1 National efforts in measuring and reporting on physician efficiency Joachim Roski, PhD MPH.
USC Roski School ART 260 Introduction To Video and Time ...Nan Goldin, Ballad of Sexual Dependency...
Transcript of USC Roski School ART 260 Introduction To Video and Time ...Nan Goldin, Ballad of Sexual Dependency...
USC Roski School of Art and Design
ART260IntroductionToVideoandTime-BasedExperimentation
Units:4unitsTerm—Day—Time:Fall2017T/TH2:00-4:50PMLocation:Watt6Instructor:PattyChangOffice:Watt6OfficeHours:T/TH11amtonoonbyappt.ContactInfo:[email protected]:NikhilMurthyContactInfo:[email protected]
CourseDescription
Thisintroductorycourseinvolvestrainingandworkshopsinhigh-definitiondigitalvideocameras,lightingandsoundtechniques,AdobePremiereeditingsoftwareandvariouscomputerconversionandcollagetechniques.Studentslearnhowtocreateandpresentvideoinstallationswithvideoprojectors,monitors,screens,speakersandlivestreaming.
Theclasswillunpackhowhistory,access,cultureandtechnologicalshiftshaveinfluencedandaffectedhowartistsandfilmmakersworkwithvideoandfilm.FromthefirstSonyPortapakvideocamerasandlivevideoimagetocabletelevision,surveillance,videoprojectors,computergeneratedwork,3-d,YouTube,streamingandphonevideos.Screeningsandlectureswillfocusondiscursiveartistpracticesandtherolethatfilm,video,sound,writing,performance,language,abstraction,installation,structure,streamingandnarrativeformshaveplayedintheirwork.
Theclasshasthreesectionsandthreevideoprojects.Thefirstsectionintroducesstudentstothemediumofvideoart.Thesecondsectionwillfocusonvideosandfilmsaddressingthelanguageofmemory,timeandduration.Thethirdsectionoftheclasswillconcentrateonworksinvideoinstallation.Thestudentswillcometounderstanddigitalvideoasaflexibletoolthatisabletocommunicateideasthroughalargevarietyofconceptual,technicalandaestheticstrategies.
LearningObjectives
FAIN220willexplorevideoartinthecontemporaryartworld.Studentsmakevideoprojectsdevelopingtheirartisticvoiceandpointofview.Theclassscreenshistoricalandcontemporarysinglechannelandvideoinstallationworksandfilms;readsessaysonvideoartandrelevantsubjects;andvisitsgalleryandmuseumexhibitions.Studentsproducevideoprojectsandengageincritiquesofstudentwork.Workshopsandassignmentspushstudentstoexperimentwithsubjectmatterandaesthetics.Thecreativeprojects,lectures,discussions,worksscreened,fieldtripsandreadingswillleadtoanunderstandingtimebasedvideoinanfineartcontext.
RequiredMaterials
Storage:
-PortableHardDriveCapableofWorkingwithVideoFiles.
-HarddrivemusthaveUSB3.0connection-
Instructorwillreviewharddrivespecificationsinclass
RecommendedModelsAvailableinBookstore:
1TBG-TechnologyGDrivePortableHarddriveUSB3.0
http://www.g-technology.com/sites/default/files/fields/field_file_datasheet/product/G-DRIVE%20ev%20RaW_Datasheet_1214_NA_LR.pdf
-Headphones(forinclassediting)
-Thumbflashdrive
-Notebook/sketchbook–takingnotesismandatory
Readings:
ReadingsandclasshandoutsprovidedasPDFsonGoogledrive(youwillreceiveaninvite).Hardcopieswillbeprovidedforpertinenthandouts.
Homework:
BringhardcopyofwrittenworkuploadPDFto“Homework”folderonGoogledrive.Pleaselabelwithyourfirstandlastnameandassignmentname.Forexample,“Patty_Chang_Proj1_Critque”
IntermediaPrimers:
https://art.usc.edu/intermedia/video.php
VideoEditingInformation:
-FormattingIntermediaCameras
-Creatingnewprojects
-ExportingQuickTime’s
HarddriveInfo:
-Formattingharddrives
AdobePremiereHelp:
http://www.creativeplanetnetwork.com/2-pop/homepage
http://www.lynda.com/http://www.kenstone.net/fcp_homepage/fcp_homepage_index.html
GRADINGANDATTENDANCEPOLICIES
Attendance
Attendanceiscrucialtoyoursuccessintheclass.Classcritiquesandlecturesarecriticaltocreateadialogueintheclass.Attendancewillbetakenatallmeetingsandismandatory.Yourfinalgradewillbedroppedonefulllettergradeper2unexcusedabsences.
• 5unexcusedabsenceswillresultinafailinggrade.
Tardies
Itisimportantthatyouarriveontimetoclass.Classannouncementshappenatthestartofclass.Respectyourpeersinclassbyneverbeinglatetocritiquedays.Exportyourprojectsinadvanceofclass.Iwillwarnyouwhentardinessisexcessive.Yourgradewillbeloweredifitpersists.
MissedClasses
EmailmeifyouplantomissclassandIwillletyouknowhowyoucanmakeuptheclass.Contactaclassmateandreviewthesyllabustoseewhatyouhavemissed.Critiqueandlecturedaysarenearlyimpossibletomakeup.Maketheseaprioritytonevermiss.
ClassConduct
Cellphoneusageandonlinebrowsing(otherthanforclasspurposes)willnotbetoleratedinclass.Afterafirstwarning,studentswhopersistinthefollowingdisruptiveactivities:sleeping,texting,emailingoronlinebrowsingforpurposesotherthanclassresearch,willresultinanabsenceforthatclasssession.NOCELLPHONEUSEINCLASS.
GradeBreakdown
Project1-5%Project2-15%Project3-5%Project4–25%Project5FINAL30%ParticipationinDiscussionsandCritiques–20%
ExtraCredit:YouNeedIt–JustAsk
ExplanationofGrading
Projectsaregradedontheconceptualandaestheticqualityoffinishedwork,technical/craftexpertise,andconceptualandtechnicalinvestmentoftime.Gradingforprojectsincludesprojectdevelopmentandprojectanalysis.Therewillalsobeproposalsandanalysesduethroughoutthesemester.Theseshouldreflectasignificantinvestmentoftimeandthought.Formoreongrading,seeprojectpage.Lateassignmentswillhaveonefulllettergrade.
Participation
Yourgradewillbeloweredifyoudonotactivelyandconstructivelyparticipateincritiques.Yourgradewillbeloweredifyoudonotcometoclasspreparedtoproductivelyworkonprojectsduringopenstudiotimes.
PROJECTSExplanationOfGrading
Projectgradesaredeterminedbasedonyourattentiontoandinvestmentintheoverallprocessofartmaking.WhilethefinalproductofyourworkwillbethefocalpointofcritiquesandwillbeAmajorcomponentofyourgrade,youmustsatisfyothercriteriaaswell:
Conceptualmerit:Yourprojectsshouldbeinterestingandwellthought-out.Theywillbeevaluatedintermsofdegreeofambitionandcomplexity,andshouldalsoreflectagrowingunderstandingofthearthistoricalandtheoreticalconceptsdiscussedinclass.Theyshouldreflectbothasenseofexperimentationanddevelopmentofyourartisticvoice.
Technicalexecutionandeffort:inadditiontotheoveralllevelofskillyoubringtoyourprojects,theywillbeevaluatedforthedegreetowhichtheyanswerthetechnicalrequirementsoftheassignmentandtheamountofin-classandout-of-classeffortevidentintheproject.
Planningandorganization:Becausetheoverallprocessisoftenthemostchallengingandinnovativeaspectofart-making,yourprojectgradewilltakeintoaccountthelevelofthoughtandpreparationofyourworkateachstage:frominitialproposal,throughthestagesofwork,tothepresentationofthefinalpiece.
AcademicConduct
Plagiarism–presentingsomeoneelse’sideasasyourown,eitherverbatimorrecastinyourownwords–isaseriousacademicoffensewithseriousconsequences.PleasefamiliarizeyourselfwiththediscussionofplagiarisminSCampusinSection11,BehaviorViolatingUniversityStandardshttps://scampus.usc.edu/1100-behavior-violating-university-standards-and-appropriate-sanctions/.Otherformsofacademicdishonestyareequallyunacceptable.SeeadditionalinformationinSCampusanduniversitypoliciesonscientificmisconduct,http://policy.usc.edu/scientific-misconduct/.
Discrimination,sexualassault,andharassmentarenottoleratedbytheuniversity.YouareencouragedtoreportanyincidentstotheOfficeofEquityandDiversityhttp://equity.usc.edu/ortotheDepartmentofPublicSafetyhttp://capsnet.usc.edu/department/department-public-safety/online-forms/contact-us.ThisisimportantforthesafetywholeUSCcommunity.Anothermemberoftheuniversitycommunity–suchasafriend,classmate,advisor,orfacultymember–canhelpinitiatethereport,orcaninitiatethereportonbehalfofanotherperson.TheCenterforWomenandMenhttp://www.usc.edu/student-affairs/cwm/provides24/7confidentialsupport,andthesexualassaultresourcecenterwebpagesarc@usc.edudescribesreportingoptionsandotherresources.
SupportSystems
AnumberofUSC’sschoolsprovidesupportforstudentswhoneedhelpwithscholarlywriting.Checkwithyouradvisororprogramstafftofindoutmore.StudentswhoseprimarylanguageisnotEnglishshouldcheckwiththeAmericanLanguageInstitutehttp://dornsife.usc.edu/ali,whichsponsorscoursesandworkshopsspecificallyforinternationalgraduatestudents.TheOfficeofDisabilityServicesandProgramshttp://sait.usc.edu/academicsupport/centerprograms/dsp/home_index.htmlprovidescertificationforstudentswithdisabilitiesandhelpsarrangetherelevantaccommodations.Ifanofficiallydeclaredemergencymakestraveltocampusinfeasible,USCEmergencyInformationhttp://emergency.usc.edu/willprovidesafetyandotherupdates,includingwaysinwhichinstructionwillbecontinuedbymeansofblackboard,teleconferencing,andothertechnology.
PROJECT1:THESINGLESHOT
2minutes
UsingHarunFarocki’sconceptofLaborinaSingleShot,composeasingleshotvideo
Constraints
Thetaskistoproduceavideo2minutesinlength,eachtakenwithasingleshot.Thecameracanbestatic,panningortravelling–onlycutsarenotallowed.
Labor
Thesubjectofinvestigationis‘labour’:paidandunpaid,materialandimmaterial,richintraditionoraltogethernew.InsomeAfricancountriesanentirefamilylivesfromcultivatingatinystripoflandnexttothehighway.InmanyEuropeancountriesfamerssurvivebyleavingtheirsoiluncultivatedandbeingpaidforit,anarrangementmonitoredbysatellites.
Camera
Thetaskassetleadsstraighttobasicquestionsofcinematicformandraisesessentialquestionsaboutthefilmmakingprocessitself.Almosteveryformoflaborisrepetitive.Howcanonefindabeginningorendwhencapturingit?Shouldthecamerabestillormoving?
PROJECT2:RULESANDGESTURE
ClassIntroductionThissectionoftheclasswillintroducestudentstoworkingconceptuallyinserieswithvideo.Theclasswillmakeanexcitingentryintovideoartbyscreeningworksthatuserule-basedstructuresandmethodologiestoproduceworksthatrangeingenrefromconceptualart,comedy,popart,bodyart,performanceandprocess-basedworks.Studentswillcometorealizethepotentialofworkinginseries.
PRODUCEASERIESOFFIVESHORTVIDEOS
5minutes
Thefirstprojectistoproduceaseriesoffive,15secondto1-minutesectionsthatmakeasinglevideo.ThisstrategyhasbeenusedbymanyartistsrangingfromhistoricalfilmmakerslikeAndyWarholtocontemporaryartistssuchasFrancisAlys.ThevideocanbeshotontheHDKodakZ18orCannonT3iandeditedinFinalCutPro.Thevideomayormaynotusesound.Thefinalvideowillconsistoffiveshort“sections”andwillbeexportedviaQuickTimeasa.MOV.Thevideowillbeshownasavideoprojectionforcritiqueinclass.
Screenings:VIDEOSPRODUCEDINSERIESUSINGRULE-BASEDMETHODOLOGIESANDCONCEPTUALSTRATEGIESBasJanAderVARIOUSWORKSAdelAbdessemedAndyWarhol'sSCREENTESTS(1964-1966);KISS(1963)RichardSerraHANDCATCHINGLEAD(1968)FrancisAlysVARIOUSWORKSRomanSignorVARIOUSWORKSChrisBurdenTELEVISIONCOMMERCIALS(1973-77)DougAitkenTHESERESTLESSMINDS(1998);MIGRATIONS(2009)CherylDoneganHeadAlexDaCorteChelseaHotelno.2MartineSymsNOTESONGESTURE(2015)MarinaAbramovicandUlayVariousworksValieEXPORTvariousworksVitoAcconciVariousWorksPhilCollinsElMundoNonExcucharKateGilmoreBuiltToBurst,RockHardPlaceEvaKotatkovaBehindBetweenOverUnderMoresMcWreathMikeSmithLizLaserMagic-Mine
PROJECT3:INTIMATEPORTRAIT
2minutes
Basedonscreeningofartistsworkingwithintimacy,produceanintimatevideo
PeggyAhweshShePuppet(2001)LaurelNakadateMichelleDizonNanGoldin,BalladofSexualDependencySondraPerry,LineageFrancesStark,MyBestThingMonaHatoumReading:Horsfield,Kate,BustingtheTube:ABriefHistoryofVideoArt,Feedback:TheVideoDataBankCatalogofVideoArtandArtistInterviews
PROJECT4:MEMORY,LANGUAGE,TIMEANDDURATION
Theclasswillinterrogatetheconceptsoftime,durationandtextinrelationtoadeeperunderstandingofthelanguageofvideo.Thesectionwillbreakopenthislanguagethroughabroadapproachofvideomakingstrategiesrangingfromconceptual,non-narrative,narrative,sculptural,performative,landscape,text-basedworks,amongothers.Readingsrelatedtotimeandmemorywillbeconsidered.Alabworkshopwillgivestudentsawaytoidentifysubjectmatterfortheproject.Thisexposure,readingsanddiscussionswiththeinstructor,studentswillconceiveofandproduceaprojectthataddressesthetheme.
MidTermProject:
5minutes
Producea5minutevideoworkwithsound.Theprojectshouldengagethethemeoftime,memoryanddurationasdiscussedinclass.TheprojectmaybeshotontheCannonXF100orothercamerasthattheclasshasaccessto,suchastheGoPro.
Screenings:LindaBenglisONSCREEN(1972)DaraBirnbuamTECHNOLOGICALTRANSFORMATION:WONDERWOMANStanBrakhageMOTHLIGHT(1963)MayaDerenMESHESINTHEAFTERNOON(1943)ChrisMarkerLAJATEE(1962);SANSSOLEIL(1983)HollisFramptonLEMON(1969);NOSTALGIA(1970);CRITICALMASSMarthaRoslerSEMIOTICSOFAKITCHEN(1975)MichaelSnowLAREGIONCENTRALE(1971)RobertSmithsonTHESPIRALJETTY(1970)CamilleHenrotGROSSEFATIGUE(2011)HarunFarockiANIMAGE(1983)ChristianMarclayCLOCKS(2011)RodneyGrahamEDGEOFAWOOD(1999);HALYCONSLEEP(2002)GordonMattaClarkCONICALINTERSECT(1975)FischliandWeissTHEWAYTHINGSGO(1987)PierreHuyghe,TheThirdMemorySuedeBeerMAKINGOUTWITHMYSELF(1998)MarkLeckeyCINEMAINTHEROUND(2004)RyanTrecartinAFAMILYFINDSENTERTAINMENT(2004)AndreaFraserLITTLEFRANKANDHISCARP(2001)CaoFeiVariousWorksGuyBenNerWildBoyPatriciaEsquiviasTheFutureWasWhen2009OmerFastLookingPrettyforGodEvaKotatkovabehindbetweenoverunderinSigalitLandaudeadseaRachelRose,SittingFeedingSleeping,AMinuteAgoReading:SarahKésenne,RegardingtheSex,LiesandVideotapesofOthers:Memory,Counter-
MemoryandMystifiedRelationsVideoVortexII:MovingImagesBeyondYoutube
PROJECT5:SPATIALIZINGVIDEO–ACOLLABORATIONWITHSCULPTURE1
Thethirdsectionofclasswillbeacollaborativeprojectwithsculpture1students.Thisprojectwilllookattherelationshipofvideotospaceandarchitecture.Theclasswillconsiderhowvideoinstallationusesaspatialdimensiontoconstructmeaning.Wewillstudytheprogressionofvideoinstallationfromtheearlylive-videofeedworksofDanGrahamandBruceNaumantotheexplosionofmulti-channelvideoinstallationsinartspaces,museumsandgalleriesinthe1990’sthatcoincidewiththeinventionofVHSvideoandportablevideoprojectortechnology.Theclasswillconsidertheconceptualstrategiesandtechnicalpossibilitiesofvideoinstallation.Moreover,wewillinvestigatetheproliferationoflivestreaming,webcams,onlinevideo,youtube,vimeoandportabledevicesandhowthathaschangedcirculationandspatialdimensionsofvideoworks.
FinalProject:
Produceacollaborativeproject,5minutevideo,withsoundandpresentitasasmallvideoinstallation,liveperformance,oroutdoorinstallationforclasscritique.Thevideoinstallationmayhave1or2channelsofvideoandmaybepresentedasvideoprojection,monitor,flatscreen,pocketprojector,laptop,orliveperformance(orcombinationoftwoormoreofthesemethods).Videoinstallationdiagramrequired.
Screenings/AudioPresentations:NamJunePaikVARIOUSWORKSYokoOnoSKYTV(1966)PaulSharitsSHUTTERINTERFACE(1966);T.O.U.C.H.I.N.G(1966)DanGrahamBODYPRESS(1972);TIMEDELAYROOM(1974)BruceNaumanCORRIDOR(1969);FOURCORNERS(1971);GOODBOY/BADBOY(1985);ANTHRO-SOCIO(1992);CLOWNTORTURE(1987)NamJunePaikandCharlotteMormonTVBRAFORLIVINGSCULPTURE(1969)AlvinLucierIAMSITTINGINAROOMJoanJonasVARIOUSINSTALLATIONSANDPERFORMANCES(1970’S)LouiseLawlerMOVIEWITHOUTTHEPICTURE(1975)PaulMcCarthyBOSSYBURGERPipilottiRistVARIOUSWORKSDianaThaterVARIOUSWORKSPaulPfeiffervariousworksLornaSimpsonCORRIDOR(2004)RyanTrecartinvariousworksJanetCardiffandGeorgeBuresVARIOUSVIDEO/SOUNDWALKSChristianMarclayVIDEOQUARTET(2002);CROSSFIRE(2007)MikeKelleyDAYISDONE(2006)andVARIOUS(MOCAEXHIBITION)
PaulChan1STLIGHT(2005)MikaRottenbergSQUEEZE(2010)Readings:Graham,Dan'TalkieAreMade'EssayonVideo,ArchitectureandTelevisionMirzhoeff,Nicholas,"TheWorldOnScreen",HowtoSeetheWorld,BasicBooks,2016ReadingonVictoriaFu
SOCIALHOMEWORK
DUE:WEEK15
“SocialHomework”isdesignedtogetyoufamiliarwithwhereyoucanseevideoworksinvariousvenuesaroundtheLosAngelesareaorinothercitiesyouvisit.
Completeallthestepstogetcredit.Youcancompletethefollowingwithfriendsorclassmates,asyoulike.Pleaseletyourclasspeersknowifyouplantoattendanevent.
ASSIGNMENT:ATTENDTWOEXHIBITIONS,LECTURES,SCREENINGSORARTEVENTS:
Theexhibitionoreventmustberelatedtothemovingimageorhaveavideoorfilmworkaspartoftheshoworlecture.OneoftheeventsmustbeoffcampusandonemaybeoncampusORbothmaybeoffcampus.
YOUMUSTTAKEAPHOTOOFYOURSELFATTENDINGEACHEVENT.Compileallthenotestogetherwiththephotoandhand-in.ONEMUSTBEOFF-CAMPUS
Lectures:Attendlectureandaskaquestion.Writedownyourquestionandtakenotesoftheartist’sresponse.Takeaphotoofyourselfatthelectureonyourphone.Printoutthephotoandresponse.Handthisin.
Exhibitions:Doresearchtoseewhatexhibitionsarecomingupatvariousvenuesthatyoumightwanttosee.Attendexhibition–takenotes.Write1-2pageresponseaddressingtheexhibitionasawholeandchooseoneworkofparticularinteresttodiscussindepth.Notethetitlesofthepieces(askforachecklistatgalleries).Readabouttheartistinformationthatthegalleryhasprovidedand/ormuseum.Takeaphotowithyourphoneofyourselfattheexhibition.Printthisoutalongwithyournotesandturnin.
Screening:Sameasexhibition.Writeaboutthefilm(s)–takeaphoto.Considerthevenue.Howdoesthevenuecontextinformwhatyouareseeing?Turnthisin.
OpenStudios:AttendanOpenStudiosEventatanotherartschoolorartprogramsuchas:UCI,CalArts,UCLA,ArtCenter,Otis.Visitallthestudios.Chooseonestudentthatworkswithvideoorthemovingimage.Askthisstudentaquestionandtakenotes.Takeaphotoofthestudentwiththeirwork.Writedownthequestionandsummarizetheirresponses.Printthephotoandturninthetext.
NOTE:HyperlinkedguidetoLosAngelesareagalleries,museums,artspaces,screeningvenueslistedatendofsyllabus.PDFofassignmentandguideonGoogledocs.
ProposalAndProjectPresentations
Thesearewrittenpresentationstotheclass.Theyprovideanopportunityforyoutestyourworkorconceptonyourcolleaguesintheclass,andtoconsiderandarticulateyourgoalssothatourfeedbackcanbeasusefulandappropriatetoyourneedsaspossible.
Yourproposalshouldaddress:1)Whattheideaoftheprojectisandwhyitinterestsyou.2)Howyourchosenformwillrelatetoandrealizeyourconceptualconcerns.3)Howyouwilltechnicallyaccomplishtheproject.Forthisyoushouldconsideryourshootingmethod,location,castandproductionschedule.4)Explainhowyouareconsideringtheprojectconceptandtheme.Referenceotherartists’workthatwehavescreenedinclass.5)Bringanyvisualsupportmaterialstofurtherexplainyourconceptualandaestheticgoal.
Intheprocessofcreationit’sentirelylikelythatyourideasandpracticewillshift,perhapsradically.Ifthisisthecase,pleasebesuretoaddresshowandwhyyouchangedyourprojectasyouprepareforclasscritiquesandinyourwrittencritiqueevaluation.
WrittenCritiqueAnalysis
Followingyourcritiqueyouwillbeaskedtowritea2-pageanalysisofyourprojectandcritique.
PageOne:
Thefirstpageoftheessayshouldincludethemostimportantlessonsandinsightsfromthecritiquegiventoyoubyboththeclassandtheprofessor.Theanalysisshouldalsoaddress:1)Ideasyougarneredfromtheproject.
2)Ideasthatyouwanttocontinuetoexploreinfutureprojects.3)Whatwassuccessfulaboutyourproject,whatwasnotsuccessfulandwhy.4)Techniquesandaestheticsusedfortheproject.
PageTwo:
. 1)Takenotesduringyourpeersprojectpresentations.
. 2)Choosethreeofyourpeers’projectsthatinterestedyoumost.
. 3)Write1paragraphoneachoftheirprojects.Notetheirprojecttitles.Discusswhatdrewyoutotheirworkandwhy.Whataestheticsdidtheyemploy?Whatwastheirconcept?Howdidthisworkbuild,developordifferfrompreviousprojects?
GuidelinesforWrittenResponsestoAssignedReadings
1)Produce1to2fullpagesofnotesaboutthereading.Handinyournotes.
2)Notesmaybetyped(12pt.fontdouble-spaced)orcopied.Iftheyarecopied,theymustbelegible.
3)Acceptablenotesforcreditasawrittenresponsetoareadingshouldinclude:
-Interests
-Questions
-Mattersofreference
-Relationshiptootherreadings,worksorideasdiscussed/screenedinclass
-Arguments
-Restatements
-Diagrams,visualmaterials
4)Yournotesshouldreflectyourengagementandconsiderationofthetextasawhole.Keepinmindthattounderstandtheauthor’spositiondoesnotmeanthatyouhavetoacceptorsupportwhattheauthorisstating.
ClassDiscussionofReadings
Followingeachreading,therewillbeclassdiscussionrequiringyourinvolvement.Comepreparedtodiscussanaspectofthereadingthatyouelaboratedoninyournotes.Examplesmayincludeanyareasdiscussedabove.Thiscanalsobeavisualreferenceordiagram.
WrittenExhibitionResponses
Followingfieldtripstomuseumorgalleryexhibitions,youwillberequiredtowritea1to2-pageresponsetotheexhibitionandtheclassdiscussionthatfollowed.Oftenareadingwillbeassignedbeforethefieldtrip.Includereferencestothereadingabouttheartistswork.
Responsesshouldincludethefollowing:-Overallreactiontoentireexhibition(s)AND-Chooseonetime-basedworktodiscussindepth
1)Whatinterestedyouandwhy2)Generalthemes,reactions,arguments3)Relationshiptootherworksfromclass,themesorotherartists,film/videoworks4)Thismayincludediagramsorlists
ClassCritiques
Critiquesareforeveryonetocreateadialogueanddiscussionaboutwhatyouaremaking.Thediscussionshouldbegenerativeandcritical.Thinkbeyond“liking”something–thinkaboutwhyyoulikeitandwhatthepieceisdoing,howitworks,whatthethemesare,whattheinterpretationsare,howthepiececouldbeimproved,whatotherworksorideasitmayrelatetocoveredinclassoroutside,etc.
Whattoconsiderduringyourcritiqueandwhencritiquingyourpeerswork:
-Whatistheconcept/themeofthevideowork?
-Howdoesthevideoworkrelatetohistory?
-Howdoesthevideoworkrelatetoculture?(Popular,mainstream,avant-garde)
-Howdoesthevideoworkrelatetootherart?(Othermovementsofart,contemporary,historical–forexamplePopArt,Fluxus,PicturesGeneration,Post-Internet,Dadaist,Abstraction,etc.)
-Howdoestechnique(thewayitwasshot,edited,theaestheticlookofthepieceorshots)influence,affectandintersectwiththesubjectofthework?
-Howdoesitcontrasttotheiroriginalproposal?Andtotheirotherwork?(Oncewehavemoreprojects)
Questionstoaskyourself:
-Whatistheconcept/subjectofthepiece?
-Whydidyoumakethiswork?
-Whatisyourpersonalrelationshiptothematerial/concept/themes?
-Howdotheaestheticsyouused(howitwasshot,edited,presented)workwiththesubjectofthepiece?Istheaestheticincontrasttothesubject?Orisitparalleltothesubject?
Goals/Etiquette:
-Learntospeakaboutalltypesofworks–evenonesthatarenotthesameasyouraesthetic.-FeelfreetopolitelydisagreewiththeProfessorandotherstudents–thisisadiscussionandartissubjective.
-Begenerous
-Thinkofsomethingtosayforeveryone’scritique
-Bepresentateveryoneelse’scritiques.Donotbelatetocritique.
Premiseofthe“Crit”Thepremiseofcritisthatthegroupcanconveyinsighttothestudent,bringingadegreeofobjectivitytothehighlysubjectivedirectivesoftheirprivatecreativeprocess.Ideally,studentsleavethecritasbetterartists,withnewunderstandingoftheirwork,theirprocess,andthemselves.Crithasthequalityofaritual;itisaperformanceenactedwithinasmallsubcultureofinitiateswhoaresensitivetothesubtletiesofmeaningitcarries.Likeallrituals,itcomeswithitsownrules,etiquette,andtaboos.
RequiredDocumentationFAIN220RequiredStudentWorkDocumentation:
OnthedayofCritiques,studentsarerequiredtoturninafinishedversionoftheirprojectsasaQuicktimeFile.TheQuicktimeswillbecopiedtotheinstructorstationandscreenedviavideoprojectionintheclassroom.
ProjectOnetoFour:QuicktimeMovieTransferredtoInstructorHardDriveProject
ProjectFive:QuicktimevideooffootageusedininstallationaswellasStillImageDocumentation:3to5JPEGS300dpilabeled:FirstName_LastName_Title_Project_3.jpg
QUICKTIMEFILETECHNICALSPECS:-ExportyourfinalprojectasaQuicktimefile(.MOV)usingtheh264codec
Documentationshouldbesubmittedinthefollowingmanor:-LABELYOURQUICKTIMEWITHYOURFIRSTANDLASTNAMEANDPROJECTNUMBEREXAMPLE:PattyChang_Project1.MOV
SYLLABUSSUBJECTTOCHANGE
THISISUSEDASAGENERALGUIDLINE
Week1TAug.22StudentandteacherintrosReviewsyllabusoverviewofthemesandprojectsScreeningofrangeofvideoartworksWhatisvideoart?Wheretoseeit?THAug.24PROJECT1:ASINGLESHOT,InClass:equiporientationsigningrelease
camerareview/inclasscamerashootingHW:Project1proposalsHW:BuyHardDriveWeek2TAug.29DUE:BringHardDriveInClass:Discussreading#1 ScreeningHW:ShootProject1THAug.31DUE:BringharddriveforreviewDUE:PROJECT1InClass:CritiqueProject1HW:READ:Horsfield,Kate,BustingtheTube:ABriefHistoryofVideoArt,Feedback:TheVideoDataBankCatalogofVideoArtandArtistInterviews,2006Week3TSep.5PROJECT2:RulesandTools:GESTUREconceptualart,performance,processorientedvideosDUE:ReadingresponsesInClass:ScreeningworksHW:Project2ShootvideofootageTHSep.7DUE:PROJECT2RawVideofootageInClass:Screeningworks
AdobePremieretutorial-capturingtimelineimportingexportingQTHW:ShootWeek4TSep.12Screening
InClassworktimeReviewhowtoExportQuicktimefileHW:FinishPROJECT2andexportasQuicktimefileTHSep.14DUE:PROJECT2InClass:Critique
VimeouploadtutorialTransfervideosontoInstructorDrive
HW:Read:SarahKésenne,RegardingtheSex,LiesandVideotapesofOthers:Memory,Counter-MemoryandMystifiedRelationsVideoVortexII:MovingImagesBeyondYoutubeWeek5TSep.19DUE:ReadingresponsePROJECT3:INTIMATEPORTRAIT,makeanintimateportrait,1min.InClass:screenings:LaurelNakadate,Viceinterview,Opps!;FrancesStark,MyBestThing;PeggyAhwesh,ShePuppet DiscussreadingHW:ShootTHSep.21Screenings:MichelleDizon,ExUtero;SondraPerry,Lineage;HW:ShootWeek6TSep.26Fieldtrip:TBATHSep.28DUE:PROJECT3InClass:Critique
TransfervideosontoInstructorDriveWeek7TOct.3Project4:MEMORYDue:ReadingResponseInClass:Discussreading
Screening:HollisFrampton,Nostalgia;PierreHuyghe,TheThirdMemory;MatthewBuckingham,SituationLeadingtoaStory;PatriciaEsquevias,TheFutureWasWhen
THOct.5InClass:CameratutorialCanonXF100HD
PointofView-Shotlecture,shootingtechniquesStoryboardintro/howtoorganizeaprojectMemoryLab-Maps
HW:ReadPabloHelguera,HowtoUnderstandLightonaLandscape
HW:PROJECT4ProposalsWeek8TOct.10DUE:ReadingResponseDUE:PROJECT4ProposalsInClass:DiscussReading
Lighttutorialandgrouplightingtest/greenscreenScreening:RodneyGraham,EdgeofaWood;PattyChangandDavidKelley,SpiritualMyopia
HW:PROJECT4ProposalsTHOct.12MidsemestercheckinDUE:PROJECT4ProposalsInClass:SoundEquipmentReview
Screening:DaraBirnbaum,TechologicalTransformation:WonderWoman;HitoStereyl,HowNottoBeSeen,Liquidity;CamilleHenrot,GrosseFatigue;RachelRose,SittingFeedingSleeping,AMinuteAgo
HW:UseSoundEquipmentandLightingtoShootforPROJECT4Week9TOct.17DUE:RawfootageInClass:AdobePremieretutorial-Text,Titles,colorcorrection,KeyFraming,MotionControl,audioeditingInClasswork THOct.19DUE:RoughEditIndividualmeetingsHW:ReviseProject2editsWeek10TOct.24DUE:PROJECT4InClass:CritiqueTHOct.26DUE:PROJECTInClass:CritiqueHomework:presentationsforSculptureclassWeek11TOct.31DUE:Presentations
INTROPROJECT3:VideoandItsExpandedField,aCollaborationwithSculpture1ScreeningsTHNov.2DUE:ReadingResponseLAB:VideoInstallationequipmentoverviewHW:Bringinresearchmaterials-text,imageandobjectWeek12TNov.7GroupactivitywithresearchmaterialsscreeningHW:ProposalsforProject3THNov.9DUEproposalsProject3Howtomakeafloorplan-drawingsHW:Shootproject/MakefloorplanWeek13TNov.13DUE:Floorplans/FinalRawFootageInClass:individualmeetingswithinstructorInClassEditingSIGNUPFORFINALCRITIQUEHW:EditroughcutTHNov.15DUE:roughcutsInClass:individualmeetingswithinstructorSignupforequipmentHW:Project3Week14TNov.21DUE:FinalProjectGroup1InClass:CritiqueTHNov.23THANKSGIVINGNOCLASSWeek15TNov.27DUE:FinalProjectsGroup1InClass:CritiqueTHNov29DUE:FinalProjectsGroup2
InClass:CritiqueDUEbyFINALDate:FinalProjectCritAnalysis
SOCIALHOMEWORKGUIDETOLOSANGELESVENUESLosAngelesArtGuideListings:http://foryourart.com
LosAngelesKeyGalleries/ArtSpaces:� Downtown
o356Mission,http://356mission.comoFrancoisGheboly,http://ghebaly.comoMistakeRoom,http://www.tmr.laoNightGallery,http://www.nightgallery.caoTheBox,http://www.theboxla.com
oMaccoroneGallery,http://maccarone.net/exhibitions/alex-hubbard/� Chinatown
oCharlieJamesGallery,http://www.cjamesgallery.com
oHumanResources,http://humanresourcesla.com� EchoPark
oMachineProject,http://machineproject.com� KoreaTown
oCommonwealthandCouncil,http://www.commonwealthandcouncil.com� MidCity(MiracleMile)
oACME,http://www.acmelosangeles.comoMarcFoxx,http://www.marcfoxx.como1301PE,http://www.1301pe.comoMarcSelwynFineArt,http://www.marcselwynfineart.comoGavlakGallery:http://www.gavlakgallery.com/exhibitions
� WestHollywoodoM+BGallery,http://www.mbart.comoGagosianGallery,http://www.gagosian.comoYoungProjects,http://www.youngprojectsgallery.com
� HollywoodoRegenProjects,http://www.regenprojects.comoOverduin&Co.,http://www.overduinandco.comoLAXART,http://www.laxart.orgoDavidKordanskyGallery,http://www.davidkordanskygallery.comoSteveTurnerContemporary,http://steveturnercontemporary.com
� CulverCityoBlum&Poe,http://www.blumandpoe.comoCherryandMartin,http://www.cherryandmartin.comoSusanneVielmetter,http://www.vielmetter.comoHonorFraser,http://www.honorfraser.comoInternationalArtObjects,http://www.davidkordanskygallery.com
LosAngelesMuseums:� Downtown
oMOCAGrand,http://www.moca.org
oMOCAGeffen,http://www.moca.org� MidCity(MiracleMile)
oLACMA,http://www.lacma.org
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� PasadenaoArmory,http://www.armoryarts.org
� WestsideoHammerMuseum,http://hammer.ucla.eduoSantaMonicaMuseumofArt,
http://smmoa.org
ExperimentalandAvant-gardecinemahouses� Downtown
oRedcat,http://www.redcat.org� EchoPark
oEchoParkFilmCenter,http://www.echoparkfilmcenter.org
� Hollywood
oLAFilmForum,http://www.lafilmforum.org
oCinefamily,http://www.cinefamily.org§§ Amazingscreeningshappeningalmosteverynight,sotakealookattheircalendar...
MASTERSINFINEARTSGRADUATELECTURESERIEShttp://roski.usc.edu/calendar/lectures.html
FILMANDVIDEORESOURCES:
OnlineSuppliers(Equipment):
www.bhphotovideo.comwww.calumetphoto.comwww.freestylephoto.biz
AdobePremiereHelp:
http://www.creativeplanetnetwork.com/2-pop/homepage
http://www.lynda.com/
Vimeo+YoutubeExporthelp:
http://vimeo.com/help/compressionhttp://whoismatt.com/exportsettings/http://vimeo.com/60883080(youtubecompression)
OnlineFilmandvideoviewing:
http://www.ubu.com/film/
https://www.youtube.com/user/MOCATVhttp://www.vdrome.orghttp://videoart.net/home/?CFID=3246720&CFTOKEN=14433085http://www.pbs.org/art21/http://artforum.com/video/id=20859%26mode=large
Sound:
http://www.ubu.com/sound/http://www.medienkunstnetz.de/mediaartnet/http://www.npr.org/sections/lost-found-sound/
FilmProductionResources,Equipment,Costumes,Etc:LightingRentalandExpendables:http://www.samys.comhttp://www.studiodepot.com/store/index.cgi?cmd=view_tmpl&tmpl=whoweare.html
http://www.woodennickellighting.com
Permits:
http://www.film.ca.gov
AnalgoueFilmEditingSupplies:
http://www.christys.net/about.html
Super8Filmstock,ProcessingandDigitalTransfers:
http://www.pro8mm.com
16and35mmFilmProcessing:
http://www.fotokem.com/index.php
Casting:
http://home.lacasting.com
General:
http://variety411.com/us/los-angeles/
FilmStock:
http://motion.kodak.com/motion/index.htm?id=0.1.4.5&lc=en
Props:
http://www.omegacinemaprops.comhttp://www.westerncostume.com
DocumentariesonArtists:
http://video.pbs.org/program/art-21/http://www.netflix.com/Movie/Art-21-Art-in-the-Twenty-First-Century/70140359[Note:TheseareavailableonNetflixInstantPlayandDVD]
USCRoskiSchoolofFineArtsLibraryToppingFundDVDList:
http://www.usc.edu/dept/matrix/clerc_topping/01.htm
NOTE:ThesevideosareavailableinthelibrarytocheckoutonDVD.It’sanextensivelistofdozensofartvideos,filmsanddocumentaries.
LOCALVENUES/ORGANIZATIONS:
ArtHouseFilm/Avant-gardeFilmTheaterVenues:
http://www.lafilmforum.org/index/Home.htmlhttp://www.redcat.org/category/redcat-event-
type/film-videohttp://www.cinefamily.org/http://www.echoparkfilmcenter.org/
AlternativeSpacesandMuseumsWhoPresentVideo:
http://humanresourcesla.com/http://machineproject.com/http://www.sassas.org/http://www.moca.org/http://www.moca.org/cinemoca/http://www.lacma.org/filmhttp://hammer.ucla.edu/exhibitions/exhibitionshttp://hammer.ucla.edu/about/billy_wilder_theater.htmlhttp://www.getty.edu/museum/