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

23

� 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/

usc roski school art 260 introduction to video and time ...nan goldin, ballad of sexual dependency...

Documents