For the photographs that I took this week, I had the idea of putting something strange/unwanted/unusual on the bed (food, a statue, a plant) along with other things that do not belong on the bed either (bags, receipts, boxes), but that we have become more accustomed to accepting. These photos are more intentional in their subject matter and composition that last week's.
Dawn, Angela-Maria and I had a discussion about the idea of embedding images/videos of still life in installation or video pieces. This could potential bring up thoughts surrounding representation and memory. While I have not fully realized an idea for this yet, I do have the (verrrry) beginnings of an installation started (I'm waiting on photo paper to arrive, ordered by Dana). I want to place printed photographs amongst the other varying receipts, packaging, and disposable ephemera.
Finally, here is more of a sketch than an actually realized video. I like the idea of doing and undoing things, the way that I place something on the chair, and then remove things from it in parallel. This could perhaps be an interesting tactic to include in future videos. I do think that I need help finding video artists to reference. Additionally, it wouldn't hurt to get advice on video as a medium, as a whole (both formal skills/techniques and theory), because I never took Video I or II and have not worked with it much previously.
I'm intrigued by the objects on the bed and the potential use of repetition as a means of suggesting time/duration as it relates to memory (see Bergson - and yes, Deleuze who draws heavily on Bergson, good to think about obtaining Difference & Repetition, though it's INCREDIBLY dense - just look for pockets of relevance there, I can help guide you).
I still think you need to start working more intentionally with light (it's pretty uneven and not terribly appealing just yet - try to see what you can do to achieve a more dynamic range - bring in fill lights or bounce light off large white pieces of foam core, or open the blinds wider or shoot at different times of day, etc. Use a tripod and shoot and/or capture video using a low ISO around 200. Work on being a bit more deliberate with composition, as well - both in the photographs and the video. Try out more (many more) options - you should be capturing hundreds of images per week and many, many clips of video (some of substantial duration - one thing to think about is what happens when the viewer is left to sit with an extended "still" image for a prolonged period of time, for instance, rather than a piece that is edited to interrupt - and/or how can that be deliberately explored by disrupting certain expectations of duration/cuts).
The doing/undoing can be explored a bit more deliberately if you think more carefully about these things mentioned above.
And, even though you did not take the stand alone video art course, we certainly covered a good number of video artists in terms of technique and approach as it relates to your ideas in both Digital Media and Contemporary Art & Theory - think back through some of the artists engaged with in those classes. And, look again at the Camille Henrot Grosse Fatigue piece and interview, and consider ordering the catalogue from the exhibition, Haunted, from the Guggenheim from a few years back (from InterLibrary loan). And dig into this content via library and Internet searches a bit more. I'm regularly sending you things, but you need to sort out what is most precisely of relevance to your investigations.
In terms of the technical stuff, let me know when you want to set up a time and we can go over some of the program based aspects as well as camera capture techniques, if you like.
I'm intrigued by the objects on the bed and the potential use of repetition as a means of suggesting time/duration as it relates to memory (see Bergson - and yes, Deleuze who draws heavily on Bergson, good to think about obtaining Difference & Repetition, though it's INCREDIBLY dense - just look for pockets of relevance there, I can help guide you).
ReplyDeleteI still think you need to start working more intentionally with light (it's pretty uneven and not terribly appealing just yet - try to see what you can do to achieve a more dynamic range - bring in fill lights or bounce light off large white pieces of foam core, or open the blinds wider or shoot at different times of day, etc. Use a tripod and shoot and/or capture video using a low ISO around 200. Work on being a bit more deliberate with composition, as well - both in the photographs and the video. Try out more (many more) options - you should be capturing hundreds of images per week and many, many clips of video (some of substantial duration - one thing to think about is what happens when the viewer is left to sit with an extended "still" image for a prolonged period of time, for instance, rather than a piece that is edited to interrupt - and/or how can that be deliberately explored by disrupting certain expectations of duration/cuts).
The doing/undoing can be explored a bit more deliberately if you think more carefully about these things mentioned above.
And, even though you did not take the stand alone video art course, we certainly covered a good number of video artists in terms of technique and approach as it relates to your ideas in both Digital Media and Contemporary Art & Theory - think back through some of the artists engaged with in those classes. And, look again at the Camille Henrot Grosse Fatigue piece and interview, and consider ordering the catalogue from the exhibition, Haunted, from the Guggenheim from a few years back (from InterLibrary loan). And dig into this content via library and Internet searches a bit more. I'm regularly sending you things, but you need to sort out what is most precisely of relevance to your investigations.
In terms of the technical stuff, let me know when you want to set up a time and we can go over some of the program based aspects as well as camera capture techniques, if you like.