Saturday, June 9, 2007
You Tube, you suck
I tried to post my video to You Tube but it accused me of an invalid file location. Can anyone tell me what I might be doing wrong?
David Eckard "Scribe" and "Tournament (Lumens)" performances
This is my friend David Eckard's work in Portland, OR. Check out his site as well... www.davideckard.com
http://www.davideckard.com/vid_scribe.html
http://www.davideckard.com/vid_tournament.html
http://www.davideckard.com/vid_scribe.html
http://www.davideckard.com/vid_tournament.html
Friday, June 8, 2007
Thursday, June 7, 2007
Miss Cleo
Thought this was interesting and fun. Especially being a non traditional performance peice in the form of a semi-music videa. Maybe comedy or narrative or even identity/body. Is the performer male or female?
Wednesday, June 6, 2007
I’m with Paul…Long day
I hate my pc.
I don’t understand half of what I’m doing…I still hate my pc.
I bought a Mac…I hate my pc even more.
My new Mac won't be here for at least a week.
I'm REALLY going to hate my pc in a week!
I don’t understand half of what I’m doing…I still hate my pc.
I bought a Mac…I hate my pc even more.
My new Mac won't be here for at least a week.
I'm REALLY going to hate my pc in a week!
Sneak Peek
Alright, this one tested my gag-reflex quite a bit...as does watching it. So it's the one I'll use. I did some post shots I thought I would splice in afterwards but I didn't use them after all so I took clips from them to tease you all with the wonderotasticness of it all. I'm excited because I feel like this is at least tangential to the hygiene related stuff I've been working on. Here are those clips from the cutting room floor...
Another attempt...but not the final one.
This didn't require too much endurance but at least my unibrow is gone. It wasn't painful at all in the process but afterward it hurt like a mother. Tried a few collaborative things with Melody today too - for the record. One was pretty interesting and was inspired somewhat by a "Please do not touch" sign that the Ulrich threw out. You know I'm all over those museum trashcans.
video camera egg toss
This is the video of Conan and I tossing the camera back and forth. We did a few more takes and got about forty feet apart but none of those files were intact. This one failed at about twenty feet. We dropped the camera about ten times before it stopped working; We sent it back to the warehouse as "defective."
Bending the Rules
I've been working on a few ideas that relate to endurance-
But they're a little outside of what I think the assignment is really about. (There's no video of me performing the action, just the result.)
This video is something I shot last night with a borrowed SLR camera and a broken lens...
I took about 5,580 individual shots (about 3 hours of shooting) and compiled them into a video. I tried my best to hold the camera still while shooting, and to kepe my left eye closed the entire time. Holding my arms up for that long with a heavy SLR was pretty tough, and my vision started doing these strange on/off effects because I had kept one eye closed so much.
My shutter finger was so sore after all of those shots that it went completely numb.
Some things that interested me were:
The broken lens doesn't focus any more- focusing is based on distance from camera.
I tried to only shoot things as they were- trash and found objects.
My face was so close to what I was shooting that you can see my breath moving the trash in front of the lens.
Let me know what you think...
But they're a little outside of what I think the assignment is really about. (There's no video of me performing the action, just the result.)
This video is something I shot last night with a borrowed SLR camera and a broken lens...
I took about 5,580 individual shots (about 3 hours of shooting) and compiled them into a video. I tried my best to hold the camera still while shooting, and to kepe my left eye closed the entire time. Holding my arms up for that long with a heavy SLR was pretty tough, and my vision started doing these strange on/off effects because I had kept one eye closed so much.
My shutter finger was so sore after all of those shots that it went completely numb.
Some things that interested me were:
The broken lens doesn't focus any more- focusing is based on distance from camera.
I tried to only shoot things as they were- trash and found objects.
My face was so close to what I was shooting that you can see my breath moving the trash in front of the lens.
Let me know what you think...
Mike Parr
Thanks for mentioning him Mason!
Mike Parr, Performance Artist
Summary: Mike Parr is renowned for his his often controversial and confronting performances that test the limits of body and mind. His performance piece "Close the Concentration Camps," in which he declared his support for asylum seekers in Australian detention centers, left his audience with a disturbing confrontation of a reality usually hidden by the ignorance of mainstream society.
Performance art is a process of using the body as subject matter. The work of art is presented physically to a proactive audience, challenging the traditional values of a static artwork where the audience is passive. The relationship between the artist, artwork and audience is very important and significant in the success of a performance and the publication of the message. Some artists who communicate their message through performance are, Mike Parr, Marina Abramovic and Linda Sproul.
Performance artist Mike Parr is renowned for his often controversial and confronting performances that test the limits of body and mind, specialising in self mutilation and sharp objects. In the performance piece `Close the Concentration Camps' at the Monash University Museum of Art in which he used self inflicted visible harm to display his pain in protest against Australia's treatment of refugees and asylum seekers.
The performance involved Parr sitting silently for five hours with his eyes, ears, nose and lips sown together with the word `alien' branded into his thigh, as a declaration of his support for the asylum seekers in Australian detention centers.
He was positioned in the gallery beneath enormous black lettering reading, `Close the Concentration Camps.'
No one was to speak to him and he was to respond to no one. His artwork became a subjective need for expression as he makes a strong comment on the political aspects of the world and injustice. By sewing his face he had become an object of art and the stitching represented the lack of freedom, sight and speech given to those in detention centers, `I want o use the language of my body art to make the strongest possible statement in support of the detainees" states Parr. Parr's artwork had become an expression of the solidarity and empathy he felt towards the detainees, this emphasized in the use of the text `alien' which was written on his thigh. Parr had become the artwork and therefore by this concept had blurred the boundaries between life and art.
The audience consisted to about three hundred and fifty people who visited the gallery to witness the performance, while others viewed the event through the Monash webpage. Parr's audience had become witnesses to the impact political and world issues have on individuals, which are usually ignored in society. Ultimately the audience is left with a disturbing confrontation of the reality which is usually hidden by the ignorance of mainstream society, making Parr's message successful. Thus the artist, artwork and audience are all linked in the creation of the artwork and the success of the performance, since one cannot exist without the other.
Mike Parr, Performance Artist
Summary: Mike Parr is renowned for his his often controversial and confronting performances that test the limits of body and mind. His performance piece "Close the Concentration Camps," in which he declared his support for asylum seekers in Australian detention centers, left his audience with a disturbing confrontation of a reality usually hidden by the ignorance of mainstream society.
Performance art is a process of using the body as subject matter. The work of art is presented physically to a proactive audience, challenging the traditional values of a static artwork where the audience is passive. The relationship between the artist, artwork and audience is very important and significant in the success of a performance and the publication of the message. Some artists who communicate their message through performance are, Mike Parr, Marina Abramovic and Linda Sproul.
Performance artist Mike Parr is renowned for his often controversial and confronting performances that test the limits of body and mind, specialising in self mutilation and sharp objects. In the performance piece `Close the Concentration Camps' at the Monash University Museum of Art in which he used self inflicted visible harm to display his pain in protest against Australia's treatment of refugees and asylum seekers.
The performance involved Parr sitting silently for five hours with his eyes, ears, nose and lips sown together with the word `alien' branded into his thigh, as a declaration of his support for the asylum seekers in Australian detention centers.
He was positioned in the gallery beneath enormous black lettering reading, `Close the Concentration Camps.'
No one was to speak to him and he was to respond to no one. His artwork became a subjective need for expression as he makes a strong comment on the political aspects of the world and injustice. By sewing his face he had become an object of art and the stitching represented the lack of freedom, sight and speech given to those in detention centers, `I want o use the language of my body art to make the strongest possible statement in support of the detainees" states Parr. Parr's artwork had become an expression of the solidarity and empathy he felt towards the detainees, this emphasized in the use of the text `alien' which was written on his thigh. Parr had become the artwork and therefore by this concept had blurred the boundaries between life and art.
The audience consisted to about three hundred and fifty people who visited the gallery to witness the performance, while others viewed the event through the Monash webpage. Parr's audience had become witnesses to the impact political and world issues have on individuals, which are usually ignored in society. Ultimately the audience is left with a disturbing confrontation of the reality which is usually hidden by the ignorance of mainstream society, making Parr's message successful. Thus the artist, artwork and audience are all linked in the creation of the artwork and the success of the performance, since one cannot exist without the other.
Tuesday, June 5, 2007
Attempt
I just wanted to try something out to get into the spirit of the assignment..it's no Acconci or Parr, and there's no prop, but it did hurt for a good 25-30 seconds!
Viewing Simplicity
We are gonna use 210.
Easy--wont overlap any other classes, etc. This means either a flash drive or dvd will work.
Easy--wont overlap any other classes, etc. This means either a flash drive or dvd will work.
now im broke...
alright...just picked up my camera and tripod....and some gas....if anyone wants to donate me some money i will take it politely then laugh at you and run
I feel stupid…
I spent the morning reading the owners manual for my camera and a chapter out of our text book. The owners manual made me feel more stupid than the text book did. If I’m bald come Thursday it’s because I’ve literally pulled all my hair out trying to learn how to edit footage.
Geeky, geeky geeks.
A lot of digital cameras have video modes that aren't too bad- definately usable for Youtube and documentation... Digital cameras are also pretty cheap (starting at about $100).
They usually record to SD memory cards instead of DVC, which makes you a little more limited on file size, but you can also decrease the resolution to 320x240 and framerate to 15 fps, which is still higher quality than Youtube.
I have a few cameras that use Sd cards and I've had pretty good luck with them so far.
I also have things that you can borrow if you need to.
~Aaron
They usually record to SD memory cards instead of DVC, which makes you a little more limited on file size, but you can also decrease the resolution to 320x240 and framerate to 15 fps, which is still higher quality than Youtube.
I have a few cameras that use Sd cards and I've had pretty good luck with them so far.
I also have things that you can borrow if you need to.
~Aaron
Monday, June 4, 2007
Yo!
Did we talk about how we need to format our videos for class? Are we shoing in the art history room on the screen or what. Maybe I missed it. Anyway, goodnight fellow classmates.
YouTube... blow me.
I am having trouble with YouTube and the linking process to this blog. So here is the URL for now. Holidays in Seattle... how nice!
http://www.youtube.com/watch?v=2-daiGDCqFI
http://www.youtube.com/watch?v=2-daiGDCqFI
Syllabus
Kristin Beal-DeGrandmont
Performance Art: In Theory, In Body, In Motion, In Action/reaction
Text:
Art on the Edge and Over, Searching for Art’s Meaning in Contemporary Society 1970’s-1990’s. by Linda Weintraub
Objective: Students will gain a practical knowledge of the history of Performance Art. Studio projects provide a framework that will allow us to examine Performance Art from its birth in the Dada movement to Allan Kaprow’s Happenings and Jackson Pollock’s painting on glass, onto the many ways it has developed or manifested into the variety of mediums and artists that use ideas around performance art in their work today. Students will examine how Dada, Futurism, the Bauhaus and the Black Mountain College all inspired and helped pave the way for Performance Art.
Students are required to keep a journal dictating/documenting their experiences within each project. This will allow them to keep record of their triumphs as well as their blunders, and will become a great resource for future projects. Students are also required to document each performance.
Grading:
Students will be evaluated on the degree of improvement within the capacity of the individual. Evaluation is based on the level of dedication the student shows through their participation in the class.
Methods of Achievement:
Weekly critiques; individual experimentation; PREPAREDNESS; research.
I will use the standard letter grade scale:
A=Excellent
B=Good
C=Average
D=Below Average
F=No Credit
REQUIREMENTS
Mini DV Camera/ tripod
Attendance:
Students are expected attend all class meetings. More than two absences will constitute failure of the course. Work due on the day of an absence is expected for grading during the class meeting unless the instructor gives the student permission to turn the work in late.
Final critiques on projects will be treated as tests. Students must attend all project critiques.
Assignments:
Due dates for assigned projects will be firmly enforced.
Handouts:
Allan Kaprow from Assemblages, Environments and Happenings.
pp. 703-709
Art In Theory. 1900-1990. Harrison and Wood.
Some artists listed here are clearly performance artists; others can be classified as performance hybrids, using performative elements in their work.
Students should attempt to find unexpected solutions to the following projects.
Always consider solutions that have visual and/or conceptual parallels in other media.
Triggers:
Time, Motion, Layer/Collage, Silhouette/Shadow, Color, Mass, Shape, Size, Repetition
New performance Spaces: World Wide Web, Karaoke, Video/Arcade Games, Shopping Malls, Grocery Stores, Chili Cook offs, Reality TV
Projects:
1. Endurance. Limited to one prop.
Marina Abramovic pp. 59
2. Ritual
Marina Abramovic pp. 59
On Kawara pp. 51
Gilbert and George pp. 71
3. Process
Janine Antoni pp. 123
Haim Steinbach pp. 134
4. Comedy
Meyer Vaisman pp. 205
William Wegman
5. History-reenactment-appropriation
Sherrie Levine pp.248
Joseph Beuys pp.177.
6. Portraiture
Rimma Gerlovina and Valeriy Gerlovin pp. 236
James Luna pp. 98
Cindy Sherman
7. Body
Carolee Schneemann pp.165
Rimma Gerlovina and Valeriy Gerlovin pp. 236
8. Living sculpture
Andrea Zittel pp.184
9. Mail art
Ray Johnson, “How to draw a Bunny” dvd.
10. Record/retrace/reenact
A common action in the second (your) or third (Bob) person.
11. Instruction/directions
Yoko Ono * Sol Lewit
12. From Dada: Irrational, absurd and playful, confrontational
Marcel Duchamp
Nihilistic
13. Sound from alternative sources
Electrical, organic, manipulated……
Vito Acconci pp. 218
14. Spectacle
Matthew Barney’s Cremaster
Paul McCarthy
Paul Pfeifer
15. Narrative
Autobiographical tours of past landscapes
Spalding Gray
16. Patently Absurd
Invent something using irony and absurdity to make commentary about a social, private or political condition. Create an infomercial for your product.
Performances are due each Thursday, beginning June 7. With the last performance on July 26th. Attendance is required each Tuesday for an open lab and Thursday for critique. I will be available during class time (M-F).
Project descriptions are intentionally vague. What little information I offer in intended as a springboard or foundation for you to build upon. My goal is for you to begin to trust and understand the way you process information individually and from that knowledge you will then build a vocabulary unique to your vision/work.
One Project of your choice will be done in public (i.e. in front of the class/at the shopping mall/church service etc. the rest will be done with a video camera. Using video you should also consider editing for content.
Performance Art: In Theory, In Body, In Motion, In Action/reaction
Text:
Art on the Edge and Over, Searching for Art’s Meaning in Contemporary Society 1970’s-1990’s. by Linda Weintraub
Objective: Students will gain a practical knowledge of the history of Performance Art. Studio projects provide a framework that will allow us to examine Performance Art from its birth in the Dada movement to Allan Kaprow’s Happenings and Jackson Pollock’s painting on glass, onto the many ways it has developed or manifested into the variety of mediums and artists that use ideas around performance art in their work today. Students will examine how Dada, Futurism, the Bauhaus and the Black Mountain College all inspired and helped pave the way for Performance Art.
Students are required to keep a journal dictating/documenting their experiences within each project. This will allow them to keep record of their triumphs as well as their blunders, and will become a great resource for future projects. Students are also required to document each performance.
Grading:
Students will be evaluated on the degree of improvement within the capacity of the individual. Evaluation is based on the level of dedication the student shows through their participation in the class.
Methods of Achievement:
Weekly critiques; individual experimentation; PREPAREDNESS; research.
I will use the standard letter grade scale:
A=Excellent
B=Good
C=Average
D=Below Average
F=No Credit
REQUIREMENTS
Mini DV Camera/ tripod
Attendance:
Students are expected attend all class meetings. More than two absences will constitute failure of the course. Work due on the day of an absence is expected for grading during the class meeting unless the instructor gives the student permission to turn the work in late.
Final critiques on projects will be treated as tests. Students must attend all project critiques.
Assignments:
Due dates for assigned projects will be firmly enforced.
Handouts:
Allan Kaprow from Assemblages, Environments and Happenings.
pp. 703-709
Art In Theory. 1900-1990. Harrison and Wood.
Some artists listed here are clearly performance artists; others can be classified as performance hybrids, using performative elements in their work.
Students should attempt to find unexpected solutions to the following projects.
Always consider solutions that have visual and/or conceptual parallels in other media.
Triggers:
Time, Motion, Layer/Collage, Silhouette/Shadow, Color, Mass, Shape, Size, Repetition
New performance Spaces: World Wide Web, Karaoke, Video/Arcade Games, Shopping Malls, Grocery Stores, Chili Cook offs, Reality TV
Projects:
1. Endurance. Limited to one prop.
Marina Abramovic pp. 59
2. Ritual
Marina Abramovic pp. 59
On Kawara pp. 51
Gilbert and George pp. 71
3. Process
Janine Antoni pp. 123
Haim Steinbach pp. 134
4. Comedy
Meyer Vaisman pp. 205
William Wegman
5. History-reenactment-appropriation
Sherrie Levine pp.248
Joseph Beuys pp.177.
6. Portraiture
Rimma Gerlovina and Valeriy Gerlovin pp. 236
James Luna pp. 98
Cindy Sherman
7. Body
Carolee Schneemann pp.165
Rimma Gerlovina and Valeriy Gerlovin pp. 236
8. Living sculpture
Andrea Zittel pp.184
9. Mail art
Ray Johnson, “How to draw a Bunny” dvd.
10. Record/retrace/reenact
A common action in the second (your) or third (Bob) person.
11. Instruction/directions
Yoko Ono * Sol Lewit
12. From Dada: Irrational, absurd and playful, confrontational
Marcel Duchamp
Nihilistic
13. Sound from alternative sources
Electrical, organic, manipulated……
Vito Acconci pp. 218
14. Spectacle
Matthew Barney’s Cremaster
Paul McCarthy
Paul Pfeifer
15. Narrative
Autobiographical tours of past landscapes
Spalding Gray
16. Patently Absurd
Invent something using irony and absurdity to make commentary about a social, private or political condition. Create an infomercial for your product.
Performances are due each Thursday, beginning June 7. With the last performance on July 26th. Attendance is required each Tuesday for an open lab and Thursday for critique. I will be available during class time (M-F).
Project descriptions are intentionally vague. What little information I offer in intended as a springboard or foundation for you to build upon. My goal is for you to begin to trust and understand the way you process information individually and from that knowledge you will then build a vocabulary unique to your vision/work.
One Project of your choice will be done in public (i.e. in front of the class/at the shopping mall/church service etc. the rest will be done with a video camera. Using video you should also consider editing for content.
Subscribe to:
Posts (Atom)