4k on set

I smell like crap! After having a meatball, spaghetti, and croutons thrown at me ten times....ew!

We are filming now and making a mess!!!

4K!

The Challenge: DIY 4k

In the weeks ahead lie sleepless nights, hand cramps (from editing), and a big mess, hopefully all for success at the end! The schedule has been finalized and the shooting begins. The supplies are to be purchased for our messy food fight including: meatballs, croutons, whipped cream, a baguette and much more . I am excited, nervous, scared and hoping to not clean up a giant mess. The whip cream canons are to be drawn at 10 am tomorrow. The final outcome will be posted later!

19.11.11 La Jolla MOMA Exhibition: Phenomenal: California Light, Space, Surface

I really enjoyed this exhibit and intend to see the other half at the MOMA in downtown. What better day to spend a rainy day than at an art museum. The minimalist objects of this exhibit were fascinating. Although I enjoyed all the work in this exhibition, the work that particularly stood out to me was that of  Peter Alexander. His two pieces at the La Jolla MOMA “Orange Wedge” and “Pink Wedge” were complimentary but evoke such different feelings. “ Orange Wedge” was reaching for something above it creating a sort of hierarchy within itself. As the object thinned towards the top it became more and more delicate becoming something almost too brittle to be formidable. The object was optically deceiving making me circle around it never truly understanding the physics of it. How did it stand about so proudly? Could one simply tip it over? This idea of reaching for something higher was not at all implied in the second piece “Pink Wedge”. “Pink Wedge” had a much more complex relationship with itself. It was also optically deceiving in the since that it was translucent forming odd curvatures. It appeared to be so regal forming the idea that it was untouchable. It reminded me of touching a piece of ice. When one touches it  ruins it with their body heat ultimately melting it. Melting it so it is no longer useful or admirable just a puddle, a new form.  Both were very interesting pieces and also intellectually frustrating.

When is Political Art Acceptable?

I did my first political art work this past week and was shocked by some of the reviews and shocked by myself. My assignment in my VIS 165 class was appropriation. I have always been fascinated by gentrification and ultimately its foundation immigration. I wanted to some of the most densely immigrant populations in the world and compare and contrast them. Where is it seamless and where is there cultural collision.  I received mixed reviews most commenting on the form rather than the content. Some not even understanding the content. I found it most fascinating when people where not able to identify the flag and tried so hard to distinguish different nationalities often putting them into broad sector. So when is it appropriate to make a political piece and where is it appropriate to display it. Here are key things I learned:
1) DO YOU RESEARCH 2) double check wikipedia 3) be senstive to material you aren't all encompassing 4) know your audience and how they can relate, understand, digest the material

Here is my project: (do not copy for your on use)

SO WHEN IS POLITICAL WORK ACCEPTABLE AND WHEN DOES IT CROSS THE LINE?

Reflection of Project 2_Site-E

Despite my technical struggles with this project; I enjoyed putting together a story more personal to me than most of the work I have done. It was hard to decide what to show and what to not. I loved the fact that although capturing the information would be considered invasive to my vacation I am always strapped to a camera and it felt normal. Rather than carrying a larger video camera (which I would consider invasive) I was able to whip something out of my pocket and quickly and discreetly capture it. The resolution was definitely and issue that had to be dealt with in this project. (I did so using stop motion intervals and spit screen effects) To be honest, I wish that my critique had been a bit more extensive. The addressing of the sound problems (which I agree with), use of devices while doing so on vacation, and odd timing for certain clips was key. I was able to understand the audience better allowing me to know what to keep in mind for my next project. I was grateful at how understanding my classmates had been and happy to share a bit of my personal life.
Piece:  http://vimeo.com/31517998

A Shift from the Mundane

It seems that there is a point in life when the extraordinary takes a turn to the mundane. When a latte becomes a necessity rather than a treat, when I love you becomes hello and goodbye, or when you refuse to read novels because your eyes have adjusted to the diatribes in-scripted in textbooks. How do you avoid this treacherous turn? I do so by capturing color. Color of the extraordinary within the ordinary. The small things like a graffitied wall make me happy. I believe that people forget how powerful form can be. Form itself can tell a subtext like Jean Pierre Jeunet does in "Amelie" or Fernado Meirelles and Katia Lund do in "City of God". The best example we have seen of this was the experimental piece from the disposable film festival "Folded"  by Surabhi Saraf. Each tiled fold embraces a wave pattern of color. The content is simple but the film its self is really beautiful due to form. Sometimes it is easier to show then to tell allowing you (the viewer) to come to your own conclusion. 

Here are some raw (unedited aka a bit shitty quality) examples of pictures I took while in New York and around Europe: 

Links:

Amelie http://www.youtube.com/watch?v=sECzJY07oK4

CIty of God http://www.youtube.com/watch?v=ioUE_5wpg_E

Folded http://vimeo.com/21678734

Response to: "Why Star Wars should be left to the fans" By: Will Gompertz

While reading this article I began to question my own work. I believe that the artist and the viewer have separate intentions and interpretations of the work. Through critiques within school I have learned a lot about my own work but as the artist I can either accept or reject the criticism. If I feel something is not complete at the time I display it ( which happens often due to due dates) I would change it later on. Josh and I found this with our remix project; the project we displayed was the process rather than what we would interpret as the final product( if there is one there this could be a continuos loop that goes on forever). George Lucas had a similar feeling; the film was his and although beloved by fans HE changed it as he had intended it to be. In the article, it said the reason for change was due to technical evolution. It also said,  "'films never get finished, they get abandoned' and that he thought it the 'director's prerogative … to go back and reinvent a movie'. Which it appears to mean replacing the old version, not adding a new one to complement it." I agree with Duchamp's Creative Act; however, his idea of transference ( "the moment when the artist hands over control of his or her artwork to an audience") is not something I comply with. Yes, the artist hands the work to the public but I believe it then because a separate piece of artwork, 1)the artist's work and 2)the audiences interpretation of the work. The spectator does validate the works inner qualification in the public sphere but that is the "second" (audiences interpretation) piece of work not the artist's; an artist is not looking for approval they are making a statement. I side with Lucas what he is doing is not wrong because as an artist if I felt that something were unfinished I would not want it out in the public sphere to be falsely criticized. An artist may not be the best person to judge their own artwork and of course they should listen to their fans but in the end the first edition is their creation. Lucas has now allowed multiple layers of one piece and by destroying one he felt did not fit with his vision is not wrong.