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/
