DOCSLIB.ORG

INTERMEDIA ARTS FA 215 – Introduction to Digital Video and Interactivity Spring 2009 Instructor: Joel Tauber E-Mail: Joel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
INTERMEDIA ARTS FA 215 – Introduction to Digital Video and Interactivity Spring 2009 Instructor: Joel Tauber E-Mail: Joel INTERMEDIA ARTS FA 215 – Introduction to Digital Video and Interactivity Spring 2009 Instructor: Joel Tauber e-mail: [email protected] Office hours: email me for an appointment 215 Course Objective: An overview of Video Art, from 1970’s single-channel projects to current new-media oriented interactive and installation-based projects, will acquaint students with the medium of video, its relation to technology and its potential for interactivity in both analog performance and digital programming. To execute their own ideas, students will be trained to create work using the digital video camera, desktop editing and basic interactive programming. Course Description: This introductory class will acquaint the students with the computer, the digital video camera, video editing via Final Cut Pro, video presentation via DVD Studio Pro, and basic interactivity via Flash as well as the processes of production, reproduction and presentation that help define and disseminate this media into culture. An overview of Video Art, from 1970’s single-channel projects to current new-media oriented interactive and installation-based work, will support your further understanding of the history and potential of this medium. Discussions, screenings and readings will help establish a strong fine art platform for considering how you might progress and experiment in this area of art-making. While providing a basic familiarity with digital video, desktop video production and interactivity, this course will also develop a critical and interdisciplinary framework for evaluating digital work on aesthetic terms. Students will formulate objectives for their art projects through a careful consideration of the implications of video and interactivity for their own aesthetic interests. Required Materials Firewire external hard drive. The following drive is recommended: LaCie Hard Disk, Design by Neil Poulton eSATA, FireWire 400 & Hi-Speed USB 2.0, 500GB http://www.lacie.com/us/products/product.htm?pid=11062 $99.99 at the Campus Bookstore Video: 3 DVD-R (4.7GB, any brand) Mini DV tapes – source footage 1 CD-RW or 1 flash drive Headphones Web: USC e-mail account Student generated source materials Optional Books Apple Pro Training Series: Final Cut Pro 6 Diana Weynand, Peach Pit Press, 2007, ISBN: 0321502655 Adobe Flash CS3 Professional Hands-On Training Todd Perkins, Peach Pit Press, ISBN: 0321509838 Grading Attendance Attendance will be taken at all meetings and is MANDATORY. Your final grade can be dropped one full letter grade with 2 unexcused absences. 2 tardies = 1 absence. 4 unexcused absences can result in a failing grade. Grade Breakdown 10% - Participation in Discussion of Readings, Critiques, and Screenings 10% - Tech Project 40% - Project 1 [prep 1 and 2 – 10% / final project – 30%] 40% - Project 2 [prep 1 – 10% / final project – 30%] Projects: Projects are graded on the conceptual and aesthetic quality of finished work, technical/craft expertise, and conceptual and technical investment of time. No late assignments will be accepted. Participation Your grade will be lowered if you do not actively and constructively participate in critiques. Your grade will be lowered if you do not come to class prepared to productively work on projects during open studio times. Integrity Policy USC seeks to maintain an optimal learning environment. General principles of academic honesty include the concept of respect for the intellectual property of others, the expectation that individual work will be submitted unless otherwise allowed by an instructor, and the obligations both to protect one’s own academic work from misuse by others as well as to avoid using another’s work as one’s own. All students are expected to understand and abide by these principles. Scampus, the Student Guidebook, contains the Student Conduct Code in Section 11.00, while the recommended sanctions are located in Appendix A: http://www.usc.edu/dept/publications/SCAMPUS/gov/. Students will be referred to the Office of Student Judicial Affairs and Community Standards for further review, should there be any suspicion of academic dishonesty. The Review process can be found at: http://www.usc.edu/student-affairs/SJACS/. Students with Disabilities and Academic Accommodations Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to me (or to TA) as early in the semester as possible. DSP is located in STU 301 and is open 8:30 a.m.–5:00 p.m., Monday through Friday. The phone number for DSP is (213) 740-0776. Roski Admissions Information For information and an application to become a Fine Arts minor, please visit http://roski.usc.edu/minors/ Please contact Antonio Bartolome at [email protected] or 213-740-7567 with any questions about a minor in the Fine Arts. To become a Fine Arts major, please visit http://roski.usc.edu/undergraduate_programs/ Please contact Penelope Jones at [email protected] or 213-740-9153 with any questions about majoring in FA. Applications are due October 1st and March 1st every year.” PROJECTS Explanation of Grading Project grades are determined based on your attention to and investment in the overall process of art-making. While the final product of your work will be the focal point of critiques and will be a major component of your grade, you must satisfy other criteria as well: Conceptual Merit: Your projects should be interesting and well thought-out. They will be evaluated in terms of degree of ambition and complexity, and should also reflect a growing understanding of the art historical and theoretical concepts discussed in class. Technical Execution and Effort: In addition to the overall level of skill you bring to your projects, they will be evaluated for the degree to which they answer the technical requirements of the assignment and the amount of in-class and out-of-class effort evident in the project. Planning and Organization: Because the overall process is often the most challenging and innovative aspect of art-making, your project grade will take into account the level of thought and preparation of your work at each stage: from initial proposal, through the stages of work, to the presentation of the final piece. On-time and thorough presentations are a significant aspect of your final project grade. Your project preparation will also be considered in this component of your grade (see below). TECHNICAL PROJECT The technical project will require the class to split into groups of 3 students. Each group of students will work as a team to shoot 3 short scenes. And, then each student will edit their own 30-second video from the footage their group shot. The group should develop a cohesive idea that links the 3 scenes together. While students should help each other shoot the 3 scenes, each member of the group must take the lead in shooting one of the three scenes. Each member of the group will have access to all of the footage shot by the group. The group may capture the footage together, but then each member of the group will be responsible to edit their own unique 30-second video from the footage that they gathered. The group must meet before the technical shooting day of class to determine what they will be shooting. You will have to consider how you will use the camera to create different kinds of shots. Consider not only the content of each shot, but also the form. Each scene should be shot in a variety of ways (playing with different camera movements, shutter speeds, aperture…). Each scene needs to incorporate tracking and panning shots, and each scene needs to utilize both the shotgun and lavalier microphones. This technical project will focus on technical learning including shooting, modes of camera movement, log and capture, basic editing, and exporting to QuickTime. Final technical projects will be presented for critique as an exported QuickTime file. PROJECT 1 “PERSONAL/PUBLIC SELF” Project Concept: This project will be a personal and social investigation of self, considering the public self that results from identity politics (such as gender, race, class, religion or nationality), and the personal self that exists through internal truths and personal mythologies. Your goal is to create an in-depth exploration of both a personal understanding of self and a social understanding of self, through image, sound, language and action. This project does not have to be narrative, and you are encouraged to consider more nonlinear, abstract and experimental means of communication. Most important is that you carefully consider what kind of representation will best suit your particular video project. Project preparation (step 1) Create a list of ten of things that speak about your identity in SPECIFIC ways. Your list should include specific and detailed narratives, experiences, or poetic images that are important to you and refer to your experiences in the world. Your list must refer to identity via the personal (your camping trip with your father, your fight with your sister…), while it addresses the social (such as what it means to inhabit your body/self as a member of a certain gender, race, religion, nationality). Think about the potential for each item on the list in terms of generating art. What specific stories and experiences can you share with the viewer that will function on a poetic / political / cultural level? Which of the 10 items on your list will you choose to develop into a video project? Project preparation (step 2) Following discussion with the instructor, you will choose one of the ten elements for further investigation. Your goal will be to illustrate how such an investigation would take place as a video, considering the roles of visuals, audio, time and movement.
Load more

Recommended publications
  • Sabbatical Leave Report 2019 – 2020
    Sabbatical Leave Report 2019 – 2020 James MacDevitt, M.A. Associate Professor of Art History and Visual & Cultural Studies Director, Cerritos College Art Gallery Department of Art and Design Fine Arts and Communications Division Cerritos College January 2021 Table of Contents Title Page i Table of Contents ii Sabbatical Leave Application iii Statement of Purpose 35 Objectives and Outcomes 36 OER Textbook: Disciplinary Entanglements 36 Getty PST Art x Science x LA Research Grant Application 37 Conference Presentation: Just Futures 38 Academic Publication: Algorithmic Culture 38 Service and Practical Application 39 Concluding Statement 40 Appendix List (A-E) 41 A. Disciplinary Entanglements | Table of Contents 42 B. Disciplinary Entanglements | Screenshots 70 C. Getty PST Art x Science x LA | Research Grant Application 78 D. Algorithmic Culture | Book and Chapter Details 101 E. Just Futures | Conference and Presentation Details 103 2 SABBATICAL LEAVE APPLICATION TO: Dr. Rick Miranda, Jr., Vice President of Academic Affairs FROM: James MacDevitt, Associate Professor of Visual & Cultural Studies DATE: October 30, 2018 SUBJECT: Request for Sabbatical Leave for the 2019-20 School Year I. REQUEST FOR SABBATICAL LEAVE. I am requesting a 100% sabbatical leave for the 2019-2020 academic year. Employed as a fulltime faculty member at Cerritos College since August 2005, I have never requested sabbatical leave during the past thirteen years of service. II. PURPOSE OF LEAVE Scientific advancements and technological capabilities, most notably within the last few decades, have evolved at ever-accelerating rates. Artists, like everyone else, now live in a contemporary world completely restructured by recent phenomena such as satellite imagery, augmented reality, digital surveillance, mass extinctions, artificial intelligence, prosthetic limbs, climate change, big data, genetic modification, drone warfare, biometrics, computer viruses, and social media (and that’s by no means meant to be an all-inclusive list).
    [Show full text]
  • Architecture As a Discursive Discipline: Inflatable Spaces of Radical Avant-Gardes
    ARCHITECTURE AS A DISCURSIVE DISCIPLINE: INFLATABLE SPACES OF RADICAL AVANT-GARDES A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY EMİNE BURCU ERYILMAZ IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE IN ARCHITECTURE MAY 2019 Approval of the thesis: ARCHITECTURE AS A DISCURSIVE DISCIPLINE: INFLATABLE SPACES OF RADICAL AVANT-GARDES submitted by EMİNE BURCU ERYILMAZ in partial fulfillment of the requirements for the degree of Master of Architecture in Architecture Department, Middle East Technical University by, Prof. Dr. Halil Kalıpçılar Dean, Graduate School of Natural and Applied Sciences Prof. Dr. F. Cânâ Bilsel Head of Department, Architecture Prof. Dr. Ayşen Savaş Supervisor, Architecture, METU Examining Committee Members: Prof. Dr. Celal Abdi Güzer Department of Architecture, METU Prof. Dr. Ayşen Savaş Architecture, METU Assoc. Prof. Dr. İnci Basa Department of Architecture, METU Assoc. Prof. Dr. İpek Gürsel Dino Department of Architecture, METU Assist. Prof. Dr. Gülru Mutlu Tunca Department of Interior Architecture, Çankaya University Date: 27.05.2019 I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Surname: Emine Burcu Eryılmaz Signature: iv ABSTRACT ARCHITECTURE AS A DISCURSIVE DISCIPLINE: INFLATABLE SPACES OF RADICAL AVANT-GARDES Eryılmaz, Emine Burcu Master of Architecture, Architecture Supervisor: Prof. Dr. Ayşen Savaş May 2019, 121 pages This thesis is an inquiry into the inflatable architecture of avant-garde architects, produced from the late 1960s to the early 1970s.
    [Show full text]
  • Oral History Interview with Suzanne Lacy, 1990 Mar. 16-Sept. 27
    Oral history interview with Suzanne Lacy, 1990 Mar. 16-Sept. 27 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Suzanne Lacy on March 16, 1990. The interview took place in Berkeley, California, and was conducted by Moira Roth for the Archives of American Art, Smithsonian Institution. This interview has been extensively edited for clarification by the artist, resulting in a document that departs significantly from the tape recording, but that results in a far more usable document than the original transcript. —Ed. Interview [ Tape 1, side A (30-minute tape sides)] MOIRA ROTH: March 16, 1990, Suzanne Lacy, interviewed by Moira Roth, Berkeley, California, for the Archives of American Art. Could we begin with your birth in Fresno? SUZANNE LACY: We could, except I wasn’t born in Fresno. [laughs] I was born in Wasco, California. Wasco is a farming community near Bakersfield in the San Joaquin Valley. There were about six thousand people in town. I was born in 1945 at the close of the war. My father [Larry Lacy—SL], who was in the military, came home about nine months after I was born. My brother was born two years after, and then fifteen years later I had a sister— one of those “accidental” midlife births.
    [Show full text]
  • Syllabus: Video Art and Frontier Films 1960 to the Present Film 3905 Sec
    Syllabus: Video Art and Frontier Films 1960 to the Present Film 3905 sec. 002 (class number 17059 ) or Film 6905 sec. 006 (class number 17369) University of Utah Semester: (Fall 2010) Instructor: Kent Maxwell Email: [email protected] (I don't check my email every day, so if you need to reach me urgently call me before 10 am or after 7 pm) Phone: 801 328-3053 Office Hours: By appointment. Online Information: Class Web site: http://home.utah.edu/~klm6/. Or go to home.utah.edu/~klm6 click on the Film 3905-002 Home Page link. There will be limited information on the class site: the syllabus; listings of any additional readings assigned during the semester; and a list of the films shown in class each week. Course Description: This is a survey of Video Art and Experimental film from the Fluxus films and Warhol’s Screen Tests to Zidane, A 21st Century Portrait. This course will include a look at: early real time portapak tapes of Vito Acconci, Dan Graham, Bruce Nauman, William Wegman; The layered films by Bruce Bailie and Pat O’Neill; Video image manipulation of Nam June Paik, and Steina and Woody Vasulka; The structuralist films of Michael Snow, Hollis Frampton, and Peter Greenaway: the work of Bill Viola, Gary Hill, Peter Campus, Doug Hall, Tony Oursler; music videos by Bruce Conner, The Residents, Laurie Anderson: the Qasti films of Godrey Reggio and Philip Glass; explorations of media, culture, and gender from Ant Farm, Valie Export, Dara Birnbaum, Sadie Benning, Pipilotti Rist; the transient properties of film with the collective Silt and Bill Morrison’s film Decasia; Digital video work by Matthew Barney, Beryl Korot, Aleksandr Sokurov and others: and of course we won’t over look sampling, installations, and the web.
    [Show full text]
  • SFMOMA | Stoplist for Art of Participation
    AUDIO TOUR A cell phone audio tour offers further insight into the works in this exhibition. Dial 415.294.3609 to hear the voices of Yoko Ono, Tom Marioni, and other artists as well as commentary by Media Arts Curator Rudolf Frieling. To learn more about a specific work, enter its corresponding number followed by the # key. You control what you hear, when, and in what order. No cost except your minutes. A downloadable podcast is also available by logging on to www.sfmoma.org/aop. 400# Introduction 401# Hans Haacke, News, 1969/2008 402# John Cage, 4'33", 1952 403# Nam June Paik, Participation TV, 1963/1998 404# Robert Rauschenberg, White Painting (Three Panel), 1951 405# George Brecht (various works) 406# Vito Acconci, Proximity Piece, 1970, 2008 print 407# Joseph Beuys (various works) 408# Lygia Clark (various works) 409# Yoko Ono, Cut Piece, 1965 4092# Curator Rudolf Frieling compares the 1965 and 2003 performances of Yoko Ono’s Cut Piece. 410# Chip Lord, Curtis Schreier, and Bruce Tomb, Ant Farm Media Van v.08 (Time Capsule), 2008 411# Lynn Hershman Leeson, Life², since 2006 412# c a l c and Johannes Gees, communimage, since 1999 413# Kit Galloway and Sherrie Rabinowitz, Hole-in-Space, 1980 414# Francis Alÿs, Re-enactments, 2000 415# Erwin Wurm (various works) 416# Felix Gonzalez-Torres, “Untitled”, 1992/1993 417# Tom Marioni, FREE BEER (The Act of Drinking Beer with Friends is the Highest Form of Art), 1970–1979 418# John Baldessari, Terms Most Useful in Describing Creative Works of Art, 1966–68 419# Raqs Media Collective, Please do not touch the work of art, 2006 420# Blank & Jeron, and Gerrit Gohlke, 1st Public White Cube, 2002/2008 4202# 1st Public White Cube collaborators 10lb Ape 4203# 1st Public White Cube collaborator Ledia Carroll 421# Janet Cardiff, The Telephone Call, 2001 422# Fletcher/Rubin, Pictures Collected From Museum Visitors’ Wallets, 1998 423# Jochen Gerz, The Gift, 2000 4232# Jochen Gerz discusses his interest in working with the public.
    [Show full text]
  • Artscience in Practice
    ARTSCIENCE IN PRACTICE: Exploring the Critical and Creative Potentials of Transdisciplinary Art and Science Practice using a Methodological and Conceptual Framework of Creative Becoming. Svenja J. Kratz Bachelor of Creative Arts (Contemporary Art and Creative Writing) First Class Honours (New Media Art) Biotechnology and Contemporary Visual Art Institute of Health and Biomedical Innovation (Cells and Tissues Domain) Creative Industries Faculty (Visual Art) Queensland University of Technology Submitted in fulfilment of the requirements of Doctor of Philosophy November, 2013 KEYWORDS: ArtScience, Becoming, Bioart, Biological Art, Contemporary Art, Creative Evolution, Deleuze and Guattari, Ethics in Contemporary Art, Experiential Ethics, Interdisciplinarity, ArtScience Strategies, Practice-led Research, Rhizome Methodologies, Transdisciplinarity i ABSTRACT: Over the last decade we have witnessed a move towards greater convergence, hybridisation and an increased interest in the blurring of disciplinary boundaries, particularly between the arts and sciences. In the context of ArtScience scholarship and integration, much attention regarding the value of such cross-disciplinary partnerships has focused on education and training, as well as science communication and contextualisation. However, I argue that intersections between art and science should be regarded as sites of multiplicity that are capable of producing transformative cross- pollinations with meaningful outcomes for both disciplines, that extend beyond education or public engagement
    [Show full text]
  • North American Artists' Groups, 1968–1978 by Kirsten Fleur Olds A
    Networked Collectivities: North American Artists’ Groups, 1968–1978 by Kirsten Fleur Olds A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in The University of Michigan 2009 Doctoral Committee: Professor Alexander D. Potts, Chair Professor Matthew N. Biro Associate Professor Rebecca Zurier Assistant Professor Kristin A. Hass © Kirsten Fleur Olds All rights reserved 2009 To Jeremy ii Acknowledgments This dissertatin truly resembles a “third mind” that assumed its own properties through collaborations at every stage. Thus the thanks I owe are many and not insignificant. First I must recognize my chair Alex Potts, whose erudition, endless patience, and omnivorous intellectual curiosity I deeply admire. The rich conversations we have had over the years have not only shaped this project, but my approach to scholarship more broadly. Moreover, his generosity with his students—encouraging our collaboration, relishing in our projects, supporting our individual pursuits, and celebrating our particular strengths—exemplifies the type of mentor I strive to be. I would also like to acknowledge the tremendous support and mentorship provided by my committee members. As I wrote, I was challenged by Rebecca Zurier’s incisive questions—ones she had asked and those I merely imagined by channeling her voice; I hope this dissertation reveals even a small measure of her nuanced and vivid historicity. Matt Biro has been a supportive and encouraging intellectual mentor from my very first days of graduate school, and Kristin Hass’sscholarship and guidance have expanded my approaches to visual culture and the concept of artistic medium, two themes that structure this project.
    [Show full text]
  • Sfmoma.Org Libby Garrison, 415.357.4177, [email protected] Sandra Farish Sloan, 415.357.4174, [email protected]
    For Immediate Release June 15, 2008 Contact: Robyn Wise, 415.357.4172, [email protected] Libby Garrison, 415.357.4177, [email protected] Sandra Farish Sloan, 415.357.4174, [email protected] SFMOMA PRESENTS MAJOR OVERVIEW OF PARTICIPATION-BASED ART On view at the San Francisco Museum of Modern Art (SFMOMA) from November 8, 2008, through February 8, 2009, The Art of Participation: 1950 to Now presents an overview of the rich and varied history of participatory art practice during the past six decades, exploring strategies and situations in which the public has taken a collaborative role in the art- making process. Organized by SFMOMA Curator of Media Arts Rudolf Frieling, this large thematic presentation gathers more than 70 works by some 50 individual artists and collectives, and will feature projects both on-site and online, as well as several new pieces commissioned specifically for the exhibition. From early performance-based and conceptual art to online works rooted in the multiuser dynamics of Web 2.0 platforms, The Art of Participation reflects on the confluence of audience interaction, utopian Erwin Wurm, One Minute Sculptures politics, and mass media, and reclaims the museum as a space for two- (detail), 1997; photo: Kuzuyuki Matsumoto; © 2008 Artists Rights Society way exchange between artists and viewers. (ARS), New York / VBK, Vienna The exhibition proposes that participatory art is generally based on a notion of indeterminacy—an openness to chance or change, as introduced by John Cage in the early 1950s—and refers to projects that, while initiated by individual artists, can be realized only through the contribution of others.
    [Show full text]
  • Artpark Archival Collection at the Burchfield Penney Art Center Archives Gift of Earl W
    Artpark Archival Collection At The Burchfield Penney Art Center Archives Gift of Earl W. Brydges Artpark State Park 2013; A2013.017 Title: Artpark Archival Collection Name and Location of Repository: Burchfield Penney Art Center Date: 1970 - 2010 (Inclusive Dates) 1974-2005 (General Bulk Dates) Extent: 118.979 linear feet of textual, photographic and audio-visual materials Name of Creator: Earl W. Brydges Artpark State Park Administrative History: Artpark is currently (as of 2021) a 154-acre State Park along the Niagara River Gorge, located on the American side of the American-Canadian border in Lewiston, NY. It was initially created to develop tourism around local historic attractions and revitalize the area following late 1950s development of the New York State Power Authority power plant in Niagara Falls. Over- developed and costly theater construction under State Senator Earl W. Brydges in this direction of cultural development, said to be modeled after the Saratoga Performing Arts Center, resulted in a consulting emergency between the Natural Heritage Trust, the New York State Office of Parks and Recreation, and national experts and local cultural community leadership. This included the arts administration consulting firm Arts Development Associates (which had helped with the Lincoln Center), and a Steering Committee involving, amongst many, Niagara University Theater director Brother Augustine Towey, C.M., and Haudenosaunee Council on the Arts founder and artist Duffy Wilson. As a result, Artpark (or the Artpark program at the Earl W. Brydges Artpark) emerged from the Niagara Frontier Performing Arts Center, and in 1973 was established as a publicly-funded state park dedicated to all of the arts, with portions of support coming from earned revenue, grants and contributions.
    [Show full text]
  • Course Syllabus
    Course Syllabus Sculpture I AVT 262-001 Fall 2015 M, W 10:30 AM – 1:10 PM Instructor: Genna Watson Phone: 301-779-6246 Office Hours: By pre-arranged appointment Email: [email protected] or [email protected] Course Description: This is an introduction to the technical, conceptual, and critical skills explored in the expanded field of contemporary sculpture. Students will be introduced to the issues of object making, collaboration, site- specificity, mapping, interaction, and process as well as the integration of larger social, political, and aesthetic concerns. Through assignments, experimentation, writing, research and critiques students will: Experience defining some of the basic formal and expressive conditions of sculpture, Experience working with and defining just what “sculptural material” is, Become familiar with the creative process by learning how to generate and develop ideas for individual works. This is a rigorous process-oriented course. The nature of this studio course incorporates communication, demonstrations, visual presentations process and individual progress. Course Goals: This class fulfills a General Education Core requirement for Arts. Core requirements help ensure that students become acquainted with the broad range of intellectual domains that contribute to a liberal education. By experiencing the subject matter and ways of knowing in a variety of fields, students will be better able to synthesize new knowledge, respond to fresh challenges, and meet the demands of a complex world. Arts goal: Courses aim to achieve
    [Show full text]
  • Independent Video: the First Fifteen Years - Artforum International
    10/11/2019 Independent Video: The First Fifteen Years - Artforum International TABLE OF CONTENTS PRINT SEPTEMBER 1980 INDEPENDENT VIDEO: THE FIRST FIFTEEN YEARS THE DEVELOPMENT OF VIDEO as an artistic medium has occurred over a relatively short period of time.1 When artists began using video in the mid ’60s, it was a period of wide experimentation—the Pop Art of Andy Warhol and Tom Wesselmann, the Happenings of Robert Rauschenberg and Allan Kaprow, and the New York Fluxus events of George Maciunas and Nam June Paik—generated by intuition and spontaneity, rather than logic or reason. Video art was initiated largely by small artists’ collectives scattered across the United States, as a form of political and esthetic opposition to commercial television genres and to the more traditional art forms. During the ’70s the nature of video activity changed, along with work in other mediums. Some artists explored alternatives to the formal exhibition space in the creation of environmental and land art works, generally conceptualized in response to a particular situation or setting. At the same time, video installations were being designed for specific spaces and audio and video equipment was being used to explore temporal and spatial https://www.artforum.com/print/198007/independent-video-the-first-fifteen-years-37723 1/18 10/11/2019 Independent Video: The First Fifteen Years - Artforum International relationships, often involving time delays and viewer participation. While performance art continued, video art was employed by many artists to create personal, autobiographical or narrative pieces, in addition to conceptual works. There was extensive activity with the building and exploration of color image processors, which included synthesizers and computers.
    [Show full text]
  • Contemporary Art: 1965-Present ARHS 3369 – J-Term 2018 Date/Time/Location TBD
    Contemporary Art: 1965-Present ARHS 3369 – J-Term 2018 Date/Time/Location TBD Dr. Eric M. Stryker [email protected] office Hours: immediately after class - OAC #3603 COURSE DESCRIPTION An international survey of contemporary art from 1965 to the present with specific attention given to the emergence of new modes and new media in art – specifically conceptualism, site-specificity, installation, performance, video, multimedia, interactive and digital art. These now prominent forms of art will be studied as they have evolved out of the social upHeaval and sHifting artistic practices at the close of the 1960s. EacH will be Historicized in relation to a range of influential developments in critical theory, social history, and both local and global visual cultures. COURSE BENEFITS • Students will discuss How contemporary art practices relate to contemporary life. • Students will gain detailed knowledge of major developments in global contemporary art since tHe late 1960s. • Students will learn ways of understanding and interpreting tHe new modes of contemporary art, including installation, sound art, video art, computer art, internet art, interactive art, body art, performance art, site-specific art and conceptual art. • Students will learn how the intellectual history of this period spurred dramatic changes of the range of objects and practices called “art” in our world. • Students will be introduced to foundational texts in critical tHeory, including postmodern tHeories of gender, race, class and sexuality; post-structural analyses of language and meaning; tHeories of late capitalism; performance theory; and various critiques of mass media. UNIVERSITY CURRICULUM Humanities and Fine Arts (formerly “Creativity and Aesthetics II”) LEARNING OBJECTIVES Specific UC learning objectives are: • Students will be able to analyze and construct clear and well-supported interpretations of creative works.
    [Show full text]