourism and thats not something I want to necessarily be the focus. It's just that it happens to be that the busiest places seem to be well recognisable places. The location of the film isn't important to me.<br />
<br />
<br /></div>
Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-47337529033004933472013-05-14T13:51:00.001-07:002013-05-14T13:51:38.643-07:00Tutorial<div dir="ltr" style="text-align: left;" trbidi="on">
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<h1>
<i style="mso-bidi-font-style: normal;"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: inherit; font-size: small;">What are the aims, intentions
and interests that you are exploring through your practice/written work?<o:p></o:p></span></span></i></h1>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -36.0pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: inherit;"><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-US" style="color: #343434; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-size: 14.0pt; mso-bidi-font-weight: bold;">Starting to use my own footage and editing
that, concentrating on clips I have filmed around London. I want to maybe
capture how it can sometimes feel a bit overwhelming, isolating,
disorientating with so much going on , a bit of a sensory overload maybe. </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -36.0pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: inherit;"><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-US" style="color: #343434; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-size: 14.0pt; mso-bidi-font-weight: bold;">So I want to edit the footage I have filmed
to emphasize some of these aspects. At the moment this Is all just very
experimental and a way to test things out to figure out what I want to
concentrate on</span><o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 149.35pt; mso-yfti-irow: 1;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 149.35pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 517.4pt;" valign="top" width="517">
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: inherit;">Describe three issues in
your practical/written work that you need to address and discuss in your
tutorial.<o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 3.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; mso-list: l0 level1 lfo1; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-autospace: none; text-indent: -36.0pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: inherit;"><span lang="EN-US" style="color: #343434;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="color: #343434;">I need to look at some sort of film theory/history – any suggestions.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 3.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; mso-list: l0 level1 lfo1; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-autospace: none; text-indent: -36.0pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: inherit;"><span lang="EN-US" style="color: #343434;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="color: #343434;">How far should I tae the editing?<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 3.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; mso-list: l0 level1 lfo1; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-autospace: none; text-indent: -36.0pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: inherit;"><span lang="EN-US" style="color: #343434;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="color: #343434;">Assessment – do I need to put up any photos? <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 3.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; mso-list: l0 level1 lfo1; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-autospace: none; text-indent: -36.0pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: inherit;"><span lang="EN-US" style="color: #343434;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="color: #343434;">Any suggestions for further subjects to base films on.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
</td>
</tr>
<tr style="height: 127.8pt; mso-yfti-irow: 2; mso-yfti-lastrow: yes;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 127.8pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 517.4pt;" valign="top" width="517">
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: inherit;">Agreed Actions (to be
completed during or after your tutorial)<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-bottom: 3.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; mso-list: l1 level1 lfo2; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-autospace: none; text-indent: -18.0pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: inherit;"><span lang="EN-US" style="color: #343434;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-US" style="color: #343434;">Look at flicker films
again – peter gidal structural film making.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 3.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; mso-list: l1 level1 lfo2; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-autospace: none; text-indent: -18.0pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: inherit;"><span lang="EN-US" style="color: #343434;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-US" style="color: #343434;">Look at more books -
materiality of film – expanded film making/ cinema<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 3.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; mso-list: l1 level1 lfo2; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-autospace: none; text-indent: -18.0pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: inherit;"><span lang="EN-US" style="color: #343434;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-US" style="color: #343434;">Think about domestic
movement , fiction <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 3.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; mso-list: l1 level1 lfo2; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-autospace: none; text-indent: -18.0pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: inherit;"><span lang="EN-US" style="color: #343434;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-US" style="color: #343434;">Gregor Scheidner – art
angel whitechapel art gallery <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 3.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; mso-list: l1 level1 lfo2; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-autospace: none; text-indent: -18.0pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: inherit;"><span lang="EN-US" style="color: #343434;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-US" style="color: #343434;">Psychoanalysis and art.
Freud – beyond the pleasure principle. <o:p></o:p></span></span></div>
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Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-53906738766838989632013-05-13T12:25:00.000-07:002013-05-13T12:25:19.241-07:00test for sound <div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<br /></div>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/CcsJBi653pU" width="560"></iframe><br />
<br />
Just learning how to make the sound change which side/speaker to come out of. Here I have just made the sound here pan from right to left. </div>
Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-10768838486948152102013-05-13T08:04:00.002-07:002013-05-13T08:04:46.797-07:00Things I need to do<div dir="ltr" style="text-align: left;" trbidi="on">
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<li>Look into film theory </li>
<li>learn how to do surround sound on final cut pro</li>
<li>try out more experiments with videos </li>
<li>try and get a projector and see how the videos work with that.</li>
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Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-65190653450386792852013-05-12T12:45:00.001-07:002013-05-12T12:45:51.909-07:00new work 2 <div dir="ltr" style="text-align: left;" trbidi="on">
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This is the first kinda experimental video I have developed out of footage I took.<br />
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I layered sounds, layered duplicated footage, changed the brightness, contrast, increased the saturation and altered the speed.To try and heighten the disorientation, distortedness, alienation, overwhelmingness on the senses that I'm trying to show/emphasise.<br />
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Ideally I would like this to be played projected bigger so it was life size maybe with surrounding screens with projections on it and surround sound to encompass the audience. I would want it really loud so that it wouldn't be a pleasant experience for them and they wouldn't want to spend to much time with the piece. I think also the fact that the is no interaction<br />
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I think this is ok for a tester piece but I need to experiment with different footage and editing.<br />
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This is very different to my other pieces not just because I have filmed my own footage but because of the way it is filmed. The documentaries I have used the focus is on the person that is being interviewed and documented and the interviewer You are not really aware of the person behind the camera. However due to this being filmed in first person perspective, here you are very aware of the person behind the camera as it seems to be about the camera holder's/characters experience, its where they are looking at, what they are seeing. You get the camera shakes of them walking. Due to this, the audience more closely experiences the 'characters' experience, which is what I want.<br />
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Before I have dealt with quite hard hitting and serious issues but for these purposes I haven't, I wanted to start with something simple and see if I could create a similar effect to previous works.<br />
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Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-32651662984642315912013-05-12T10:23:00.001-07:002013-05-14T09:50:44.312-07:00New Work<div dir="ltr" style="text-align: left;" trbidi="on">
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I have decided that I need to now start making work using own footage rather than documentaries or existing footage. It is something I haven't really tried before in this sort of way and that's why I need to do it. I need to figure out if appropriation is an important part of my work or just something I have done now and need to move on.<br />
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I was really worried about taking this new step, scared because it would be totally my own work and in a way meant a lot more work for me. I know I can edit existing footage well. I needed to think of what I wanted to film what it was going to be about and then how I'm going to edit it.</div>
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I thought about interviewing interesting people and editing that, but that would mean I would have to think of questions and a person and set up the situation. That wasn't something i really wanted to do. I want to capture something naturally occurring and manipulate that.</div>
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I though about just filming things during my day. Maybe weird people and happenings in London. I thought about how sometimes London can seem a bit overwhelming - especially if you're tired, hungover and just having a bad day. There's so many sounds, so many people, so much traffic and it can sometimes bit a bit of a sensory overload that I just want to get away from. This isn't something that I think is a really strong idea or something I feel passionate about but I feel like I just need to start simple and work through things from there. So my next bits of work are really just testing things out and finding potential subjects that I may actually want to focus on. </div>
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I filmed various things just on a hand held device. Here I just took a bit of footage walking down oxford street and sped it up just testing things. I like how with the camera shake from me walking at the people sped up creates a bit of a disorientating feel and slight feeling of motion sickness. </div>
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Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-68442614454267028082013-04-26T11:20:00.000-07:002013-04-26T11:22:10.547-07:00Gordon douglas - Through a looking glass. <div dir="ltr" style="text-align: left;" trbidi="on">
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Douglas Gordon is very interested in cinema and film.<br />
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I saw this piece at Tate Liverpool. It takes a well known scene from the film Taxi Driver where Travis Bickle played by Robert De Niro asks "You talkin' to me ?" Whilst looking into a mirror holding a gun.<br />
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This is projected onto dual screens which are placed opposite each other so it appears mirrored. The piece starts synchronised then slowly becomes out of sync so becomes a dialogue between the two screens.<br />
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" The two facing images, which begin in sync, progressively fall out of step, echoing the characters loss of control and his mental breakdown. These concordant projected images seem to respond to one another, thus trapping the viewer in cross fire in its almost dizzying play of dualities, through a looking glass perfectly articulates the dialectal inversions, doublings and repetitions that are the central concerns of Gordon's work."<br />
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This piece relates to my work due to the use of appropriation and the effects the installation induce on the viewer.<br />
Also I having been thinking a great deal into how to show my work and how this can affect it greatly. I like the use of the 2 screens.<br />
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<span class="Apple-style-span" style="color: #444444; line-height: 21px;"><span class="Apple-style-span" style="font-family: inherit;"><i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"Déjà-vu</span></span></i><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"> uses footage from D.O.A. 1949-50, a Hollywood thriller directed by Rudolph Mateé. The film has been transferred to video and is projected simultaneously on three parallel screens at normal speed as well as slightly faster and slightly slower - 25, 24 and 23 frames per second (left to right). This has the effect of making the three identical narratives diverge increasingly over time, and inducing in the viewer an experience similar to </span></span><i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">déjà-vu</span></span></i><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">."</span></span></span></span><br />
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<span class="Apple-style-span" style="color: #444444;"><span class="Apple-style-span" style="line-height: 21px;">This installation reminds me of my use of overlapping and repetitive layers of sound which adds an un nerving element to it. </span></span></div>
Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-11390276740380853592013-04-26T10:09:00.001-07:002013-04-26T10:09:23.249-07:00The light show - Hayward gallery <div dir="ltr" style="text-align: left;" trbidi="on">
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Quite a few weeks ago before I did the off-sight exhibition I went the Light Show at the Hayward gallery. It was one of the best exhibitions I have been to in a long time. It was such a great visual experience with such a varying use of light.</div>
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This piece is by Olafur Eliasson the camera doesn't capture the strobing very well but gives you an idea. It contains streams of running water and a strobe light, it was such an intense experience and of pitch blackness and shots of bright light revealing these beautiful water features. </div>
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'and his art often gives rise to optically disorientating phenomena, such as flashing stroboscopic lamps, which have the effect of appearing to reverse or immobilise movement (...) the strobe effect produces an ever-changing landscape of apparently icy festoons and crystal garlands.' </div>
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This installation along with the 'ray gun virus' installation I have talked about previously inspired me to use the flashing elements in my recent video to help create this 'optically disorientating phenomena' </div>
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This piece is by Conrad Shawcross and is in its own self contained room. Their work explores interests to do with sciences, maths, philosophy and cosmology however what really struck me when I experienced this piece what how disorientating it was as it played with your perception as sometimes is seemed like walls were moving, getting closer .etc. It gave me a sort of sea sick feeling.<br />
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This piece is by Antony McCall, I spent such a long time in this room not only was the light beautiful with the mist patterns made on the sheets of light and the pattern on the wall but watching people interact with it was fascinating.<br />
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Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-62669667000302387692013-04-26T08:43:00.004-07:002013-04-26T09:22:42.907-07:00My video for exhibition <div dir="ltr" style="text-align: left;" trbidi="on">
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This is the video that was played on the screens. Once it gets to the close up of the deep fat frier it plays that on repeat for about 3 minutes or so. I put this bit in for the exhibition as I felt like the video should have breathing space between the intensity and also so my piece in the exhibition didn't dominate everything and take over. I wanted people to be able to enjoy or experience other works without my video blaring out all the time impacting on others work. I originally was going to put tv static in between as I was displaying the video on tvs however I found this bit in the documentary and thought it went well with the theme of the rest of the video and was a nice interlude as it even though it is boiling fat it was quite nice to watch in a slightly mesmerising way and it just has a repeating quiet bubbling noise with it. When we had a the crit a someone in my group thought that, that was just the video as he came when this bit was playing and it was interesting to hear him say how much he liked just that bit playing with the setting I created. This space that I created in-between made the main video part more impacting as the frier is so subdued in comparision. </div>
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The video like previous videos is taken from the documentary , "child anorexic" filmed in rhodes farm where my sister was in hospital for quite a few months. Again like I have said I want to create something that shows/highlights their inner turmoil, confusion, overwhelmingness of the illness and repetitive negative thoughts that creates something disconcerting, attacking of the senses, confrontational and all consuming for the audience to experience. I tried to achieve this through repetition of phrases and clips and flashing.</div>
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Something different I tried in this experience was to create a more of an installation as before I have just shown my videos on a screen here. The setting of the bar helped a lot with this as they had the big tv screen and chairs and tables. It would normally be a place where people would sit down and socialise maybe having a drink and something to eat potentially with something on the tv in the background maybe showing a sporting event or music video. So I played on this aspect and used a table and chairs round the screens and served sweets and crisps and nibbles which people were allowed to eat. People sat down with friends eating the food with there drinks or stood up with their drinks eating and then my awful video would come on with the subject on anorexia, I wanted to see how people reacted and I liked the slightly ironic aspect of this. This also mad my work on some level interactive which is something I have never done or thought about really. I liked the engagement people had with my piece as some weren't sure if was with my piece , whether they were allowed to eat the food or if it was just food provided as part of the private view. </div>
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This exhibition has made me think about how I show my work more and thinking about creating more installation pieces instead of just showing a video on a screen. I think the installation aspect creates more of an experience for the work which hlps the concept behind it. </div>
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This is a video of the video playing on two screens which I was experimenting with at home and discovered it worked better than on just one screen. This then lead me to using three screens in the exhibition. </div>
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This is a draft version of the video which I then changed. I tried to blur the girl out a bit more and tweaked some aspects.<br />
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Videos are best watched full screen with sound turned up high<br />
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These are all the screens shots of my editing.<br />
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Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-60948249830737005082013-03-23T10:38:00.000-07:002013-04-09T10:06:04.564-07:00Off site exhibition. <div dir="ltr" style="text-align: left;" trbidi="on">
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So in our tutor groups we were given the task of setting up an off site exhibition. We split ourselves up into smaller groups according to what we wanted our exhibition space like. Some people wanted a typical white cube gallery space, some to work with something not so typical and some wanted an outside space. I went into the group of wanting a not so typical gallery space. We came together and discussed various places we could have the exhibition and who would contact these places. </div>
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One place we decided to have a look at was Cable night club under london bridge. It was a great venue that would have been a great challenge to put an exhibition together in and we managed to get about 15 + people that were interested in showing there. Initially we were told we would have to pay a certain amount for the hire which was doable as we had a big group and that we would need to manage to get a certain bar tab on the night. However these fees increased as time went on and it became too much of a financial risk for people so we had to abandon that idea. </div>
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<tr><td class="tr-caption" style="text-align: center;">This was our original poster we made for the exhibition at cable. </td></tr>
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We then had little time to arrange a new venue. My friend Jo had worked at a bar called Grand Union Kennington and now worked at the Camden branch and she suggested asking if we could have an exhibition in their upstairs space. They said yes and we managed to get the space for free to have it for one day/evening. It was a lot smaller space than Cable and we thought it was less ambitious but we didn't have time to sort anywhere else. Due to the smaller space we could only have about 5ish people showing in the spaceto give each other enough room. It ended it being me, Joanna Penso, Simone Barnes and Bethany Travis. This worked out to be a nice size group actually and we worked well together as a group.<br />
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We decided to curate the show together and when we went to visit it seemed pretty easy to decided where each of our works were to go and decided if that didn't work on the day we set the exhibition up we would just try out a new way.<br />
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<tr><td class="tr-caption" style="text-align: center;">The upstairs inside part of the bar where we had our exhibition. The doors to the left led our the the outside tent area. </td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-BCciyqseqTk/UUzBFfU_hwI/AAAAAAAABS8/ZUPoJZILnTc/s1600/Grand+Union+Kennington.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="452" src="http://1.bp.blogspot.com/-BCciyqseqTk/UUzBFfU_hwI/AAAAAAAABS8/ZUPoJZILnTc/s640/Grand+Union+Kennington.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The bar Grand Union where we had our exhibition in the upstairs bit.</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-OvwaYxa8-88/UUzBJ5VN90I/AAAAAAAABTk/7rgN1zkkYkw/s1600/a4+poster.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://4.bp.blogspot.com/-OvwaYxa8-88/UUzBJ5VN90I/AAAAAAAABTk/7rgN1zkkYkw/s640/a4+poster.jpg" width="452" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Poster for exhibition </td></tr>
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We came up with the name Off sight exhibition just to play on the task we had been given to have an off site exhibition. Simone designed the posters and came up with a few of options and we went with the one above.<br />
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<tr><td class="tr-caption" style="text-align: center;">poster option</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">poster option</td></tr>
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On the day of the exhibition we had from 12 o'clock till 5 o'clock to set up the exhibition. We had to remove all the paintings off the wall and and move all the furniture and tables and chairs out apart from the ones we wanted. It was a real push to finish in time for 5 for our crit especially for Jo who had a lot of construction to do.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-pary6J1N-uY/UU3N3Nt98NI/AAAAAAAABUw/X5wmNyOoww8/s1600/Scan1.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="http://4.bp.blogspot.com/-pary6J1N-uY/UU3N3Nt98NI/AAAAAAAABUw/X5wmNyOoww8/s640/Scan1.jpeg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">rough floor plan of our exhibition </td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-LPS-aJKrvQ4/UU3N32r3DVI/AAAAAAAABU4/O_ghcosdnek/s1600/IMG_1013.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="http://3.bp.blogspot.com/-LPS-aJKrvQ4/UU3N32r3DVI/AAAAAAAABU4/O_ghcosdnek/s640/IMG_1013.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My video installation</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-wjKPFe3shnA/UU3b8JpXB7I/AAAAAAAABWM/3icf_wBwAHc/s1600/Scan2.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="516" src="http://2.bp.blogspot.com/-wjKPFe3shnA/UU3b8JpXB7I/AAAAAAAABWM/3icf_wBwAHc/s640/Scan2.jpeg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">drawing of my installation due to poor picture</td></tr>
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This is a video of my work it doesn't quite show how impacting the flashing of the work and the dominance it had in the space. I had to make sure I put a warning about flashing lights on the door of the exhibition.<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/jw6qu5hgvYU?feature=player_embedded' frameborder='0'></iframe><br />
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<tr><td class="tr-caption" style="text-align: center;">Beth's work of a video of alive sperm in semen. </td></tr>
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Video of Beth's work showing alive sperm in semen and dead sperm in semen growing bacteria.<br />
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This is one of three of Simone's drawings. Her three drawings document her standing on shoes that she had attached stilts onto the bottom so they were really tall and hard to balance on. She also showed the shoes she had made for this exhibition. This photo doesn't show them very well as I didn't have a flash on my camera and I should have brought a proper camera to document the exhibition better.<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Hk2qRBNhtXU?feature=player_embedded' frameborder='0'></iframe><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/5i50gQLhLSo?feature=player_embedded' frameborder='0'></iframe></div>
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These are videos of Jo's work she made a corridor from wood and black fabric and set up a motion sensor light behind two fish bowls full of water, so when a person when through the light turned on and created a rippling effect on the opposite fabric 'wall'.<br />
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At 5 o' clock we had our tutor group and tutor come to look round our exhibition and have a crit. I always struggle with our crits as our group isn't the most talkative and it's sometimes really hard to get people to talk and make any sort of comment and its generally the same people that only talk which includes me and Jo. However we got some good feedback and discussed each of our works and how they worked in the space and how we set up the exhibition. They commented on how:<br />
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<li>the amount of works in the space works well as they all have enough breathing space so they are not competing for attention and that it seems well balanced. </li>
<li>My piece is what impacts you first when you enter the room as its what hits you when you walk in if the main video bit is playing. It sets the tone for the rest of the exhibition as it was generally what people encountered first. </li>
<li>the whole exhibition makes you aware of your body and references your physicality (which is something we hadn't realised before) due to the use of eating disorders in my piece and the food on offer to eat whilst watching the videos, Simone's work relating to physical movement of her body trying to balance on the shoes, Beth's semen which is a bodily fluid, and Jo's work that responds to your bodies presence. </li>
<li>the exhibition has some sort of extreme distorted element to it which echos the potential over indulgence, hedonism, alcoholicness of the bar and added to the unsettling effect of some of the works. </li>
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Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-70706183030921676382013-03-17T10:38:00.000-07:002013-03-17T10:38:54.134-07:00Mind Fuck <div dir="ltr" style="text-align: left;" trbidi="on">
I went to Bruce Nauman's Mind Fuck exhibition at Hauser & Wirth a few weeks ago.<br />
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<span class="Apple-style-span" style="font-family: inherit;">'<span class="Apple-style-span" style="color: #222222; line-height: 15px;">The artist once stated that he wished to make ‘art that was just there all at once…like getting hit in the back of the neck with a baseball bat’.'</span></span></div>
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This exhibition shows works focusing on his interests of , life, death, sex, agression, language and psychoanalysis.<br />
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<a href="http://1.bp.blogspot.com/-KIfNB6Ii5m8/UUXpAjf9I0I/AAAAAAAABM0/I9khuWz_v4A/s1600/Hauser--Wirth-Bruce-Nauma-008.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="384" src="http://1.bp.blogspot.com/-KIfNB6Ii5m8/UUXpAjf9I0I/AAAAAAAABM0/I9khuWz_v4A/s640/Hauser--Wirth-Bruce-Nauma-008.jpg" width="640" /></a></div>
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<a href="http://4.bp.blogspot.com/-pRPJGpuQ-VA/UUXpAvOR_PI/AAAAAAAABM4/Z7VAJtuwhWk/s1600/Hauser-and-Wirth-Bruce-Na-009.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="384" src="http://4.bp.blogspot.com/-pRPJGpuQ-VA/UUXpAvOR_PI/AAAAAAAABM4/Z7VAJtuwhWk/s640/Hauser-and-Wirth-Bruce-Na-009.jpg" width="640" /></a></div>
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This room you had to squeeze through a gap t get through and out making you feel like your trapped a bit in this green hell. I went with my friend Jo and I can't tell you how awful she looked green. It was like having been abducted by aliens or something. Waking up and not knowing where you are in this strange surreal green world where you are conscious there is no easy escape.</div>
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<a href="http://2.bp.blogspot.com/-o927zHXbjMs/UUXr7KWoZnI/AAAAAAAABNM/4kU6W9orqOs/s1600/130129BruceNauman_7187145.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="http://2.bp.blogspot.com/-o927zHXbjMs/UUXr7KWoZnI/AAAAAAAABNM/4kU6W9orqOs/s640/130129BruceNauman_7187145.jpg" width="640" /></a></div>
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This is made based on casts from taxidermy animals. They are dragged round in a lifeless way or like they have just given in or up to the monotonous circle they are tracing. "endless chase" "wearily rotating" . Originally the objects are meant to scrape and drag along the concrete floor making a screeching noise however they now scuff against MDF. This is in attempt to conserve the piece. I think it would have been a lot more effective without the MDF as it would have been a much more painful experience. </div>
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<a href="http://4.bp.blogspot.com/-1H-KiOW_huQ/UUXtVhVZyQI/AAAAAAAABNc/K0t-6qPHJNg/s1600/Hauser-Wirth-London-Savile-Row-Bruce-Nauman-Mindfuck-Installation-View-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-1H-KiOW_huQ/UUXtVhVZyQI/AAAAAAAABNc/K0t-6qPHJNg/s640/Hauser-Wirth-London-Savile-Row-Bruce-Nauman-Mindfuck-Installation-View-5.jpg" width="444" /></a></div>
Here the neons flack on on of changing between men and woman, mouths open and mouths closed. constant changing, nothings stable or steady about it.<br />
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<span class="Apple-style-span" style="line-height: 15px;"><span class="Apple-style-span" style="font-family: inherit;">This is Good boy, Bad Boy, I originally saw this in video form at Tate Liverpool. Here it is in neon form constantly flashing on and of changing the amount of information shown not leaving really any time in-between to reflect on each statement shown, you're strait on to the next one. Or if your given more than one phrase it's hard to manage to read them all at once. It's really bright assaulting your eyes. </span></span><br />
<span class="Apple-style-span" style="line-height: 15px;"><span class="Apple-style-span" style="font-family: inherit;"><br /></span></span>
<span class="Apple-style-span" style="line-height: 15px;"><span class="Apple-style-span" style="font-family: inherit;">'Nauman has used the medium of lights and bright colours to create an unsettling vision for the viewer, akin to bouts of psychosis and mangling of the mind, looking to dream interpretation as a huge influence. His work sprang out of an era of popularity in Gestalt therapy and behaviourism, of observation over symbolism, creating a body of work that pushes the viewer into an uncomfortable position as observer of human action.'</span></span><br />
<span class="Apple-style-span" style="line-height: 15px;"><span class="Apple-style-span" style="font-family: inherit;"><br /></span></span>
<span class="Apple-style-span" style="line-height: 15px;"><span class="Apple-style-span" style="font-family: inherit;">Nauman is such an important artist to me as in many ways he wants to achieve what I want to achieve through my work. The unsettling vision for the viewer, the mangling or the mind, pushing the viewer into an uncomfortable position, something that is like being hit in the back by a baseball bat. </span></span><br />
<span class="Apple-style-span" style="line-height: 15px;"><span class="Apple-style-span" style="font-family: inherit;"><br /></span></span>
<span class="Apple-style-span" style="line-height: 15px;"><span class="Apple-style-span" style="font-family: inherit;">http://www.guardian.co.uk/artanddesign/video/2013/jan/30/bruce-nauman-art-video-review </span></span></div>
Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com1tag:blogger.com,1999:blog-1807335525846633240.post-32148723782619616052013-03-14T04:31:00.000-07:002013-05-13T04:37:27.756-07:00Essay - Issues of authorship and originality in relation to the use of appropriation in contemporary art.<div dir="ltr" style="text-align: left;" trbidi="on">
This is my essay I wrote I where I set the question and initiated my own research behind it. I choose tis subject as it addresses issues surrounding my work.<br />
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<u><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Issues
of authorship and originality in relation to the use of appropriation in
contemporary art.<o:p></o:p></span></u></div>
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<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Appropriation artist’s use of other
artist’s works and sources brings up issues and questions surrounding the
notions of authorship and originality. It has been said that appropriation
artist’s authorship relation to their work appears compromised from the very
start due to the inclusion of other people’s works. Some appropriation artists
themselves have also declared that there is no such thing as originality,
particularly traditional notions of originality in an age of technical
innovation and easy reproduction. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Appropriation is a practice that goes
back far in history for different purposes. Albrecht Durer originally set the
paradigm for what a Rhinoceros looked like for people in Europe who had never
seen one before. He made a drawing of a Rhinoceros from vague sketches and a
description; this drawing became the set image for rhinoceroses in his work and
other artist’s works that wanted to include a rhinoceros. However with these
artist’s works there didn’t appear to be a problem of authorship and
originality with their inclusion of Durer’s rhinoceros as they were just seen
as using the accepted depiction of rhinoceros. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Artists such as Pablo Picasso and
Georges Braque in the early twentieth century appropriated images from
newspapers in their cubist collages. Issues of authorship with these works weren’t
as apparent as more recent artists that are classified under the umbrella of
appropriation artists. Authorship and originality became more of an issue as
artists started to use appropriation in more extreme ways in some cases as a
way to directly challenge these terms. Elaine Sturtevant took appropriation art
to more extreme levels; she replicated artist’s work such as Andy Warhol, Claes
Oldenburg, Roy Lichtenstein and Marcel Duchamp through the process they were
originally created. Her works tip traditional ideas of originality and
authorship on its head. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Roland Barthes <span style="mso-spacerun: yes;"> </span>(1) tells us that to impose an author on
a work is to impose a limit on the work. He says ‘</span><span lang="EN-US" style="color: #141413; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 9.0pt;">the birth of the reader
must be ransomed by the death of the Author.’ Sherrie Irvine (</span><span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">2005) </span><span lang="EN-US" style="color: #141413; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 9.0pt;">asks “</span><span lang="EN-US" style="color: black; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-size: 10.5pt;">The work of the appropriation
artists, which continues into the present, might well be thought to support the
idea that the author is dead: in taking freely from the works of other artists,
they seem to ask, with Foucault, ‘What difference does it make who is speaking?’</span><span lang="EN-US" style="color: #141413; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 9.0pt;">” Through the use of appropriation
the author may appear to be dead however the importance of the author seems
more apparent and although the author may be challenged, it is not dead. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: #141413; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 9.0pt;">This is particularly evident in Sherrie Levine’s Work where she
photographed Walker Evans’ photographs from an exhibition catalogue and re-presented
them in an exhibition as her work. Here the author of the work becomes very
important to establish, as knowing the author completely changes your
understanding and reading of it. In visual terms the works of Walker Evans and
the appropriated images of Evans’ photos by Sherrie Levine are the same. However
they have been through different processes and were made under different intentions
and contexts. Walker Evans was documenting the effects of the great depression
and had to consider and work through issues and concerns, such as composition,
lighting, the subject and so forth. Whereas Levine has re-photographed his photos
to make a commentary on photographic reproduction, artistic originality,
authorship and authenticity. “[She] wanted it understood that she was flatly
questioning questioning-no, flatly undermining-those most hallowed principles
of art in the modern era: originality, intention, expression” (</span><em><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; font-style: normal; mso-bidi-font-size: 12.0pt;">Rimanelli, David, 1994)</span></em><span lang="EN-US" style="color: #141413; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 9.0pt;">. Levine creates a whole
new concept for ‘Evans’’ photographs, they wouldn’t be considered as new works
and this concept wouldn’t be apparent if the author was not known and
recognized as we would just assume they were Evans’ images. So we can see here for
the reader (audience) to be empowered it does make an important difference as
to who is speaking. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: #141413; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 9.0pt;">On the other hand With Pierre Bismuth’s piece ‘Blue Monk in
Progress’ the issue of the author comes across in a different way. He used a
Yamaha Disclavier piano that can record a player’s performance and then recite
it back. Pierre Bismuth used this to record him learning to play Thelonious
Monk’s piano piece ‘Blue Monk’. He then had this performance written as musical
notation with all the errors, which he then got a professional pianist to play
on the Disclavier piano. The pianist played the piece according to the musical
score like the errors of Bismuth were intentional and were meant to be in the
piece. The final work that was exhibited was of the Disclavier playing back
what the pianist had played on it. <o:p></o:p></span></div>
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<span lang="EN-US" style="color: #141413; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 9.0pt;">In this piece of work the authorship can be interpreted in
different ways. Is Bismuth the author as he was the one who’s idea it was to do
this piece of work and organize it? Is Thelonious Monk the author, as his piece
‘Blue Monk’ is a key part and center of the work? Is the Pianist the author as
it is their recording recital that is played? Is the Disclavier piano the
author, as it is the disclavier that when it comes down to it, when the work is
exhibited, that actually plays the piece? Or is it a combination of all of
them? This piece may be seen to have different authors, that may be disputed but
establishing the author and knowing who is speaking here may not be so
important compared to Sherrie Levines work. Knowing the process of the work and
leaving it to the audience to decipher and interpret is more interesting. <o:p></o:p></span></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: #141413; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 9.0pt;">As we can see with Bismuth’s work there is some debate as to who
actually is the author when an artist’s work consists of other peoples work.
Normally artists are held responsible for every aspect and decision made within
their work. However when an artist appropriates someone else’s artwork they are
not responsible for every feature, as someone else has created them through
their decisions. <span style="mso-spacerun: yes;"> </span>This questions
the work’s author and the originality of the new work, as it does not wholly
originate with the ‘new’ artist. Although large parts of appropriations works may
not originally be features created by the appropriation artist it doesn’t mean necessarily
that they are not the authors of the new work or that it is not original.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: #141413; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 9.0pt;"><span style="mso-spacerun: yes;"> </span>Elaine Sturtevant makes
a point about her work and the issue of copying, “</span><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">There’s
a big difference in repeating in the sense of Deleuze, and copying. Firstly, a
copy must be absolutely of the same intention as the original, whereas my work
deals with an interior movement, and repetition as difference</span><span lang="EN-US">.” (</span><em><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; font-style: normal; mso-bidi-font-size: 12.0pt;">OBRIST, HANS
ULRICH, 2009.)</span></em><span lang="EN-US"> </span><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">This
can be applied to other appropriation artists works to when arguing who is the
author. The different processes, intention, context and transformation of the
appropriated work establish the work as something substantially different from
the original </span><span lang="EN-US" style="color: #141413; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 9.0pt;">and so asserts the authorship of the creator of the appropriated
work. This shows how Sherrie Levine is the author of her work, as even though
her work of appropriated images by Walker Evans are visually the same as Walker
Evans’ originals, Levine is the author of her work as she created the work with
new intentions and concepts that’s originate with her. Further more society has
accepted such appropriation artists as the author of their work and they have
been recognized and have received awards as successful artists. Elizabeth Price
recently won the 2012 Turner Prize for her piece ‘The Woolworths choir of 1979’
which was made up of appropriated archival footage edited into the award
winning piece. Also many appropriation artists have had exhibitions and have
their work held at prestigious institutions, which wouldn’t have happened if
the artist weren’t taken seriously as the authors of their work.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: #141413; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 9.0pt;">Appropriation may ‘copy’ other artist’s work but it isn’t
forgery. John Myatt painted copies by famous painters such as Monet and
originally sold them as ‘genuine fakes’. However with the help of John Drewe he
realised he could sell them as the genuine article for a lot more money. He
created over 200 fakes that were sold but they were both found out, were
convicted and spent time in prison. Myatt now has returned to selling his
paintings as genuine fakes. Here we can see that forgery differs from
appropriation as the forger tries to pass their work off as the original work
for financial gain, not artistic purposes. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: #141413; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 9.0pt;">Even though appropriation isn’t forgery there are still cases
where the law gets involved where copyright is concerned. There is a fair use
act for the use of other people’s copyrighted work. If a work is deemed
transformative it is not seem to be in breech of copyright, however what is
considered as transformative is disputable. Jeff Koons was sued for his use of
Art Rogers’ photo of a man and woman holding some puppies called ‘Puppies’. Koons
instructed Italian artisans to make a 3d sculptural replication of the image
entitled ‘String of Puppies’. “</span><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Koons claimed that
artistic freedom would be abrogated if artists could not make parodies or
create work that somehow showed the influence of other artists.” (Grant,
Daniel, 2012) The court ruled against Koons deeming that the piece didn’t
parody the original work. Even though this piece of work may have not parodied
the original work it was transformative and original, seen as the medium was
changed and it was made into a 3d work which didn’t look exactly the same as
the photo and would have been experienced in a completely different way. In the
artistic world the change of medium would have been considered as
transformative but the ordinary viewer has to be able to see it as
transformative and that was not apparent in this case. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Some philosophers have proposed that
originality be understood in relation to the properties of a work. “</span><span lang="EN-US" style="color: #3b3b3b; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-size: 12.0pt;">Frank Sibley (1985) equates
originality with "novelty," and he analyzes various senses of
originality in terms of the properties of the work, namely, that it
"differs from anything previously existing in relevant ways."</span><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">”(</span><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-size: 13.0pt;">Van Camp, Julie C, 2007)</span><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">
Returning to koons’ work, his work may not have been seen transformative enough
but according to this it is original as it differs from anything previously
existing as his work features in a form that the photo had not existed in
before, which then would have created a new experience of the work.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">James Elkins focuses exclusively on
properties of works in relation to others, a work is original if it has one of
these senses. “</span><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-size: 12.0pt;">First,
what he calls "originary," are works "that appear to be without antecedent"
(…) This seems to approximate "novelty" in the sense of being
historically first, dependent on placing the work in a historical context as
the first to demonstrate a certain trait. The second sense,
"primacy," "refers mostly to itself," and also seems to
connote novelty as a historical fact. (…) The third, "uniqueness,"
refers to the qualities that distinguish an object from copies” (</span><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-size: 13.0pt;">Van Camp, Julie C, 2007)</span><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">If we take this definition or originality
we can see how appropriation art can be considered as original. Taking example
from Sherrie Levine’s work again we can see that her work is original, as in a
historical context she was one of the first to appropriate in such an extreme
way in photographing someone else’s photography and the result being visually
the same as the original photographers images. Furthermore her work identifies
with the third sense, as her works are distinguishable from Evan’s photos as
they posses different qualities, primarily concept. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">This shows that originality does
still exist and here we can see that a work of art, in particular appropriation
art, may not be original in the traditional sense but can be original in a new
sense. All work is derivative somehow of other things but it is the new
qualities that an appropriation artists adds to a work that can make it
original. This also applies to them asserting their authorship on their work,
as they are the creators of something new and this shows that the author can still
be important to a piece of work.<o:p></o:p></span></div>
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<u><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Bibliography</span></u></div>
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<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Baudrillard, Jean, 1983, <i style="mso-bidi-font-style: normal;">Simulations</i>, Semiotext(e) Foreign agents
sense, New York, <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Benjamin, Walter, 2008, <i style="mso-bidi-font-style: normal;">The work of art in the age of it technical
reproducibility and other writings on media</i>, The Belknap press of Harvard
University, London (1)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Sonvilla-Weiss, Stefan, 2010, <i style="mso-bidi-font-style: normal;">Mashup Cultures</i>, Springerwien, New York<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-size: 13.0pt;">Van
Camp, Julie C, 2007, Originality in Postmodern Appropriation Art. <i>Journal of
Arts Management, Law, and Society</i>. 36 (4), 247-258..<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Verdana;">Posker, Dan & Patience,
Cameron, 2010, </span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-size: 16.0pt; mso-bidi-font-weight: bold;">Appropriation Art: an
overview of copyright and consumer protection for artists, </span></i><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-size: 16.0pt; mso-bidi-font-weight: bold;">Arts Law, available
from: </span><span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">http://www.artslaw.com.au/articles/entry/appropriation-art-an-overview-of-copyright-and-consumer-protection-for-arti/</span><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">
[accessed 3<sup>rd</sup> march 2013] <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 13.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-size: 13.0pt;">Weaver,
Cat, 2011, </span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Times; mso-bidi-font-size: 28.0pt; mso-bidi-font-weight: bold;">Law vs. Art Criticism:
Judging Appropriation Art</span></i><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Times; mso-bidi-font-size: 28.0pt; mso-bidi-font-weight: bold;">, Hyperallergic, available from:</span><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">
</span><span lang="EN-US"><a href="http://hyperallergic.com/23589/judging-appropriation-art/"><span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">http://hyperallergic.com/23589/judging-appropriation-art/</span></a></span><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">
[accessed 25<sup>th</sup> February 2013]<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Rowe, Hayley, 2011, <i style="mso-bidi-font-style: normal;">Appropriation in Contemporary Art</i>,
Student Pulse, Available from: </span><span lang="EN-US"><a href="http://www.studentpulse.com/articles/546/appropriation-in-contemporary-art"><span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">http://www.studentpulse.com/articles/546/appropriation-in-contemporary-art</span></a></span><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">
[accessed 15th February 2013]</span><span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Benjamin, Walter transcribed by
Blunden, Andy, 2005, </span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 32.0pt; mso-bidi-font-weight: bold;">The Work of
Art in the Age of Mechanical Reproduction, </span></i><span lang="EN-US" style="font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 32.0pt; mso-bidi-font-weight: bold;">Marxists,
Available from: </span><span lang="EN-US"><a href="http://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm"><span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">http://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm</span></a></span><span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;"> [accessed 12th February]<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">2013, <i style="mso-bidi-font-style: normal;">Appropriation (art),</i> Wikipedia, Available
from: </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Appropriation_(art"><span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">http://en.wikipedia.org/wiki/Appropriation_(art</span></a></span><span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">) [accessed march 1<sup>st</sup>] <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">Barthes, Roland, <i style="mso-bidi-font-style: normal;">Death of the Author</i>, tbook, Available
from: </span><span lang="EN-US"><a href="http://www.tbook.constantvzw.org/wp-content/death_authorbarthes.pdf"><span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">http://www.tbook.constantvzw.org/wp-content/death_authorbarthes.pdf</span></a></span><span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;"> [accessed 28th February]<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">Diva, Mac, 2004, <i style="mso-bidi-font-style: normal;">Cultural appropriation: Who’s music is it anyway?,</i>
Blog Critics, available from: </span><span lang="EN-US"><a href="http://blogcritics.org/music/article/cultural-appropriation-whos-music-is-it/"><span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">http://blogcritics.org/music/article/cultural-appropriation-whos-music-is-it/</span></a></span><span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;">
</span>[accessed 2<sup>nd</sup> March]<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">Irvin, Sherri, 2005,
</span><span lang="EN-US" style="color: black; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-size: 10.5pt; mso-bidi-font-weight: bold;">Appropriation and Authorship in Contemporary Art, Draft
for </span><i><span lang="EN-US" style="color: black; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-size: 10.5pt;">British
Journal of Aesthetics, </span></i><span lang="EN-US" style="color: black; font-family: "American Typewriter"; font-size: 11.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-size: 10.5pt;">45, 123-137.</span><span style="font-family: "American Typewriter"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-14844062552822048332013-02-23T13:49:00.000-08:002013-02-23T13:49:21.234-08:00Tutorial - 11/02/13<div dir="ltr" style="text-align: left;" trbidi="on">
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<h1>
<i style="mso-bidi-font-style: normal;"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-size: small;">What are the aims, intentions
and interests that you are exploring through your practice/written work?</span></span></i></h1>
<div>
<ul style="text-align: left;">
<li>
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<span lang="EN-US" style="color: #343434; font-family: "Courier New"; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Courier New";"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="color: #343434; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-size: 14.0pt; mso-bidi-font-weight: bold;">something that
impacts on and effects the audience the audience + makes their suffering come
across</span><b><span lang="EN-US" style="color: #343434; font-family: "Courier New"; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">.<o:p></o:p></span></b></div>
<!--EndFragment--><span class="Apple-style-span" style="color: #343434; font-size: small;"><i><h1>
</h1>
</i></span></li>
<li><span class="Apple-style-span" style="color: #343434;"><i><span class="Apple-style-span" style="color: black; font-style: normal;"><h1 style="display: inline !important;">
<span class="Apple-style-span" style="font-size: small; font-weight: normal;"><i><div class="MsoNormal" style="display: inline !important; margin-bottom: 0px; margin-left: 36pt; margin-right: 0px; margin-top: 0px; text-align: left; text-indent: -18pt;">
<span lang="EN-US" style="color: #343434;">using appropriated images / footage based on eating disorders and the mental disturbances of it. particularly emphasising on footage found on rhodes farm.</span></div>
</i></span></h1>
</span></i></span></li>
<li><span class="Apple-style-span" style="color: #343434;"><span class="Apple-style-span" style="color: black;"><h1 style="display: inline !important;">
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<![endif]--><!--StartFragment--><span lang="EN-US" style="color: #343434; font-size: 11pt;"> Highlighting aspects of their illness or discomfort</span><!--EndFragment-->
</span></span></div>
</span></h1>
</span></span></li>
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something unpleasant/ disconcerting/ attacking to watch and experience.</span></i></span></div>
</span></h1>
</span></span></li>
</ul>
<span class="Apple-style-span" style="color: #343434; font-family: inherit;"><i>
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<!--StartFragment--><i style="mso-bidi-font-style: normal;">Describe
three issues in your practical/written work that you need to address and
discuss in your tutorial</i><!--EndFragment--> </i></span></div>
<div>
<ul style="text-align: left;">
<li><span class="Apple-style-span" style="color: #343434;"><i><div class="MsoNormal" style="display: inline !important; margin-left: 36pt; text-indent: -18pt;">
<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Arial;">Whether
the topic of eating disorders is important to me and/or what im trying to
achieve with my work</span></div>
</i></span></li>
<li><span class="Apple-style-span" style="color: #343434;"><i><div class="MsoNormal" style="display: inline !important; margin-left: 36pt; text-indent: -18pt;">
<span style="mso-bidi-font-family: Arial;"></span></div>
<div class="MsoNormal" style="display: inline !important; margin-left: 36pt; text-indent: -18pt;">
<span style="mso-bidi-font-family: Arial;">Booking
out a project space – what I should show in it, how should I arrange it </span></div>
</i></span></li>
<li><span class="Apple-style-span" style="color: #343434;"><i><div class="MsoNormal" style="display: inline !important; margin-left: 36pt; text-indent: -18pt;">
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<![endif]--><!--StartFragment--><span style="font-size: 11pt;"><span class="Apple-style-span" style="font-family: inherit;"> Trying out multiple
screens</span></span><!--EndFragment-->
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</i></span></li>
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<span class="Apple-style-span" style="color: #343434;"><span class="Apple-style-span" style="font-size: 15px;"><i>Agreed Actions</i></span></span></div>
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<span class="Apple-style-span" style="color: #343434;"><span class="Apple-style-span" style="font-size: 15px;"><i><br /></i></span></span></div>
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<li><span class="Apple-style-span" style="color: #343434;"><span class="Apple-style-span" style="font-size: 15px;">monika oeschler - video</span></span></li>
<li><span class="Apple-style-span" style="color: #343434;"><span class="Apple-style-span" style="font-size: 15px;">fat is a feminist issue - susie orback</span></span></li>
<li><span class="Apple-style-span" style="color: #343434;"><span class="Apple-style-span" style="font-size: 15px;">book space - email ersan turk + katrine - look what space i want </span></span></li>
<li><span class="Apple-style-span" style="color: #343434;"><span class="Apple-style-span" style="font-size: 15px;">kutlug atsman - video installation </span></span></li>
<li><span class="Apple-style-span" style="color: #343434;"><span class="Apple-style-span" style="font-size: 15px;">julie kristeva - abject </span></span></li>
<li><span class="Apple-style-span" style="color: #343434;"><span class="Apple-style-span" style="font-size: 15px;">maria walsh </span></span></li>
<li><span class="Apple-style-span" style="color: #343434;"><span class="Apple-style-span" style="font-size: 15px;">make on footage ?</span></span></li>
</ul>
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<span class="Apple-style-span" style="color: #343434;"><span class="Apple-style-span" style="font-size: 15px;"><br /></span></span></div>
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<span class="Apple-style-span" style="color: #343434;"><span class="Apple-style-span" style="font-size: 15px;">I showed this video as well which actually isnt finished </span></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/f3724AzFhGw?feature=player_embedded' frameborder='0'></iframe></div>
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Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-47799101951138273252013-02-23T09:56:00.000-08:002013-02-23T09:56:42.267-08:00Jean Baudrillard and Simulation - the copy <div dir="ltr" style="text-align: left;" trbidi="on">
We had a lecture the other day which was very relevant to my work and my essay that I'm currently writing. Due to it's relation to appropriation and the copy.<div>
<br /></div>
<div>
The idea of the copy </div>
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<br /></div>
<div>
<ul style="text-align: left;">
<li>uncanny repetition </li>
<li>feelings of deception and anxiety </li>
<li>de-establishing singularity </li>
<li>with the twin towers they had to destroy both of them to make it meaningful - with this though we weren't seeing anything new it was a replication of a hollywood film.</li>
<li>blurring between reality and fantasy </li>
<li>Plato said reality lives in a world of ideal forms </li>
<li>we see a world of shadows </li>
</ul>
<div>
<br /></div>
</div>
<div>
<ul style="text-align: left;">
<li><u>Albrecht Durer</u> replicated his work but his signature made it original</li>
<li>He set what a rhinoceros looked like as he drew one from a description and other artists would look to his drawing and replicate it in their work as they didn't know what a rhinoceros looked like - but there copy is still original in their work</li>
</ul>
<div>
<br /></div>
</div>
<div style="text-align: left;">
<ul style="text-align: left;">
<li><u>Eduard Manet</u> - portraiture - he wanted to make a copy of life and not make n idealistic image. </li>
<li><u>Georges Seurat</u> - turns painting into something mechanical like photography - which copies life and is made up of tiny dots, so he painted in dots</li>
<li><u>Roy Lichtenstein</u>-relates to 4 colour printing of dots, pokes fun at authenticity and looks at pop culture and comics</li>
<li><u>Andy Warhol</u> - did painting by numbers works showing its mechanical process . when images are massed produced they loose their impact - eg. with his car crash images theres so many you just see the image and not the devastation </li>
<li><u>Charles Ray</u> - life size model of a model fire truck - a moment of certainty to uncertainty</li>
<li><u>Thomas Dernand</u> - Makes models or real things / sites with significance and photographs them so they look actual size. </li>
<li><u>Allan McCollum</u> - Thought he didn't need to make any new pictures as theres so many already . He took pictures that he saw on the tv behind actors and photographed them and blew them up. He thinks they are surrogates of the real images and are standing in for the need to make any new images. - <b>but he did make new images doing this !</b></li>
</ul>
<div>
<b><br /></b></div>
<ul style="text-align: left;">
<li>At Disney World people think the have experienced something simulated and when you leave , you leave into the World of America where things are real. When really it isn't and disney world is actually showing you everything is fake.</li>
<li><u>Sherrie Levine</u> - rephotographs famous photos from books.</li>
<li><u>Hiroshi Sugimoto - </u>Photographs wax works to make it like a portrait of the actual person - uncanny </li>
</ul>
<div>
<br /></div>
<div>
<ul style="text-align: left;">
<li>The copy can be thought of as an issue of plagiarism but a way of thing about how to make something new, when both nothings of originality and authenticity seems open to question.</li>
</ul>
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Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-21732227678019016332013-02-23T09:08:00.000-08:002013-02-23T09:08:31.685-08:00Hitachi consulting opportunity <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://1.bp.blogspot.com/-2RdWI9hqkGM/USjzdfbuTPI/AAAAAAAABMQ/xwj_gSlrhww/s1600/i4F.o3o0hpss.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="432" src="http://1.bp.blogspot.com/-2RdWI9hqkGM/USjzdfbuTPI/AAAAAAAABMQ/xwj_gSlrhww/s640/i4F.o3o0hpss.jpg" width="640" /></a></div>
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A few weeks ago I went with a group of students for chelsea to Hitachi consulting's office at More London Riverside, which consist of some amazing modern architectural buildings by London and Tower bridge. </div>
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We looked round the office and had a talk about the company and the opportunity we have to make some work for their offices. </div>
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Things they want and points made - </div>
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<ul style="text-align: left;">
<li>work to respond to the building/area/company/history or the way the space is used. </li>
<li>has to be robust and be able to last a year. </li>
<li>can't be to controversial </li>
<li>would be good if it was a talking point.</li>
<li>reflect hitachi spirit and values</li>
<li>complements the surroundings</li>
</ul>
<div>
<br /></div>
<div>
<ul style="text-align: left;">
<li>hitachi means sunrise - and the symbol is a combination of the chinese symbols for that</li>
<li>they aim to create a better society through technology as our society changes</li>
<li>they desire a reputation of being knowledgeable </li>
<li>founded in 1910</li>
<li>940 companies around the world </li>
<li>hitachi consulting was born in america </li>
</ul>
<div>
<br /></div>
</div>
<div>
<ul style="text-align: left;">
<li>we have to make a proposal for our work that we would want to make for it and present it to hitachi</li>
<li>8 people will be chosen </li>
<li>given £250 to do the work</li>
</ul>
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I have a meeting on monday to discuss our ideas we have as a group - need to think of something ! </div>
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Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-70370304137978939202013-01-15T14:47:00.000-08:002013-01-15T14:47:19.100-08:00Repetition compulsion <div dir="ltr" style="text-align: left;" trbidi="on">
So I was looking into the nature of compulsive and repetitive behaviour on the internet and I came across the term Repetition Compulsion which I found quite interesting.<br />
<br />
It's a psychological phenomenon where a person repeats a traumatic event or circumstances over and over again. It includes reenacting the event or putting oneself in situations where the event is likely to happen again. It can also take the form of dreams and feelings of what happened are repeated.<br />
<br />
The term also covers the repetition of behavioural life patterns. Freud says it describes the pattern whereby people endlessly repeat patterns of behaviours which were difficult or distressing in earlier life.<br />
<br />
There is a lot more too this and the theory why people do it etc. but just this brief overview of it had aspects which I find really interesting in relation to making my art. I would kind of like to do this in a way in my videos with my use of repetition and reenact a traumatic event/situation/time and put that on the audience.</div>
Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-75695474436108446502013-01-15T12:09:00.002-08:002013-01-15T12:09:58.616-08:00AL tutorial With Fran Cottell<div dir="ltr" style="text-align: left;" trbidi="on">
Here are some suggestions she made about my work<div>
<br /></div>
<div>
<ul style="text-align: left;">
<li>I should try showing different versions/experiments of my videos in a project space and get feedback from people to see which is the most successful</li>
<li>maybe have something with a beginning and an end to draw people in to watching it.</li>
<li>talked about how it is art and how to make it more art than just a comment on something.</li>
<li>I explained I wanted the videos to be an experience and she related that to bill viola who said something similar about his videos.</li>
<li>maybe have more abiguity so its not so obvious what it's about.</li>
</ul>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-76343379164776651242013-01-14T12:25:00.003-08:002013-01-14T12:25:54.611-08:00You talkin' to me ?<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://1.bp.blogspot.com/-AE-w9S1uP3k/UPRhqOs6nXI/AAAAAAAABJM/0ShFPkB5Kko/s1600/99.5304_ph_web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-AE-w9S1uP3k/UPRhqOs6nXI/AAAAAAAABJM/0ShFPkB5Kko/s400/99.5304_ph_web.jpg" width="385" /></a></div>
<br />
Douglas Gordon : Through a looking glass.<br />
<br />
I saw this last year at Tate Liverpool as part of an Alice in Wonderland exhibition. It takes a scene from the film Taxi Driver where Travis Bickle played by Robert De Niro asks "You talkin' to me?" whilst looking into a mirror and holding a gun .<br />
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"<span class="Apple-style-span" style="font-family: Verdana, Geneva, Arial, Helvetica, sans-serif;">The two facing images, which begin in sync, progressively fall out of step, echoing the character's loss of control and his mental breakdown. These discordant projected images seem to respond to one another, thus trapping the viewer in the crossfire. In its almost dizzying play of dualities, <em style="font-style: italic; font-weight: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">through a looking glass</em> perfectly articulates the dialectical inversions, doublings, and repetitions that are the central concerns of Gordon's work." (guggenheim) </span><br />
<span class="Apple-style-span" style="font-family: Verdana, Geneva, Arial, Helvetica, sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Verdana, Geneva, Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: 'American Typewriter';">There are two screens facing each other which play this scene, they start synchronised and then become out of sync so becomes a dialogue between the 2 screens which you are stuck between. </span></span><br />
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Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-21098745648892328322013-01-14T06:54:00.001-08:002013-01-14T06:54:51.635-08:00Lux<div dir="ltr" style="text-align: left;" trbidi="on">
I was told to look at this website called <a href="http://lux.org.uk/">Lux</a> (theres a .org on and a lux online one which are slightly different)in one of my tutorials. So glad I was its a great website for videos artists to look at. Theres quite a lot of resources and essays to read and videos to watch about film making and video art which I have found quite good to read through and for looking at artists.<br />
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I have been looking at installation on the website so here an example of something/<br />
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<a href="http://2.bp.blogspot.com/-Smo2ml_0cao/UPQcECjdtDI/AAAAAAAABIo/CzYqlqprYgY/s1600/Screen+shot+2013-01-14+at+14.52.53.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-Smo2ml_0cao/UPQcECjdtDI/AAAAAAAABIo/CzYqlqprYgY/s1600/Screen+shot+2013-01-14+at+14.52.53.png" /></a></div>
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Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-65325869619107351332013-01-14T06:26:00.001-08:002013-01-14T06:26:21.309-08:00John Akomfrah<div dir="ltr" style="text-align: left;" trbidi="on">
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/2l-Basgy260?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br />
I saw this installation at the Liverpool Biennial and forgot to write about it when I came back. However I was reminded of it when we had a lecture on the Black Arts movement and the BAFC was talked about where John Akomfrah is one of the founding members.<br />
<br />
This piece identified with me due to the use of video and appropriation of archival footage. I really like the use of the 3 screens with different videos running on them as I think it really worked well together. I liked that each time you watch the installation the film you are viewing is different depending on which screens you pay attention to and at which point.<br />
<br />
It made me think about my own work and how maybe I could try something with multiple screens like I have mentioned before.<br />
<br />
The content of the videos are personal to Akomfrah's life especially the aspects of identity and race. It also looks at the theme of memories and its questionable nature.<br />
<br />
<span class="Apple-style-span" style="color: #666666; font-family: 'ITC Barcelona W01 Book', georgia;"><em><span class="Apple-style-span" style="font-size: large;">'The Unfinished Conversation</span></em><span class="Apple-style-span" style="font-size: large;"> looks at the theory that identity is not an essence or being but instead a becoming, where individual subjectivities are formed in both real and fictive spaces.'</span></span></div>
Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-53663476812162947712013-01-12T08:44:00.000-08:002013-01-12T18:52:14.437-08:00Pierre Bismuth <div dir="ltr" style="text-align: left;" trbidi="on">
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So a while ago I wrote about a piece of work from my philosophy seminar but I could't remember the name. But I have now found out !<br />
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<a href="http://1.bp.blogspot.com/-g02iKoGXjsQ/UPGRECVsLEI/AAAAAAAABHg/L7hZagwYWe4/s1600/Screen+shot+2013-01-12+at+16.34.55.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322" src="http://1.bp.blogspot.com/-g02iKoGXjsQ/UPGRECVsLEI/AAAAAAAABHg/L7hZagwYWe4/s400/Screen+shot+2013-01-12+at+16.34.55.png" width="400" /></a></div>
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This is a better description than I gave for it. </div>
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<a href="http://2.bp.blogspot.com/-i5_NTZKepGo/UPGR_rWw6MI/AAAAAAAABHs/TxZz_O8f8Ic/s1600/Screen+shot+2013-01-12+at+16.40.12.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="628" src="http://2.bp.blogspot.com/-i5_NTZKepGo/UPGR_rWw6MI/AAAAAAAABHs/TxZz_O8f8Ic/s640/Screen+shot+2013-01-12+at+16.40.12.png" width="640" /></a></div>
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Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-32086301376929059482012-12-29T04:56:00.002-08:002012-12-29T04:56:50.907-08:00Hilary Lloyd<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://4.bp.blogspot.com/-osQCRGZChJE/UN7nOJxfsfI/AAAAAAAABGo/L-iEKnlJ_W0/s1600/17-image-Striped+Man-2011.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="474" src="http://4.bp.blogspot.com/-osQCRGZChJE/UN7nOJxfsfI/AAAAAAAABGo/L-iEKnlJ_W0/s640/17-image-Striped+Man-2011.jpg" width="640" /></a></div>
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<a href="http://2.bp.blogspot.com/-ioJbcmURfpM/UN7nXRqJk2I/AAAAAAAABGw/u_HSnquwx3I/s1600/hilary-lloyd-studio-2-2009-installation-view-frieze-art-fair-london-14-18-october-2009-ix.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="474" src="http://2.bp.blogspot.com/-ioJbcmURfpM/UN7nXRqJk2I/AAAAAAAABGw/u_HSnquwx3I/s640/hilary-lloyd-studio-2-2009-installation-view-frieze-art-fair-london-14-18-october-2009-ix.jpg" width="640" /></a></div>
In my tutorial it was suggested I look at Hillary Lloyd. The subject of her work isn't something that really relates to mine. I'm more interested in how she shows her work and the use of multiple screens. The way I show my work is a big aspect of my work I think as it can change the experience of it dramatically. I think I am going to try out ,not necessarily showing 2 different films like she does with some of her work but making 2 more more videos that are to be shown together and work as one piece.</div>
Anonymoushttp://www.blogger.com/profile/03845413099114024111noreply@blogger.com0tag:blogger.com,1999:blog-1807335525846633240.post-58059553431230102082012-12-22T07:55:00.001-08:002012-12-29T04:14:55.853-08:00Triangle Show <div dir="ltr" style="text-align: left;" trbidi="on">
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/To9xWbDnf6k?feature=player_embedded' frameborder='0'></iframe></div>
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So in the last week of the the second half of the year curated an exhibition in the triangle space of a current piece of work. We were split into three groups and given different sections to start with to make it more manageable. We arranged our work so it worked well as an exhibition with other works around it but whilst still trying to find the best possible place for individual works.<br />
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I got to show my video (above) in a slightly darker area near a corner of the space, which I think worked well. I showed my video on a tv screen sat on a plinth. However this isn't the ideal way I would like to show my work. Ideally I would like to show it as an installation projected in a dark room with only this piece of work showing to create a more intense and confrontational experience. i think this would greatly effect the viewing of the work and it's intensity. So next time I show in this sort of setting I need to think of a better way to show it.<br />
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During the private view some people told me my video was horrible and not very nice to watch which actually was good to hear.<br />
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A couple of days later we had a group crit in the space. Due to there being so many people in the space we only got a brief over view of each work.<br />
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Feedback<br />
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<li>Someone felt it was more a comment on youtube and blogging culture which I hadn't even thought about. I think this was just due to the way parts of the documentary was filmed. I need to avoid it looking like this as I don't want to be making a comment on that. So I maybe need to be more selective with my footage next time as my other videos have never had that feedback.</li>
<li>Apparently it needs to be more universal so it effects everyone in the sameway, but I don't believe this should be the case and you can't expect everyone to feel the same about a piece of artwork or have the same reaction.</li>
<li>I have good starting ideas though and it is a powerful video</li>
<li>need to look at Ryan Tricarten and Low Provos.</li>
<li>People weren't sure why I put the bit with Will Ferrel in it. I mainly put this in, to add a bit more ridiculousness in it which reflects aspects of the disorder.</li>
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