work in progress

Acousmatic - talking behind the screen or an unseen source

Diagetic vs non-diagetic

Proposal - 3 Questions:

What am I going to do?

How am I going to do it?

How will it be presented?

Self-set deadlines on a timeline PPT or PDF presentation can be form of a zine or artist book or blog Sketch to scale Mock-ups CV at end ?? Make the proposal a beautiful artwork in itself. Roland Barthes - Camera Lucida

What is a photograph?

light captured on light sensitive material (film/sensor)

frozen moment of time

Think of how you represent yourself - branding

Cinopticon - Giselle Stanborough

Dada + Futurism Art is elitist and classist Dick Higgins + Fluxus -> intermedia “The Happening” - Allan Kaprow How do you describe your audience? viewer, observer, beholder, participant Hans Breder

Nam June Paik Carolee Schneemann Dumb Type 1994 Gulf War made for television Blast Theory - Desert Rain Walid Raad - Atlas Group Amalia Ulman Juliana Huxtible Rhiannon Armstrong

“Waiting for the Internet” - João Exuto Gabrielle De Vietri - lecture performance overlap

post-internet art

In week 03 we were able to develop our own 35mm film. This week, we were able to print our proof sheet.

In the first test strip, 15 - 20s seemed ideal for my proof sheet. But to be more specific, I then took another strip and exposed it entirely for 15s then in 1s increments. From that I decided that 17s is the best for my proof sheet.

e-flux.com frieze.com artalmanac.com.au malleability photograph as performance futurists productions and dada Anthony McCall - Line describing a cone

*** HYBRIDITY *** SCULPTURE + PHOTO

Tehching Hsieh - Time Clock Piece

information -> inspiration

With my project, I wanted to showcase an alien landscape or terrain but after showing my trial shots to David, he narrowed it down specifically that they resembled asteroids. I think this will help me explore my idea further and take more resolved photographs in the studio time that I booked for this week. How will I present these? Will I name them?  Inventing the imaginary Gabriel Orozco - table tennis pond

Annette Messager - hanging

Photography is an everyday medium - pervasive

Thomas Ruff - jpegs series, 2004 grain versus pixel “stupid square” Andy Warhol - Screen Test series - the idea of not performing Rebecca Baumann - Automated Colour Field, 2011

How can we produce an image without traditional apparatus? -CODING-

David & Jaki - Boy have we got a vacation for you, 2005 Thomas Demand - banal recreation

Tension in a still image

Photogrammetry

Anachronistic approach?

***IMAGE THROUGH SCULPTURE***

Ryoji Ikeda - Transfinite

Beauty of imperfection Materiality vs immateriality Respond to immateriality of current media

Notes on Glitch - Hugh S. Manon and Daniel Temkin Glitch is “bad data” “a program’s failure to fully fail”

Reed Ghazala 1960s - electronic noise using guitar pedals Photos edited in sound programs, music edited in Photoshop Nam June Paik Triggers glitch versus creating glitch

Glitch art = fishing - “casts forth the line, not knowing what if anything will be reeled in.”  Constant experimentation Analog to digital (re)production

In Week 02 we looked at various ways that images can be made, with or without a camera. In this age we have 3D technology, allowing for camera-less production. Images can also be printed then transformed into an object.  3 stages: Pre-production Production Post-production The difference between taking an image versus making an image, The artist acts as a director.

Photographic Surrealists 1920s-1930s Florence Henri - everyday objects aesthetics Edward Weston - Pepper No. 30 1930 Brassai - floating objects Etienne-Jules Marey - Fillets of Smoke

gravity defying

exercise one - self audit

Most of my personal work is presented as diptychs and after discussions with John, I expressed that I felt diptychs weren’t  a ‘strong’ enough deviation of the  photographic medium. I envisioned literal 3D expansions of the image but then I felt it too literal. He then steered me towards the work of Bill Henson. I am familiar with a lot of his famous work but these are the ones that John had in mind -

Bill Henson Untitled 1994-95, type C photograph, adhesive tape, pins, glassine, 250 x 244.3 cm Roslyn Oxley Gallery

Bill Henson Untitled 1997 National Gallery of Victoria

[images censored by tumblr]

These narratives are not confined to your standard rectangular borders and the visible assemblage of different sceneries give these characters otherworldly existences.

What is a photograph when removed from its borders?

Our first project this semester revolves around reimagining our chosen mediums and exploring the idea of hybridity - the photograph as object (sculpture), or the photograph with movement and narrative (screen arts) - a transformation.

Maybe a way of expanding the field could be through experimentation and interactivity.

How does image currently exist in the world and how does it frame the world?

In the reading, Eastman Museum A matter of memory: Photography as object in the digital age, various artists speak about the medium’s metamorphosis from print to digital and society’s relationship to memory. 

“Digital photographs appear and disappear faster requiring short term attention” - Mladen Bizumic

“Photography as process” - Ellen Carey

“Digital is different species to prints” - Leana Letinsky

“Digital image does not have a fixed body” - Lilly Lulay

“A photographic print is less fleeting” - Nick Marshall

“Sensory experience - touch.” - Diane Meyer

“Where the past lives” - Melanie Willhide

“Physical materiality” - Augusta Wood