Artfic as Installation
This week I had the idea that if I could make HDR time-lapses with subtle movements, it would enhance the properties of “Artific” by making it even more surreal. “Films and movies for entertainment, send our minds into a fantasy zone whether it be that of tension and suspense, horror, action violence, sexual titillation, or comedy. It is a retreat, an escape, at times, an intellectual experience [1].” Films have a magical way of taking us to another world, an imaginary world painted in the eye of the director. There would also be a score to the films. "Music does many things for the human body including, masking unpleasant sounds and feelings, slowing down and equalizing brain waves, affecting respiration, affecting the heartbeat, pulse rate, and blood pressure, reducing muscle tension and improving body movement and coordination, affecting the body temperature, regulating stress-related hormones, boosting the immune function, changing our perception of space and time, strengthening our memory and learning, boosting productivity, enhancing romance and sexuality, stimulating digestion, fostering endurance, enhancing unconscious receptivity to symbolism, and generating a sense of safety and well-being[2].” I think sound could be a really important part of my work. Music is definitely known to have an emotional impact on the listener.
[1]artwork, creating, learning a language, and mental balance.. "The Psychology and History of Movies | Horror Films | Psychological." Mental Health | Natural Psychology | Self Help | Child Psychology | Depression Help. N.p., n.d. Web. 14 Nov. 2010. <http://www.winmentalhealth.com/movies_psychological.php>.
[2]"Music's Affects on the Human Body." Music's Affects on the Human Body. N.p., n.d. Web. 14 Nov. 2010. <hs.riverdale.k12.or.us/~dthompso/exhib_03/jasonc/Music%27s_Affects_on_the_Huma
Thursday, November 11, 2010
Tuesday, November 9, 2010
Simon Tarr
Simon Tarr is both a teacher and an experimental film maker working with many different types of techniques. He seems to primarily work with 16mm film. In my opinion many of the films are glitchy, dreamy sequences that, without spoken context, I probably wouldn’t be able to follow. I wonder somewhat if the context is really important or not to the work. In relation to one of his newer pieces, "Interrupt us", which he described as a glitch video, he said, “it may or may not be hardcore pornography.” The most interesting work to me was his remix of “Nanook of the North” entitled “Tia Mak.” I was intrigued that he was VJing or doing a live performance of his version of the story of “Nanook of the North.” Simon controls the apects of the vido: what to show and when, what effect is on the video and text overlays. In his version he makes us aware of the fabrication of the original by overlapping different scenes in the movie to show they where filmed in exactly the same place. Personally I wouldn’t have understood this without an explanation. Regarding that, an important question was brought up by a student: “Do you always preface the performance by explaining the original?”, to which he answered that he generally did. I think that knowing the context of the piece certainly helps put it in better perspective.
Graduate School #2 - The University of New Mexico
The University of New Mexico’s graduate program is more traditional. US. News and World Report magazine ranked the photography school 4th in the country in 2008. In addition, New Mexico is a very beautiful location and a great place for producing work. What is most interesting about the school is the option to also develop other areas of interest that I have. There are several areas of focus for the MFA degree besides photography, with the option to do work in other areas besides the selected focus. I would anticipate being interested in some of the offerings from the electronic arts department. My background includes computer science, computer animation, and website development. Another area of interest outside of the studio art departments would be the The Art, Research, Technology and Science Laboratory. “ARTS Lab seeks to support innovation and growth in areas such as film, new media, simulation, telehealth, game technology, image processing, scientific visualization, national security applications, and new markets for content.” An area of recent interest for me is scientific visualization and image processing. I am excited by new techniques and methods in the digital era. I am also interested in using my art as a tool to educate, for example with visualization techniques. I think the University of New Mexico would give me a chance to diversify my skills and greatly expand my current knowledge.
Faculty Work
Claudia X. Valdes teaches in the electronic arts division of the studio art program. Her photographic work ‘TRINITY SITE SERIES’, much like mine, is a commentary on the impact of human destruction. This series of images was photographed at the Trinity test site. Claudia's image “exposes the ‘radioactive’ landscape and explores notions of place, memory and history[1].” It is clear that Claudia Valdes used special techniques to stylize her images in order to achieve her goals. It’s always been a focus of mine to try to stylize images in such away that they transcend past just being a straight photograph. I’m always trying new things and trying to find a style that works for me. I thnk Claudia’s photography stylization certain drives one to think more seriously about the damage done by nuclear missiles.
[1]Valdes, Claudia. "CLAUDIA X. VALDES: Trinity Site Series." CLAUDIA X. VALDES. N.p., n.d. Web. 8 Nov. 2010. <http://claudiaxvaldes.com/photo/trinityseries.html>.
Biography -
Claudia X. Valdes was born in Santiago, Chile. Her family moved to the United States when she was three years old. Her undergraduate studies at UC Berkeley included architecture, modern dance and fine art. In 2001, she received an M.F.A. from UC Berkeley.
Between 2001-2009 Valdes’ art practice exclusively focused on the history of U.S. nuclear arms. Her creative response to this subject was coupled with research into military and scientific documents, media-produced responses, conversations with nuclear physicists, examination of literary and video documentary accounts of A-bomb survivors, the collection of present-day text-based memories by the general public about the Cold War, and visits to historic nuclear sites in the US.
She has created over 40 nuclear-themed artworks that she collectively calls TEN MILLION DEGREES - single channel digital videos for installation and cinematic contexts, hybrid print/video works, digitally produced photographs, paintings, watercolors, performances, and an interactive networked installation designed to elicit participant performances.
Works from TEN MILLION DEGREES (2001-2009) have exhibited internationally including at the Institute of Contemporary Arts, London; Museum of Contemporary Art, Chicago; WRO Center for Media Art, Wroclaw, Poland; the Armory Center for the Arts, Pasadena, CA; Mills College Art Museum, Oakland; the UCR/California Museum of Photography; Centro Multimedia/Centro National de las Artes, Mexico; the Werkstätten und Kulturhaus, Austria; the National Centre for Contemporary Art in Moscow, Russia; San Jose Institute of Contemporary Art, CA; Seattle Art Museum, WA; Charles B. Wang Center, SUNY Stony Brook; Exit Art, NY; Bauhaus-Universität, Weimar, Germany; San Francisco Art Institute/Walter McBean Gallery; and the Instituto Chileno Norteamericano, Santiago, Chile. A 5,000 ft2 solo retrospective, entitled TEN MILLION DEGREES, was featured at Lawrimore Project in Seattle, WA (2009).
Valdes has received numerous honors for her creative work including a 2008 Scholarship from the Santa Fe Art Institute; a 2007 Artist Grant from the Puffin Foundation; Honorable Mention at the 2006 Transmediale festival for art and digital culture in Berlin, Germany; and a 2006 Creative Capital Professional Development Retreat at the Santa Fe Art Institute. In 2001 she received UC Berkeley’s highest honor in art, the Eisner Prize, and she was an Affiliate Artist at the Headlands Center for the Arts from 2001-2003.
She developed and taught digital media art courses at UC Berkeley, the Center for Digital Arts and Experimental Media at the University of Washington, Seattle, UC Santa Cruz, and at Mills College and Stanford University as a Visiting Artist. Academic honors include a Summer Institute in the Arts and Humanities faculty appointment within the Walter Chapin Simpson Center for the Humanities at the University of Washington.
Valdes is Assistant Professor of Electronic Arts at the University of New Mexico. Between 2006-07 she was Associate Director of the Arts Technology Center within the College of Fine Arts at UNM. Between 2007-2009 she was also Associate Director of UNM’s university-wide interdisciplinary research center, ARTS Lab (The Art, Research, Technology & Science Laboratory).
Images -
Graduate Student - Mark Geil
Mark Geil's images seem to take on similar qualities to my own work. He seems to deal with objects that combine human presence in a relationship to natural environment. He also has other shots that seem to be a commentary on the desire of humanity to showcase natural settings via artificial means such as museum displays. There are currently no statements on Mark Geil's website so I can only speculate what he is trying to accomplish. I hope that soon the statements will be up so I can get a better understanding. I have put a link to his CV which gives a good idea of his background.
Images -
http://www.markgeil.net/http://www.markgeil.net/Geil_CV.pdf
Faculty Work
Claudia X. Valdes teaches in the electronic arts division of the studio art program. Her photographic work ‘TRINITY SITE SERIES’, much like mine, is a commentary on the impact of human destruction. This series of images was photographed at the Trinity test site. Claudia's image “exposes the ‘radioactive’ landscape and explores notions of place, memory and history[1].” It is clear that Claudia Valdes used special techniques to stylize her images in order to achieve her goals. It’s always been a focus of mine to try to stylize images in such away that they transcend past just being a straight photograph. I’m always trying new things and trying to find a style that works for me. I thnk Claudia’s photography stylization certain drives one to think more seriously about the damage done by nuclear missiles.
[1]Valdes, Claudia. "CLAUDIA X. VALDES: Trinity Site Series." CLAUDIA X. VALDES. N.p., n.d. Web. 8 Nov. 2010. <http://claudiaxvaldes.com/photo/trinityseries.html>.
Biography -
Claudia X. Valdes was born in Santiago, Chile. Her family moved to the United States when she was three years old. Her undergraduate studies at UC Berkeley included architecture, modern dance and fine art. In 2001, she received an M.F.A. from UC Berkeley.
Between 2001-2009 Valdes’ art practice exclusively focused on the history of U.S. nuclear arms. Her creative response to this subject was coupled with research into military and scientific documents, media-produced responses, conversations with nuclear physicists, examination of literary and video documentary accounts of A-bomb survivors, the collection of present-day text-based memories by the general public about the Cold War, and visits to historic nuclear sites in the US.
She has created over 40 nuclear-themed artworks that she collectively calls TEN MILLION DEGREES - single channel digital videos for installation and cinematic contexts, hybrid print/video works, digitally produced photographs, paintings, watercolors, performances, and an interactive networked installation designed to elicit participant performances.
Works from TEN MILLION DEGREES (2001-2009) have exhibited internationally including at the Institute of Contemporary Arts, London; Museum of Contemporary Art, Chicago; WRO Center for Media Art, Wroclaw, Poland; the Armory Center for the Arts, Pasadena, CA; Mills College Art Museum, Oakland; the UCR/California Museum of Photography; Centro Multimedia/Centro National de las Artes, Mexico; the Werkstätten und Kulturhaus, Austria; the National Centre for Contemporary Art in Moscow, Russia; San Jose Institute of Contemporary Art, CA; Seattle Art Museum, WA; Charles B. Wang Center, SUNY Stony Brook; Exit Art, NY; Bauhaus-Universität, Weimar, Germany; San Francisco Art Institute/Walter McBean Gallery; and the Instituto Chileno Norteamericano, Santiago, Chile. A 5,000 ft2 solo retrospective, entitled TEN MILLION DEGREES, was featured at Lawrimore Project in Seattle, WA (2009).
Valdes has received numerous honors for her creative work including a 2008 Scholarship from the Santa Fe Art Institute; a 2007 Artist Grant from the Puffin Foundation; Honorable Mention at the 2006 Transmediale festival for art and digital culture in Berlin, Germany; and a 2006 Creative Capital Professional Development Retreat at the Santa Fe Art Institute. In 2001 she received UC Berkeley’s highest honor in art, the Eisner Prize, and she was an Affiliate Artist at the Headlands Center for the Arts from 2001-2003.
She developed and taught digital media art courses at UC Berkeley, the Center for Digital Arts and Experimental Media at the University of Washington, Seattle, UC Santa Cruz, and at Mills College and Stanford University as a Visiting Artist. Academic honors include a Summer Institute in the Arts and Humanities faculty appointment within the Walter Chapin Simpson Center for the Humanities at the University of Washington.
Valdes is Assistant Professor of Electronic Arts at the University of New Mexico. Between 2006-07 she was Associate Director of the Arts Technology Center within the College of Fine Arts at UNM. Between 2007-2009 she was also Associate Director of UNM’s university-wide interdisciplinary research center, ARTS Lab (The Art, Research, Technology & Science Laboratory).
Images -
Graduate Student - Mark Geil
Mark Geil's images seem to take on similar qualities to my own work. He seems to deal with objects that combine human presence in a relationship to natural environment. He also has other shots that seem to be a commentary on the desire of humanity to showcase natural settings via artificial means such as museum displays. There are currently no statements on Mark Geil's website so I can only speculate what he is trying to accomplish. I hope that soon the statements will be up so I can get a better understanding. I have put a link to his CV which gives a good idea of his background.
Images -
Graduate School #1 - Hartford Art School
The Hartford Art School MFA Program is a very interesting graduate school possibility for me. The majority of the course work takes place in the Summer allowing people to hold a job throughout the rest of the year. I’m very interested in assisting professionals and learning the business side of running a photography business. The flexibility to do this, as well as expand my knowledge by interacting with other creative persons, is extremely enticing. The program schedule includes short sessions that happen in the fall and in the spring that take place in remote locations. I feel that meeting in new areas and trying to produce a body of work while there could be very uplifting and motivating. Whenever I visit new locations, I am always really excited. The idea of seeing something for the first time with a group of creative artists could lead to great work. I also like that a-lot of the course work is geared towards producing a photo-book. This is something that has interested me for a long time. I would love to make a book that tells a story.
Faculty - Mary Frey
Mary Frey’s work has a very unique quality to it. In particular I find this to be true in her latest series, “Imagining Fauna”. This is definitely due to both her subject matter and choice of process. Her use of dynamic range photography elevates the picture and doesn’t call attention to itself. Mary Frey’s work uses a very old process know as wet processing where she uses E6 film to create unique wet plate images. I was struck by the "strange, ghostly and beautiful [1]” qualities of the pictures. Although our subject matter may be rather different, our ideas and goals have similarities. The qualities of being strange, ghostly, and beautiful are all aspects that I hoped to show in both “In our Wake” and “Artific.”
[1] Frey, Mary . "Mary Frey." Mary Frey - Photographer. N.p., n.d. Web. 30 Oct. 2010. <http://www.maryfrey.com/fauna/index.htm#title>.
biography -
Mary Frey received her MFA from Yale University in 1979 and is currently a professor of photography at the Hartford Art School.
Frey has attained numerous awards for her work, most notably a Guggenheim Fellowship in 1984 and two photography fellowships from the National Endowment for the Arts in 1980 and 1992. She was the recipient of a Te Foundation Fellowship in 2004. During the 1994-95 academic year Mary Frey was the Harnish Visiting Artist at Smith College, Northampton, MA and in the spring of 2001 she completed an artist’s residency at the Burren College of Art, County Clare, Ireland.
Her work has been exhibited extensively and is part of many public and private collections, including the Museum of Modern Art, NY, the Museum of Fine Arts, Houston, the Chicago Art Institute and the International Polaroid Collection.
Frey, Mary . "Mary Frey - bio." Mary Frey - Photographer. N.p., n.d. Web. 30 Oct. 2010. <http://www.maryfrey.com/bio/index.htm>.
images -
Graduate Work
Unfortunately with the program being very new I was unable to find a link to the graduate students' work. In a sense this may be discouraging, as it would be nice to know what people have been producing and what they think of the program. I may try to email them and see if they can give me any information about current students and what they have don
Faculty - Mary Frey
Mary Frey’s work has a very unique quality to it. In particular I find this to be true in her latest series, “Imagining Fauna”. This is definitely due to both her subject matter and choice of process. Her use of dynamic range photography elevates the picture and doesn’t call attention to itself. Mary Frey’s work uses a very old process know as wet processing where she uses E6 film to create unique wet plate images. I was struck by the "strange, ghostly and beautiful [1]” qualities of the pictures. Although our subject matter may be rather different, our ideas and goals have similarities. The qualities of being strange, ghostly, and beautiful are all aspects that I hoped to show in both “In our Wake” and “Artific.”
[1] Frey, Mary . "Mary Frey." Mary Frey - Photographer. N.p., n.d. Web. 30 Oct. 2010. <http://www.maryfrey.com/fauna/index.htm#title>.
biography -
Mary Frey received her MFA from Yale University in 1979 and is currently a professor of photography at the Hartford Art School.
Frey has attained numerous awards for her work, most notably a Guggenheim Fellowship in 1984 and two photography fellowships from the National Endowment for the Arts in 1980 and 1992. She was the recipient of a Te Foundation Fellowship in 2004. During the 1994-95 academic year Mary Frey was the Harnish Visiting Artist at Smith College, Northampton, MA and in the spring of 2001 she completed an artist’s residency at the Burren College of Art, County Clare, Ireland.
Her work has been exhibited extensively and is part of many public and private collections, including the Museum of Modern Art, NY, the Museum of Fine Arts, Houston, the Chicago Art Institute and the International Polaroid Collection.
Frey, Mary . "Mary Frey - bio." Mary Frey - Photographer. N.p., n.d. Web. 30 Oct. 2010. <http://www.maryfrey.com/bio/index.htm>.
images -
Graduate Work
Unfortunately with the program being very new I was unable to find a link to the graduate students' work. In a sense this may be discouraging, as it would be nice to know what people have been producing and what they think of the program. I may try to email them and see if they can give me any information about current students and what they have don
Sunday, November 7, 2010
Artist Blog X - Claudia X. Valdes
BIOGRAPHY
Claudia X. Valdes was born in Santiago, Chile. Her family moved to the United States when she was three years old. Her undergraduate studies at UC Berkeley included architecture, modern dance and fine art. In 2001, she received an M.F.A. from UC Berkeley.
Between 2001-2009 Valdes’ art practice exclusively focused on the history of U.S. nuclear arms. Her creative response to this subject was coupled with research into military and scientific documents, media-produced responses, conversations with nuclear physicists, examination of literary and video documentary accounts of A-bomb survivors, the collection of present-day text-based memories by the general public about the Cold War, and visits to historic nuclear sites in the US.
She has created over 40 nuclear-themed artworks that she collectively calls TEN MILLION DEGREES - single channel digital videos for installation and cinematic contexts, hybrid print/video works, digitally produced photographs, paintings, watercolors, performances, and an interactive networked installation designed to elicit participant performances.
Works from TEN MILLION DEGREES (2001-2009) have exhibited internationally including at the Institute of Contemporary Arts, London; Museum of Contemporary Art, Chicago; WRO Center for Media Art, Wroclaw, Poland; the Armory Center for the Arts, Pasadena, CA; Mills College Art Museum, Oakland; the UCR/California Museum of Photography; Centro Multimedia/Centro National de las Artes, Mexico; the Werkstätten und Kulturhaus, Austria; the National Centre for Contemporary Art in Moscow, Russia; San Jose Institute of Contemporary Art, CA; Seattle Art Museum, WA; Charles B. Wang Center, SUNY Stony Brook; Exit Art, NY; Bauhaus-Universität, Weimar, Germany; San Francisco Art Institute/Walter McBean Gallery; and the Instituto Chileno Norteamericano, Santiago, Chile. A 5,000 ft2 solo retrospective, entitled TEN MILLION DEGREES, was featured at Lawrimore Project in Seattle, WA (2009).
Valdes has received numerous honors for her creative work including a 2008 Scholarship from the Santa Fe Art Institute; a 2007 Artist Grant from the Puffin Foundation; Honorable Mention at the 2006 Transmediale festival for art and digital culture in Berlin, Germany; and a 2006 Creative Capital Professional Development Retreat at the Santa Fe Art Institute. In 2001 she received UC Berkeley’s highest honor in art, the Eisner Prize, and she was an Affiliate Artist at the Headlands Center for the Arts from 2001-2003.
She developed and taught digital media art courses at UC Berkeley, the Center for Digital Arts and Experimental Media at the University of Washington, Seattle, UC Santa Cruz, and at Mills College and Stanford University as a Visiting Artist. Academic honors include a Summer Institute in the Arts and Humanities faculty appointment within the Walter Chapin Simpson Center for the Humanities at the University of Washington.
Valdes is Assistant Professor of Electronic Arts at the University of New Mexico. Between 2006-07 she was Associate Director of the Arts Technology Center within the College of Fine Arts at UNM. Between 2007-2009 she was also Associate Director of UNM’s university-wide interdisciplinary research center, ARTS Lab (The Art, Research, Technology & Science Laboratory).
Valdes, Claudia . "CLAUDIA X. VALDES :: about." CLAUDIA X. VALDES. N.p., n.d. Web. 8 Nov. 2010.
Claudia X. Valdes was born in Santiago, Chile. Her family moved to the United States when she was three years old. Her undergraduate studies at UC Berkeley included architecture, modern dance and fine art. In 2001, she received an M.F.A. from UC Berkeley.
Between 2001-2009 Valdes’ art practice exclusively focused on the history of U.S. nuclear arms. Her creative response to this subject was coupled with research into military and scientific documents, media-produced responses, conversations with nuclear physicists, examination of literary and video documentary accounts of A-bomb survivors, the collection of present-day text-based memories by the general public about the Cold War, and visits to historic nuclear sites in the US.
She has created over 40 nuclear-themed artworks that she collectively calls TEN MILLION DEGREES - single channel digital videos for installation and cinematic contexts, hybrid print/video works, digitally produced photographs, paintings, watercolors, performances, and an interactive networked installation designed to elicit participant performances.
Works from TEN MILLION DEGREES (2001-2009) have exhibited internationally including at the Institute of Contemporary Arts, London; Museum of Contemporary Art, Chicago; WRO Center for Media Art, Wroclaw, Poland; the Armory Center for the Arts, Pasadena, CA; Mills College Art Museum, Oakland; the UCR/California Museum of Photography; Centro Multimedia/Centro National de las Artes, Mexico; the Werkstätten und Kulturhaus, Austria; the National Centre for Contemporary Art in Moscow, Russia; San Jose Institute of Contemporary Art, CA; Seattle Art Museum, WA; Charles B. Wang Center, SUNY Stony Brook; Exit Art, NY; Bauhaus-Universität, Weimar, Germany; San Francisco Art Institute/Walter McBean Gallery; and the Instituto Chileno Norteamericano, Santiago, Chile. A 5,000 ft2 solo retrospective, entitled TEN MILLION DEGREES, was featured at Lawrimore Project in Seattle, WA (2009).
Valdes has received numerous honors for her creative work including a 2008 Scholarship from the Santa Fe Art Institute; a 2007 Artist Grant from the Puffin Foundation; Honorable Mention at the 2006 Transmediale festival for art and digital culture in Berlin, Germany; and a 2006 Creative Capital Professional Development Retreat at the Santa Fe Art Institute. In 2001 she received UC Berkeley’s highest honor in art, the Eisner Prize, and she was an Affiliate Artist at the Headlands Center for the Arts from 2001-2003.
She developed and taught digital media art courses at UC Berkeley, the Center for Digital Arts and Experimental Media at the University of Washington, Seattle, UC Santa Cruz, and at Mills College and Stanford University as a Visiting Artist. Academic honors include a Summer Institute in the Arts and Humanities faculty appointment within the Walter Chapin Simpson Center for the Humanities at the University of Washington.
Valdes is Assistant Professor of Electronic Arts at the University of New Mexico. Between 2006-07 she was Associate Director of the Arts Technology Center within the College of Fine Arts at UNM. Between 2007-2009 she was also Associate Director of UNM’s university-wide interdisciplinary research center, ARTS Lab (The Art, Research, Technology & Science Laboratory).
Valdes, Claudia . "CLAUDIA X. VALDES :: about." CLAUDIA X. VALDES. N.p., n.d. Web. 8 Nov. 2010.
Wednesday, November 3, 2010
Idea Blog X - Transcendence
With my experimentation in lighting techniques I have hoped to enhance the overall mood of my images. I received an overwhelming positive response to my shots which mix ambient and flash for a dramatic cinematic style of lighting. However, I don’t believe that I could use that lighting scheme for the ‘Artfic’ landscapes. The whole scene really needs to be evenly lit for those images to work. High Dynamic Range has helped me to produce even lighting across the whole scene and develop a surreal feeling to my images. By breathing new life into old objects and making surrealistic landscapes I hope that my images are able to transcend individuals so that they could believe they are witnessing the scenes for themselves. Ryan McGinley states in relation to photographing the olympic games “But these bursts of competition are also moments of artful levitation and, especially for spectators, of transcendence.[1]” In other words those who are able to place themselves in the action will come away with more. To capture something more than just a fleeting moment is the real trick . “A transcendent entity may be conceived of either in theistic terms, as in a particular religious tradition, or in the transcendence of some value or quality of human experience.[2]” Transcendence is often related with religion; however it is not my intention that these images connect the viewer with God or influence one's beliefs, but more to create for the viewer the same human event that I experienced.
[1] "Up!: A photo essay by Ryan McGinley." New York Times Magazine (2010): 32. Academic Search Complete. EBSCO. Web. 1 Nov. 2010.
[2]Long, Jonathan. "Spirituality and the Idea of Transcendence." International Journal of Children's Spirituality 5.2 (2000): 147-161. Academic Search Complete. EBSCO. Web. 1 Nov. 2010.
[1] "Up!: A photo essay by Ryan McGinley." New York Times Magazine (2010): 32. Academic Search Complete. EBSCO. Web. 1 Nov. 2010.
[2]Long, Jonathan. "Spirituality and the Idea of Transcendence." International Journal of Children's Spirituality 5.2 (2000): 147-161. Academic Search Complete. EBSCO. Web. 1 Nov. 2010.
Monday, November 1, 2010
Zoe Beloff - Questions/Response
Zoe Beloff's lecture was really interesting. It’s not to often that you go to a lecture and are manipulated into believing that what is being presented is factual information. Zoe Beloff’s work centers on the manifestation of the unconscious, storytelling and technology. It was interesting to me how she spoke about her pieces with 3d projections. The projections actually made the people take on an unusual scale, separating them from the association with normal humans. In response to my questions, I feel that Zoe Beloff's work definitely has a drive from technology; however, she uses technology is as a tool, not just because it is the latest or greatest technique. She often seems to shoot using old formats such 16mm black and white, and stereoscopic imagery. These elements instantly make me associate the work with archival footage. She did use archival footage mixed in with some of the work, but it all blended seamlessly. I think that the idea that the stories that Zoe Beloff tells could be factual and are extremely loosely built off research is very important to her work. The most interesting thing I learned about the artist was that she drew comic books for the Psychoanalysis society. She said that most people didn’t know she could draw so no one recognized her style. My favorite series would have to be ‘Dreamland’ because it is artwork created by Zoe Beloff, but as if she were impersonating different members of the Coney Island Film Society. The dream videos certainly did have a dreamlike quality and the use of archival footage really aided to the impression that they were works from another time period. It was Zoe Beloff's ability to manipulate us into believing many different things that especially interested me.
Questions
1. How important are nostalgic elements such as classic cinematography important to your works?
2. When reading about your multimedia pieces I am a little confused is it archival footage or reenactments made to look old? or a mix of the two?
Questions
1. How important are nostalgic elements such as classic cinematography important to your works?
2. When reading about your multimedia pieces I am a little confused is it archival footage or reenactments made to look old? or a mix of the two?
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