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aryapathak-ls25-blog · 6 years

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This entire week has been a pretty eye opening experience. On Monday, Professor Skoller prepared us for Lynn Hershman-Leeson, a very influential feminist artist and media arts pioneer. In the midst of the me too movement and rumors of rampant sexism in silicon valley and elsewhere, Professor Skoller wanted to emphasize the significant place that women have in the contemporary art. He did so by discussing the emergence of video art. It is no surprise to me that women were left out of art history, given how masculine ideas and presentation dominated the art wold for most of history. However, I had no clue of the extent to which this problem persists today. I couldn’t believe that statistic that only 4% of artists at the Met were women, yet a staggering 76% of nudes were of women!! It was really sad to learn about this in class and then to think about how recent events have made me questions how much progress has real been made on this issue.

A perfect storm of events encouraged women’s involvement in the arts. The invention of the Portapack combined both film & audio so that it was portable enough for one person to carry. I think its really interesting how a technological media innovation can basically serve as a public good; the Portapack expanded accessibility by providing small minorities like women, or poorer individuals, etc, the ability to make and distribute their own films apart from large dominant groups of rich men, news networks, etc. Although the Portapack was an important technological innovation, the 1970 NYC Women’s Liberation March was the catalyst that empowered women and encouraged them to be more open to pursuing projects they genuinely believed in, even if it challenges norms. For example, artists like Julia Gutsison and Marth Rosler made many incredible experimental art pieces that inspired even more people to challenge both norms and taboos in society and continue to experiment with different types of media, film techniques, etc., until they find what works for them.

I knew that Lynn Hershman-Leeson was a very well-known, highly-regarded feminist artist, I was really hoping that she’’d infuse some more personal notes about the inspiration behind her pieces, or the setting she was in when she was creating them, or basically anything to give me better picture of who she was as a person. Instead, she sort of raced through a lot of her pieces, quickly pointing out a few notes on each that. However, I was actually really glad that this was the direction that she decided to go in, because I was able to see, over just 40 years, Lynn Hershman-Leeson she’s managed to investigate such a huge variety of different topics, such as the relationship between humans and technology, to political repression. Her conversation with Laura Poitras provides some evidence that she a very deep understanding of many many different science and technology related to topics. One second, she’s discussing DNA surveillance in depth, but the next second, she’s discussing her NSA research! I found that these quotes below helped me to better understand the motivations behind a lot of her piece:

These quotes indicate that Lynn Hershman-Leeson is intrigued by science in a “black-box” kind of way. The duality of human choice regarding whether or not to use technology for good or evil is something that clearly interests and motivates her work. These quotes helped me understand that most of her work brings awareness to the potential evil that can arise from technology. For example, maybe Synthia Stock Ticker serves as a warning how our personalities can literally be controlled by stock markets if there are no regulations on markets.

Multimedia:

When researching feminist art, I stumbled upon Judy Chicago’s The Dinner Party, many consider to be the first epic feminist piece. The stone installation is lined with china painted porcelain plates that have images based on the butterfly, which represent a woman’s vulva. Each one of the 39 place settings have been places for 39 different “mythical and historical women” including Susan B. Anthony and Georgia O’Keeffe. Chicago herself described it as a “reinterpretation of The Last Supper from the point of view of women, who, throughout history, have prepared the meals and set the table." The names of 999 other historical women who have set their mark on history are also included.

Week 10: Lynn Hershman-Leeson

19 March 2018

Wednesday- Lynn Hershman-Leeson

Women’s place in art- largely influential

Why have women been left out of art history? Why are there no “great” women artists?

What is an artist? How does one become an artist.

Masculine ideas and presentation through the history of art is significant

Versus female artist representation

Do women have to be naked to get into the met?-<4% of artists in the modern art women are women, but 76% of the nudes are female

Sexism in fields such as art, stem, management

Significance of porto-pack (film and audio combined), before require crew and more equipment, so much less accessible

Within on piece of technology in this new piece

Women’s liberation march, nyc (1970’s)

Struggles and movements to get to where we are today

Politics of intimacy-1974, by Julie Gustafson

Why haven’t Women been more recognized for the skills in film making. Only one women has one an Academy Award.

Fields such as technology are dominated by Men, hear the reports of the rampant sexism going on in Silicon Valley

Professor wanted to focus on this moment on this question of place of women in contemporary Art.

The emergence of Video Art.

As we are thinking about this question of :Why women have been left out of this history of art?

what is art? but also, What is an Artist

the question of gender and race raises this question of not only what is art but more importantly what is an artists and how does an artists become an artists.

We have a history of geniuses in the western world like Leornado and Picasso as giants of their category,

If we explore the history of representation of the artists in history, we see the kinds of stereotypes and the ways in which creativity and geniuses are typically expressed in a specific behavior.

What is interesting is there is not much information about the people in terms of personal life, because there seems to be a presumption of who they are because of their art.

The whole question of speaking and speech being integrated in to art

The emergence of much of this work is happening at the same time as the women’s movement, the civil movement and the Vietnam war is raging.

The People’s Video Theater

Womens Liberation March, NYC 1970

One of the first liberation marches in New York

Interview of people in NYC during the liberation march

Women want Equality and Peace.

Women “50% of the people should have atleast 50% of the rights of this world”

It was a catalyst for people to be able to speak and hear each other.

The Politics of Intimacy

Julia Gutsison

Women talking about their experience with men. A girl talking about her experience with a man on the beach.

Marth Rosler

Very interested in Women’s work and the representation of women’s work

Funny Satiric Tape, and also a kind of performance

Semiotics of the Kitchen

She is listing all the things that women usually use in a chicken and doing that action of the item while listing out each item. Also in a very very serious tone.

Total Non- Significance.

Something about these tools that signify the domestic place of women in the kitchen

WEDNESDAY March 21: Lynn Hershman-Leeson

Before computers, after digital, biological computing

Lynn Hershman- Leeson “ Bay Area Feminist

Fictional Art Critics: Prudence Juris, Gay Abandon Herbert Good

-wrote for three different journals using different names -Wrote in different voices and different textures of her voice, thats how she got her first show

Walking down the Berkeley Streets and was reminded of the Free Speech Movements.Rented Rooms and showed her art pieces in the room.

Roberta Construction Chart 1975 Fiction as Truth- Liberate the character, Roberta Brightmore

Hired a surveillance photographer to take pictures of her day. Kind of a Interactive Art Piece.

Had Drivers License.

Mirror Of Culture, reflect what was going on at that time.

Reflect back the aspects of the culture we were living in.

Lorna 1982: Interactive Laser Disk.

Someone would sit in her room and use her remote switch to activate elements of her life

First time any one used interactive artwork about how to construct a character

Breathing machines (1963-1966) – first time sound was used with sculpture— later removed

Would breathe and talk

Cyborge (1965)

Looking inside of something and making it a big part of the work

Fiction art critics- prudence juris, gay abandon, Herbert good

-wrote to a lot of different journals in different voices, would write about lynn and whether or not she was relevant, and there were many articles about her and how she got her first show.

If you want to show your work, you can do it anywhere! Don’t need a musuem, at danta hotal, 24hrs/day, curated by residents who like it, someone though part of a wax figure was a murdered person lol

Robertaa construction chart, q975, fiction as truth – roberta’s driver’s license- proof that she had one, a mirror of culture

Lorna- 1982, interactive laser got in her rom and activated elements of her life, first time using computer of artwork, an extension of cubism

Deep contact, 1984- first time tough screen used, “tough me” – touch a women’s body and depending on where you touch, viewers shown her adventures – people didn’t understand these works very well

America’s finest-1994! Sigh specific, 16 surveillance camera, pull the trigger, then see visuals and camera project the shooter into the view range- victim and agress

Cybroberta and Tillie, 1994/95, telerobotic network surveillance camera, like a nanny came, take ech other’s info when shown the same room, looking through their eyes and tress passing into the networks (part digital, expand your own vision)

Synthia stock ticker, 2000- networks stock market behaviors, measures 5 diff stock markets, when the market goes up she buys things, when it goes down she starts drinking lmao, shot in real time, shows how one’s own personality shifts in accordance to the stock market

Women art resolution- women’s movement modelled on the black panther movement, gave footage to Stanford, freed her to tell one story of many without compromising any other footage “women have been outtakes for all of history”- she wanted to produce a work without any outtakes.

Conceiving ADA 1996Virtual Sets

Took years to edit!, Frame Rates were different and had to do it Frame by Frame.

Teknolust 2000High Def 24P FilmAbout a scientist Rosetta Stone who replicated her self 3 times and of their coming of age and entering the worldFirst High Definition film ever shot.

Bioprinted Nose 2012 Scaffold for whats used in printing nose. Invented by the man who invented Bioprinting, Anthony

The most profound gift of Humanity is that Each Generation has the ability to recreate itself.

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Week 15: Media Activism: New Forms/ New Media

(^section notes to supplement lecture notes)

Lecture:

Jeffery Skoller->Amateurism is another kind of energy, Amateur has the idea of for the love of it., A lot of this work rethinks the notion of professional and amateur, A summary of the class and the guest lecturers that have come by., High lighting specific things from those lectures and giving his specific emphasis on certain points., ext: Jim Campbell, Lynn Hershman, Craig Baldwin,

This spirit of DIY, Not waiting for professional unions or activists to start the movement but becoming the trail blazer of the movements

net neutrality:

Witness: Teaches people how to use video and technology to document abuse and to protect activists and citizens while they risk their lives to expose the truth.

1st video: Violence against transgender.

2nd Video: Instruction Videos on how to document.

3rd Video: How to film police

4th Video: How to protect your identity while filming.

Copwatch

When you Stand Up, They Stand Down:

Video of filming cops and making sure they do it the right way.

example of an individual standing up to the cops and them backing off.

Another Example of a Person crossing the border but becoming a victim of Bureaucratic assault.

Malkia Cyril | Will You Harbor Me? To Fight Police Violence, Demand Digital Sanctuary.

Member of the Black Panther Party

Was introduced a lot of her inflience today from her mother.

"Now is the time for Monsters"

Black Lives Do Matter

JOURNAL POST

On our last day of class, Professor Skoller started off the lecture by discussing the importance of amateurism. To be an amateur is to be an unprofessional, and that is exactly what every experimental artist does! By definition, the spirit of DIY implies that these artists weren’t waiting around for professionals and mainstream poeple to try out their ideas first, but rather they are making their own work from their own found materials or ideas. Of course there’s uncertainty about whether or not the project will succeed anywaysFor example, Barbara Hammer filmed available spaces on a complete whim after have a dream about escaping to the desert. Another great example was how REPOhistory made their own work after coming up with the idea of repossessing America’s cities from gentrification. Professor Skoller spent the rest of lecture discussing Malkia Cyril, who not only spearheaded the net neutrality grassroots campaign, but also serves as executive director to Oakland Center for Media Justice. I’m honestly really sad we didn’t get to meet her because she sounds like a brilliant, accomplished woman who is doing exactly the type of work at the OCMJ that I’d really love to get involved with. We also watched 4 different videos, 2 of which demonstrated how civilians can surveil law enforcement. The other 2 were informational and provided information how how we should surveil. Cyril is a huge proponent for enabling and supporting the movement against racially biased mass surveillance. She described her concerns about the current state of surveillance in the trump era in the Color of Freedom Summit paper:

It is very sad that in 2018, people are getting surveilled, not because they’ve done anything wrong, but rather because of something they have absolutely no control over: their racial identity. She later described the tactics used by the police, such as face recognition, and predictive policing, and I was shocked by how far the law enforcement officially are willing to go to racially profile groups of innocent people.

Multimedia: TRIGGER WARNING-GUN VIOLENCE, BLOOD (GORE)

https://www.cnn.com/videos/us/2016/07/07/graphic-video-minnesota-police-shooting-philando-castile-ryan-young-pkg-nd.cnn

During discussion section, my class got in a heated debate about video surveillance. The weekly guest speakers had shown the NY Time’s’ reenactment of the Las Vegas Shooting, and many people in my class felt that the video was inappropriate and should not be considered activism, while the guest speakers and others who agreed with them disagreed, arguing that the video could potentially prevent future shootings and raise awareness about gun violence. While I don’t find the video inappropriate to the extent that it should be banned from class, I DO feel like the guest speakers should’ve issued trigger warnings. I’d also have to disagree with the guest speakers; I don’t feel like a graphic video of a shooting has the potential to prevent future shootings. For example, the video above depicts the brutal murder of Philando Castile, a black man and legal gun owner, at the hands of the police. This video is EXTREMELY graphic, so if any video has the potential to prevent future shootings, in the case by raising awareness about police brutality, it should be this one. Yet, as well all saw, no justice was served, and no policies were changed as a result of this video. I do believe that law enforcement should be surveilled, but as Cyril said herself, its takes more than just technology and videos! These videos don’t have the potential to create social change unless people are willing and open to it, and we have not seen that in America today.

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Week 14: Alt-GAMING

Elisa!!! :)

GSI elisa’s focus has been on internet art and making work on and through the internet

her work explores gender, sexuality and labor in relation to technology and internet

taught at RISD and Brown before she came to Berkeley!

some problems: free labor, big data, etc.

did the MFA program at RISD

Archive Fever: night before midterm, she took all her browsing history until her computer crashed, and then link after link is plaid back in chronological order.. there was soothing music in the background

-she trellised there were different trends and the cluster of data was able to give herself and others and idea about herself… at the time she was very interested in the narrative qualities of video montage but now it reads in an entirely different way… its interesting how the project and the way people read it drastically changes depending on the political climate

- she’s still selling her data on a flash drive online because she was interested in the whole idea of selling your data on line just like companies like Facebook do today

-started to receive warning from eBay about how she was putting herself in a “vulnerable” position

need ideas!?! PLZ!!

just a bunch of videos of youtubers talking about how they don’t know “what to do” or about how they need “video ideas” and then the youtube ask their viewers what to make… like whether or not they should sing, what they should talk about, whether or not they should make make up vids… they also ask viewers to “subscribe, comment, follow, etc.”

Labor of Sleep, Have you been able to change your habits? (2017)

touches on how sleep has been a new behavior from which data and other things are exacted…. basically sleep used to be something that was the last known method of shutting down and being unproductive but now sleep apps allow our sleep to produce something fruitful!

continuation of archive fever project in the sense that it examines how we are more and more viewing humans and things that produce classes of data… we are perceiving ourselves in a more quanitifiable way

-if you are on the whitened website during the time or sunset/sunrise in new york, the website is interrupted with her art project

techonologies of care- the projective is documenting how effective labor (a time of immaterial labor that effects and modifies emotions of consumers/ viewers) is being outsources to computer… i.e. workers on line can perform micro tasks like designing loiece was censored in the backgos/labels, pretend to be bf/gf online,

-workers on these platforms are usually from non-western countries with problematic economics and inflation (so maying low amount of dollars may look good to them), very cheap labor, etc…. most importantly for elisa, most of these works were produced by women… elisa interview 70-80 workers and selected 10 for the final projects. they all wanted to be anonymous so elisa abstracted their images with geometric shops

when the towel drops- project done by a collective that elisa is in with one ugandan artist and one indian artist called radha may

the research started in italy, next phase in india, last phase in south africa

she visited the national censorship archive of ital- all films in italy are first reviewed by a state review board.

-they did a montage of all the censored scenes and presented in italy.. at the same time someone read why the clips were censored... ex “women showing pleasure

Wednesday: Porpentine Heartscape

Porpentine Charity Heartscape - “Oakland based new media artist, video game designer, writer and curator primarily a developer of hypertext games and interactive fiction mainly built using Twine. In conversation with artist Elisa Giardina Papa”

sticky zeitfeist-the game is about girls who are animals and girls who are robots… collaboration with her friend from canada. there is a lot of music from transgendered artists. she gets bored with one thing, so the game is constantly changing,

glitches are the second best part of making a game.. the best part is not having any glitches lol

she also made another game for a contemporary art museum in chicago, very simple game

she’s interested in repetitive, pattern work

-foldscape = a game made out of posters

she’s also really interested in how the speaker/presenter in a game can mutate the entire game

another game asked people to draw things, for example. “a symbol of the new year

this world is not my home- collaborative project where her collaborator added music & where they turned their game into a portal like exhibit

tiny bubbles exhibit in SF->

to her, feeling always matters more than physical form

JOURNAL ENTRY

I’ve been in Elisa’s discussion section all semester and I had no clue that she went the #1 design school in America, and that she’s already had her work shown at various famous museums like the Whitney! I’m not surprised but I was surprised she never talked about her work in discussion before. The first piece she shared with us was Archive Fever. It was pretty funny to see what peoples’ reaction were when she tried to sell her own information on line. She got messages warning her about the risks of sharing her personal information online, which is ironic since most individuals use still such s Facebook, which we’ve just found out might not be as safe as we think! I also really loved her second piece, titled, “need ideas!?! PLZ!.” I’ve never been a huge user of any social media asides from twitter, which mostly consists of 240 character tweets that make me laugh, so it’s interesting to me that kids really care about the number of likes they get online. When reflecting back on the piece, I couldn’t help but feel sad about the direction of where this so-called form of “art” is headed. When I think backk to some of my favorite presents, like Barbara Hammer, Chip Lloyd, and Lynn Hershman-Leeson, I remember being amazed at how many ideas they had lined up in their head and ready to bring to fruition. Call me old fashioned, but I really enjoyed these presenters, not only because of the amazing work they produced, but because it was genuine and they’d truthfully believed in the whole project from beginning to end. For example, Chip Lloyd had to literally jump through hoops and get so many random permits just to blow up a bunch of TV’s! I feel like that takes real passion and self-realization that those kids will not learn if they are already taught at such a young age to just sit online a wait for people to tell you what’s cool instead of exploring/experimenting and figuring it out for themselves!! Lastly, my favorite piece was When the Towel Drops. I loved the idea of creating a montage of all censored scenes and reading why they were censored, just so people can understand how ridiculous it is that something like “showing pleasure” is ok with the Italian government for men, but subject to censorship and considered too taboo to be shown on screen for women.

Porpentine Heartscape is a well-known, tumblr famous gamer and writer who is in conversation with Elisa. I’m actually really curious to see what both of them will collaborate on because they both have such different styles on interacting with audiences and working! I really admire Porpentine because she seems very sure of the direction she’s headed. I felt like her presentation gave a very holistic view of her work, but I didn’t learn much about her and her motivations for doing what she does. In fact, halfway through the presentation she just started putting up different games without really saying anything. But, she did indicate that he believes feelings matter a lot more than physical form. This definitely rings true in her work and it seems like the closest thing she gave as a theme or motivation behind her work. For example, one of her game, foldscapn, was made entirely out of postcards. It was really cool how much she lit up when she found that boy that was obsessed with her game, and its really obvious that she loves what she does. She said that the ideal way she pictures someone playing her game is sitting in a messy bedroom with a box of pizza, and this seems like exactly the environment that some her fans would be in.

READING NOTES: Not much to say about this reading since its just archived reviews of A1 from different people, but I will say that these reviewers seem incredibly animated and loyal. It’s also very interesting how their ratings are in jibberish letters that seem like

MULTI MEDIA: [DISCLAIMER- MUST DOWNLOAD ON ANDROID OR IPHONE TO PLAY]

http://hcsoftware.sourceforge.net/passage/

This links you to a game created by Jason Rohrer called Passage. Passage was one of the first experimental games to really change peoples’ prospects and persuade them to decontextualize video games as an art form. Elisa and Professor Skoller have both probably already heard of Passage because It’s apparently one of the most famous and influential experimental games, but I thought it was one of the coolest things I’ve played. In fact, in 2012, it earned one of the 14 coveted positions in the MOMA’s permanent video game collection. The game is unique because there is no tradition plot. Hopefully this doesn’t spoil the game, but the game is supposed serves as metaphor for the human condition. Players LOVE the game, and many people said they were very emotion and/or they cried afterwards.

https://www.commonsensemedia.org/game-reviews/passage

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Week 13: The New Underground

Wednesday, April 11

black aesthetic-group

-works with black artists, filmmakers… when u support the black aesthetic u support black artists

jamal batts- the black aesthetic is TBA, to be announced, assessed, and actualized

-multidimensional but def focused on providing a platform for underrepresented filmmakers

queer takes another girl- washington dc, meeting a man, shot in real time film foreshadows social problems

“I’m interested in the rendering of blackness”

not interested in the already expressed face of the race but rather on the multifaceted visual culture -wants to abstract race from pieces

indie, experimental, unknown, underappreciated black film makers are featured at shows

queer takes on another girl

-response to the film just another girl in the IRT

aesthetic = a set of principles underlying and guiding the work of a particular artist or artistic movement.

leila weefer

a space meant for exclusively black ppl to congregate - supposed to be a safe space

white control/ black space in white infrastructure,

ryan dennis->looked at the use of theory in his thesis interested in afrofuturism, surveillance, abstracting blackness in his pieces, etc.

JOURNAL ENTRY

As a pre-law student who hopes to practice civil rights law, but also as a someone who simply enjoys film and art, this week combined two of my favorite topics. Professor Skoller’s lecture provided me with a lot new information about the intertwined history of race and the arts. For example, the Harlem Renaissance movement produced an explosion of African-American literature, music, art, etc., and inspired the subsequent Pan-African movement, which sought to fight against colonization and unify people of African descent across the world. This movement is interesting to me because Pan-African individuals used the language of their French colonizers and repurposed the it as a tool that help them to assert their cultural identity through writing. I’ve included the clip below because its exemplifies how, for centuries and centuries, Native-Americans have similarly repurposed the language of their dominant white oppressors in order to regain a sense of autonomy and cultural identity. The woman in the video is transforming the term “Indian,” from a hurtful word that reminds Native Americans of the atrocities they faced at the hands of their conquerers, to a powerful word that can be used to force others to acknowledge history and recognize why cultural appropriation is so hurtful. Watch!!:

https://www.youtube.com/watch?v=UvvYRhU5hvk&t=23s

A couple decades after the Negritude movement, the Black panther movement of the 60’s and 70’s galvanized the politically motivate Black Arts Movement. BAM transformed traditional forms of art into new forms in order to achieve social change and resist uniformity. For example, drums go against standards of pre-planned, controlled music and allow for abstract expression. Skoller ended his lecture with a clip from The Last Angel of History, which uses the Afrofuturistic technique of reimagining the lives of colonized peoples by creating speculative historical/sci-fi hybrids in order to convey the underlying theme that Black people and Black culture have been exploited, displaced, overlooked, and appropriated.

One of the main focuses of Post-modern Afrofuturism is on reclaiming a history and culture that was erased through colonization and slavery. This is a perfect segway into The Black Aesthetic Collective. In art, the term aesthetic refers to a set of principles underlying and guiding the work of a particular artist or artistic movement. Jamal Batts immediately acknowledged that the Black Aesthetic is “TBA: to be announced, assessed, and actualized.” Batts explained that the collective is focused on abstracting race and featuring indie, experimental, unknown, and under-appreciated black film makers. My favorite speaker of the 3 was Leila. To Leila, a Black space existing in White infrastructure should be exclusively for Black people to congregate. Avilez echoed a similar idea our weekly reading, “The Claim of Innocence”. This one liner PERFECTLY articulates his rationale behind this belief:

I’ve included this excerpt from “The Claim of Innocence”, by Avilez, because this dialogue from a real TV broadcast exemplifies why Avilez and Leila feel the way they do:

Avilez also writes that “whiteness… makes itself invisible to ensure its presence,” and that is exactly what this quote exemplifies. Although this is a made up scenario, it is not at all an uncommon one. There are so many race-related problems to be dealt with, such as issues of police brutality, financial redlining, high numbers of missing black women in America, workplace discrimination, and disparities in sentencing. Yet, White people will point at any reason besides race, because that would mean admitting that they’ve benefitted from a system that has oppressed and caused irreparable intergenerational damage to entire groups of people because of their skin color.

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Week 12: Whither the Underground?

Director of The Lab, SF -> Dena Beard

Mon April 2 Dena Beard Executive Director The Lab, San Francisco

Dena Beard received her M.A. in Art History, Theory, and Criticism from the School of the Art Institute of Chicago and was previously Assistant Curator at the Berkeley Art Museum and Pacific Film Archive. Her work at The Lab considers the exhibition and performance space as a site to investigate and dismantle systems of perception. Beard has organized exhibitions and projects with Dora García, Ellen Fullman, Fritzia Irízar, Jacqueline Gordon, Brontez Purnell, Constance Hockaday, Wadada Leo Smith, Lutz Bacher, Norma Jeane, Anna Halprin, Barry McGee, Silke Otto-Knapp, and Apichatpong Weerasethakul, among others.

Used to be a curator of the Berkeley Museum

The Lab believes that if we give artists enough time, space, and funding to realize their vision, the work they produce will change the way we experience the world and each other. These propositions challenge the familiar ways we perceive value, and so we As a site of constant iteration and indeterminacy, The Lab is, above all, a catalyst for artistic experimentation.

The Lab is W.A.G.E. Certified. W.A.G.E. Certification is a program initiated and operated by working artists that publicly recognizes nonprofit arts organizations demonstrating a commitment to voluntarily paying artist fees that meet a minimum standard.

Came here 10 years ago to work at the berkeley art museum

she was attracted to alternative art spaces.. thought the work at the berkeley art museum was “safe”,

she loved the “the strangeness of the undertakings” at the collaborative/ alternative spaces

“creative labor” -/. often asks her students “who are you?” when they experience a work art

the levitation of terry fox

-he attempted to levitate

he was sick with hodgekins lymphoma

levitating = coming to the understanding that it mean going into the air instead of leaving the ground

her piece was inspired by this

the museum of conceptual art

225 boom microphones image of a projected tiger- nylon clad women

a man on a leader peed on a ladder below

marioni- the art of drinking beer with friends is the highest art of all

-montana and marioni handcuffed to each other for three days and just “lived life”.. ate, went out to stores, etc.

problems of smaller art organizations- spaces depended entirely on unpaid labor, almost all artists in a space that is supposed to be for minority groups were white men

current climate- greater income inequality, higher arates of debts

nearly 25% of the city’s non-profits have been displaced of closed since 2017

its clear that the artist communities that shape the cultures of our community are shrinking

americans recipe less than 47 cents per person spent on the arts compared to countries like germany where 19.18 USD spent per person and england where 13.54 USD per person

in us we gave success by “audience size rather than impact”

we have to rethink from the bottom up

without you the artwork does not exist

“what does it mean to be entirely consumed by an artwork.. instead of establishing critical distance” ponti

transitional spaces- artists take hold of the abject and wring from resources more than they could possible give

artists exist in a failed world but they somehow manage to extend outside that world

sam’s cafe - 1918 university ave

-terry and david - students at uc berkeley

the cafe served patrons rotting food and fecal matter

mailed false debt collection letters to

the labor temple- for the price of union dues, workers had access to day cares, a lady’s parlor, and a bunch ofther services

-strike of 1934 to raise the minimum wage- led to the fair wage/working acts

the lab was a created as the newest branch of the labor temple -had a punk ethos -

she left her job at he berkeley art museum because she realized that they were more focused on maintaining the “perceived beauty” of the lab rather than on changing and challenging those perceptions

beard tells new residents that their residency will be a mutual experiment and that every artist will have to sit down and bounce around ideas with her and others to figure out “how the rules have to change” for every project

ellen fullman- invented the long string instrument creates a unique musical environment

-for fullman the residency at the lab was unique opportunity to test the instrument in a sound proof. airtight environment that fit all her needs

she digitally monitored the overtones she wanted and mapped them…

it was also an opportunity for pullman to work other performers because she has a limited budget… she was able to pay respected musicians to travel and play with her instrument

-she had a piece that had previously been scored but before, it had been too ambitious a goal because she didn’t have the funding, but the lab allowed her to produce the instrument “vibrating earthly sound”

jaclyn gordon- “inside you is me” invited 12 artists that were queer poc - her piece had moveable speakers/ walls, 22 channel sound system, often open until 4 am, the work itself calls on us to pay attention to how we move through space, look, and listen

she did a series of field recording from around the missions, conversations, interviews that were remixed with pop songs, some vocal sounds, etc….

she worked closely with audio engineers to get the effect that they were forced by the sound to continue moving… it was definitely an experiment to see how people used the space

they were able to provide gordon 46,000 dollars and set a minimum wage of $25… every single person at the lab makes $25 and hour including beard

“the lab box” -. everything needed to recreated teach artists work with the artistic integrity intact

-the box orginated as a questions— how to archive nontraditional art pieces, allowing us to share collaborative art spaces

she wants he lab to restore some sense of agency to the artist- thats why they provide artists with a decent budget and a living wage

they get there funding through grants

Gregory Sholette - “Artist, activist and author In his wide-ranging art, activist, teaching and

writing practice, dr. Sholette develops a self-described “viable, democratic, counter-narrative that,

bit-by-bit, gains descriptive power within the larger public discourse.” A founding member of

Political Art Documentation/Distribution (PAD/D: 1980-1988, NYC); of REPOhistory collective

(1989-2000); and Gulf Labor, an artists’ group advocating for migrant workers’ rights

constructing Western branded art museums in Abu Dhabi (2010-ongoing)…

sholette… we totally underestimate the art done by amateurs and working artists and people who went to art school but never reached levels of high visibility… which is why he supports W.A.G.E. certified spaces like the Lab

t205708364

Gentrification: is a process of renovation of deteriorated urban neighborhoods by means of the influx of more affluent residents

A founding member of

Political Art Documentation/Distribution (PAD/D: 1980-1988, NYC)

Out of Place- 1984 street posters that were commentary on gentrification and how all these new galleries and museums were built in their city

-depicted how real estate companies used rhetoric and imagery that made it seem like the wealthy, young white residents who moved into the city were somehow “taming” the old residents

they created 4 “galleries” by covering up 4 buildings with a bunch of the street posters

-LATER THESE GALLERIES WERE also gentrified

Repo Man - watch movie

Repo history piece:

-in real like repo men collect money from people who can’t pay what they owe… the idea behind the piece was that the artists were collecting and taking bad the culture or their city

-i.e. there was a plaque about stuart davis, a famous jazz musician

the artists decided they’d create metal street signs and “borrow their authority” by putting text and images representing the history of new york on signs and then getting permission from the city to put up the signs. For example, they marked the first slave market with images depicting drawings of slaves

1998 street sign-fighting fire with fire, had a picture of the first woman fire fighter

“advantages of an unregulated free market economy” ->a a sign by constanza representing the neo liberal idea of the free market economy… this sign was right on wall street and stock traders and others got upset and wanted them to take them down but they were able to keep them up because they had a permit

choice histories - the history of abortions

1998- another piece made when dinkins, the liberal mayor was out and rudy guliani was in… this time they weren’t able to get permits for their signs from the city… artists decided to sue the city and giuliani’s popularity was very low so eventually the city caved

-the pieces had a black lives matter message, artists painted pictures of different men of color who were killed by cops when they were unarmed.

Queer Spaces- marked 9 different sites of LGBTQ history

marsha johnson- transgender activist who worked in the meat packing district of new york… the artists made a sign about how she was found floating dead in the hudson, almost certainly a result of gay bashing although the police ruled it a suicide

all of these pieces had the motivation of bring back the history of the city

today, the meat packing district has completely transformed by the introduction of the higgling… the whole other history of the area has virtually disappeared… its a completely different city now

Repo history inspired a lot of other similar pieces-

for example, the howling mob society archived the historic railroad worker strike that happened in pittsburgh

Deller and Hillard- on the street outside the center for tactical media, these artists made a sign on a traffic light that signified how the black panther party advocated for themselves until the city listened to them and put up a stop light

pooch society went around and marked all sites of latinx history

revenge of the surplus archive…

a lot of these piece

art world has a lot more artists and ideas etc. then what is sustainable

i.e. larry fink is the board member of the MoMa but he is also the blackrock ceo, and blackjack is one of the biggest holders of debt and student loans… artists are commenting on the structural flaws of the art world as well

shollete was interested in the “dark matter” or amateurs who use the internet to sell their art and avoid the validation of art museums… e. the mobile cooking and sewing shops on the street, amateurs selling their art online, spanish flamenco dancers who danced in bands after the 2007/2008 recession etc.. all these people might not be not be in the most prestigious, highly curated exhibitions, but they are supporting the art scene and they might fabricate other artists and contribute to bigger pieces

“social practice art”.. certainly theres been community based art and other forms that have preceded social practice art, but social practice art

one artist has put together a community center/ “artificial institution” for refugees to access legal resources, etc…

“the streets shall be our brushes… the squares our palettes.” Vladimir Mayakovsk, avant grade artist in the 1910’s, 20’s

there is a new guggenheim abudabi… literally on a desert island that translates to “the island of happiness”… artists are boycotting these museums because of the terrible labor and housing conditions of workers who have to spend years and years paying back the ridiculously high visa fees before they can even send money back to their families

-artists wanted people to uphold labor standards

the louvre also has a new location in abu dhabi… workers were literally in the middle of the desert and their housing was located very far away from the city itself

“52 weeks of gulf labor” - every week, artists made a new piece with the goal of shaming they museum to stop…

for example one of the pieces involved making 3d models of the worker housing in adbhu dhab and “dropping” them at the guggenheim gift shop

another week Gulf, a small faction of artists, decided to actually occupy the guggenheim, refusing to leave… the museum decided to shut the building down, and the small group of artists had the entire museum to themselves

OCCUPY, ORGANIZE, REPEAT… you have to constantly be ready to act

padd- 90% funded by their own labor and time, at the

repo history- a number of ngos and non profits tried to provide some funding, the collectives didn’t last too long

gulf labor coalition- nobody gets payed to be in the biennale

https://gulflabor.org

I wanted to start my journal by examining a quote from the Ghost Ship article that gives a pretty good summarization of why gentrification angers so many pre-existing residents.

JOURNAL ENTRY

The Ghost Ship fire was a totally preventable incident that occurred because the City of Oakland has neglect the very residents that have given the city is “creative city” reputation. If they had simply cared about their residents enough to check the building’s fire codes, then its likely that the death of over 30 people could’ve been prevented. As a city undergoes gentrification, residents who are members historically disadvantaged groups such as POC’s , low-income families, people with disabilities are pushed out of the cities due to heightened rent. Essentially, the government and other private organizations are exploiting & commodifying the diverse communities of the Bay Area by using them to attract wealthier, whiter residents and then discarding of them and then treating them like untouchables immediately after. A better approach would be for them to invest in the current residents and youth, rather than displacing innocent people from their homes.

This week focused the underground art scene and social practice art. Our first speaker was Dena Beard, the executive director at the Lab, which is an alternative art space in Oakland. Before getting into what she does, Dena address the challenges of running underground/ experimental spaces. Her two main concerns were that the spaces usually rely on unpaid labor, and that the experimental art space still lacks the diversity represented across the Bay Area. These issues have only been exacerbated in the Bay’s Current Climate, where gentrification has displaced nearly 25% of the city’s non-forts since 2017.Yet, Dena Bear still kept her promise to the Lab, and the space is now W.A.G.E certified. She’s also ensured that there is active outreach toward artists from underrepresented as a result of race, sexuality, geography, gender, class, etc. In fact, she doesn’t even pay herself a raise! She earns $25 and hour just like everyone else. It was pretty cool the clips of two of the lab’s many residents. It seems as if Dena is committing to helping her residents actualize their dreams, no matter what the cost is! I particularly loved Jaqueline Gordon’s moveable sculpture, Inside You Is Me.I literally had the urge to get out of my seat and start moving, which is very odd for me because I usually dislike electronic music and would never have urge to get to my feet. I was so shocked that Dena Beard still managed to provide 46,000 in grant money for Gordon. Gordon’s piece also shared the perspective of 12 different queer artists of color, so it seams like Beard is slowly chipping away at her goals, even in the midst of gentrification making her life 10X harder.

Gregory Shollette further expanded on the topic of gentrification on Wednesday’s lecture. After all, Shollette is a well known experimental artist exploring the relationship between art and politics, so he’s an expert on the topic. Shollete was a part of many collectives that focused on dismantling gentrification around America, but the most notable one discussed in class was REPOhistory. The idea was that members of collectives were similar to repo men, except rather than collecting money from people who can’t pay, they are taking back the culture of their city from the various organizations and corporations that are trying to move in and push out the communities who used to call these cities home. They’d post street signs in various cities to remind inhabitants of the culture they are ignoring. One sign I’ll never forget was a part of their “Queer Spaces” installments. One sign depicted a picture of Marsha Johnson and explained the sad history of how she was murdered and disposed of in the Hudson River. I don’t know anything about this woman, but I got so sad when Shollette told us how all the signs were torn down and the city looks completely different now. I really liked how invested Shollete was in the “dark matter” of the art world. who were basically amateurs and art school grads selling art online rather than seeking validation from museum. He genuinely believed they provide great support to art scene and he wanted to engage in social practice art with these communities. He definitely lives by his motto, “OCCUPY, ORGANIZE, REPEAT,” and I was very impressed they they’ve even exposed names as big as the Guggenheim.

MULTI MEDIA:

https://youtu.be/QsJrRRT8-68

Rick Lowe was a 2014 McArthur Grant Winner who, like Gregory, similarly engages in social practice art. He is the direct of Project Row Houses, a program in which artists and cultural practitioners to work alongside urban planners, educators and policy makers to improve public housing. This video shows that their work is successfully transforming communities and engaging historically disadvantaged and underrepresented groups that have been neglected by our government.

DISCUSSION PRESENTATION

https://docs.google.com/presentation/d/1Txz0M6VeVtLK-WPICf11AAm-uc1ZCNwnnnaj1u4aALk/edit#slide=id.g37607d47b8_0_68

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aryapathak-ls25-blog · 6 years

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Week 10: Lynn Hershman-Leeson

19 March 2018

Wednesday- Lynn Hershman-Leeson

Women’s place in art- largely influential

Why have women been left out of art history? Why are there no “great” women artists?

What is an artist? How does one become an artist.

Masculine ideas and presentation through the history of art is significant

Versus female artist representation

Do women have to be naked to get into the met?-<4% of artists in the modern art women are women, but 76% of the nudes are female

Sexism in fields such as art, stem, management

Significance of porto-pack (film and audio combined), before require crew and more equipment, so much less accessible

Within on piece of technology in this new piece

Women’s liberation march, nyc (1970’s)

Struggles and movements to get to where we are today

Politics of intimacy-1974, by Julie Gustafson

Why haven't Women been more recognized for the skills in film making. Only one women has one an Academy Award.

Fields such as technology are dominated by Men, hear the reports of the rampant sexism going on in Silicon Valley

Professor wanted to focus on this moment on this question of place of women in contemporary Art.

The emergence of Video Art.

As we are thinking about this question of :Why women have been left out of this history of art?

what is art? but also, What is an Artist

the question of gender and race raises this question of not only what is art but more importantly what is an artists and how does an artists become an artists.

We have a history of geniuses in the western world like Leornado and Picasso as giants of their category,

If we explore the history of representation of the artists in history, we see the kinds of stereotypes and the ways in which creativity and geniuses are typically expressed in a specific behavior.

What is interesting is there is not much information about the people in terms of personal life, because there seems to be a presumption of who they are because of their art.

The whole question of speaking and speech being integrated in to art

The emergence of much of this work is happening at the same time as the women's movement, the civil movement and the Vietnam war is raging.

The People's Video Theater

Womens Liberation March, NYC 1970

One of the first liberation marches in New York

Interview of people in NYC during the liberation march

Women want Equality and Peace.

Women "50% of the people should have atleast 50% of the rights of this world"

It was a catalyst for people to be able to speak and hear each other.

The Politics of Intimacy

Julia Gutsison

Women talking about their experience with men. A girl talking about her experience with a man on the beach.

Marth Rosler

Very interested in Women's work and the representation of women's work

Funny Satiric Tape, and also a kind of performance

Semiotics of the Kitchen

She is listing all the things that women usually use in a chicken and doing that action of the item while listing out each item. Also in a very very serious tone.

Total Non- Significance.

Something about these tools that signify the domestic place of women in the kitchen

WEDNESDAY March 21: Lynn Hershman-Leeson

Before computers, after digital, biological computing

Lynn Hershman- Leeson “ Bay Area Feminist

Fictional Art Critics: Prudence Juris, Gay Abandon Herbert Good

-wrote for three different journals using different names -Wrote in different voices and different textures of her voice, thats how she got her first show

Walking down the Berkeley Streets and was reminded of the Free Speech Movements.Rented Rooms and showed her art pieces in the room.

Roberta Construction Chart 1975 Fiction as Truth- Liberate the character, Roberta Brightmore

Hired a surveillance photographer to take pictures of her day. Kind of a Interactive Art Piece.

Had Drivers License.

Mirror Of Culture, reflect what was going on at that time.

Reflect back the aspects of the culture we were living in.

Lorna 1982: Interactive Laser Disk.

Someone would sit in her room and use her remote switch to activate elements of her life

First time any one used interactive artwork about how to construct a character

Breathing machines (1963-1966) – first time sound was used with sculpture--- later removed

Would breathe and talk

Cyborge (1965)

Looking inside of something and making it a big part of the work

Fiction art critics- prudence juris, gay abandon, Herbert good

-wrote to a lot of different journals in different voices, would write about lynn and whether or not she was relevant, and there were many articles about her and how she got her first show.

Robertaa construction chart, q975, fiction as truth – roberta’s driver’s license- proof that she had one, a mirror of culture

Lorna- 1982, interactive laser got in her rom and activated elements of her life, first time using computer of artwork, an extension of cubism

America’s finest-1994! Sigh specific, 16 surveillance camera, pull the trigger, then see visuals and camera project the shooter into the view range- victim and agress

Conceiving ADA 1996Virtual Sets

Took years to edit!, Frame Rates were different and had to do it Frame by Frame.

Teknolust 2000High Def 24P FilmAbout a scientist Rosetta Stone who replicated her self 3 times and of their coming of age and entering the worldFirst High Definition film ever shot.

Bioprinted Nose 2012 Scaffold for whats used in printing nose. Invented by the man who invented Bioprinting, Anthony

The most profound gift of Humanity is that Each Generation has the ability to recreate itself.

JOURNAL

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Week 9:

LS 25

sonic appropriation- the question of “what is appropriation art?” taking something from one context and taking it to produce new and modern meanings

mainstream/ post-modern cinema like tarantino uses appropriation

intertextuality is very important here…dushomp’s urinal… we think about the urinal on a lot of different levels… the intertextuality is between the bathroom and the art museum… viewer moves intellectually between the two points and thinks about what is beauty and what is not

urinals are associated with waste and dushomp combines it with the beauty associated with museums

ex. andy warhol and the campbell soup can… he appropriates the mass produced culture

-public sphere: we are constantly bombarded by advertisements, billboards, tv ad radio ads, etc

what kind of control do we have as individuals on the public sphere and the way in which images and sounds impinge on us… how do we take back the images and sounds that have been forced on us

in ny and other places, cigarette and alcohol producers targeted their ads to poor neighborhoods and so people in the community painted over the signs

Craig Baldwin- Sonic Outlaws

negativeland the band appropriated a sound byte where someone who was supposed to film an ad for U2 was caught cursing them out and turned it into an entire song….large group U2 sued a small underground artist

underground artists were burdened with lawsuits that were brought upon by the corporate music industry

LS 25 -Jon Leidecker-Wobbly, Negativland

As a 15 yr old he was already asking himself what live music even was when all the interesting sounds involved other people manipulating and mixing recordings

he was channeling the radio and he

we often make the mistake of thinking that recorded music is an object that doesn’t need people anymore

music is kind of inherently live performance, and listening to the collage and layering of different tracks, it clicked for him and he realized that music sounds different every single time you play it

Irv Teibel-> “The altered nixon speech” edited the speech when nixon denied any wrong doing and he changed everything too it sounded like

managed to restore acoustic plausibility by adding in acoustic echo

released as a joke

60’s-70’s: William s. Burrows- Electronic Revolution- essentially a manifesto professing the inherent power of edited recordings

the confusion/powerless state you are in when you listen to an edited sound

basically told people they can used edited recording to achieve different goals… i.e. they can start a riot just by playing a riot noise and they can piss someone they hate off by changing what they say

Douglas Kahn- Reagan Speaks for Himself….

everyone already feared that reagan was senile, he made no sense when talked, always dropped off, etc. and Kahn kind of made fun of this in his track

- collage captured exactly what it felt like to listen to him give a speech

- i thought this was sooooo funny and relevant today

These works blur the line between a work of art and journalism

He really loved the Over the Edge radio channel … that was what inspired him to get into sonic appropriation and he

Negativeland- broke their own rule about not doing interviews to do interviews about the axe murder

they pranked the mainstream media for a while and then followed it up with an album about how easy it is to protect narratives into the media without any fact checking,

works of “culture jamming” used the vocabulary of news broadcasts but inverted reality in a way that the general audience could recognize

He was interested in Glen Beck and fox news and saw that fox news was using the same type of culture jamming that artists use! Like making reporters look ugly lol

he though that that culture jamming was exclusively a liberal thing but it isn’t

BLOG POST:

Our lectures this week focused on appropriation in art, which involves taking something from one context and using it to produce new and modern meanings. I found this topic to be very interesting because I remember visiting the MoMa in New York and seeing a piece made entirely out of cardboard boxes as well as Andy Warhol’s famous Campbell Soup piece when I was little and, at the time, I was so confused about the meaning of the art. When professor Skoller explained how Warhol appropriated the mass produced culture of the public sphere by taking the logo from Campbell’s Soup cans, and recontextualizing it it by applying it to canvases and screen-prints and showing it in a museum, I realized that a lot of Warhol’s art involved appropriation, such as his coca cola piece featured below, where he appropriated the popular drink.

Warhol eventually experienced the same fate as many other artists who use appropriation; he was sued for one of his pieces. Although it was settled out of court, he decided to refrain from using other people’s photographs. The topic of appropriation and its pros and cons were discussed both in Craig Baldwin’s experimental documentary called Sonic Outlaws and in the lecture given by Negativland. I really liked how Baldwin’s documentary about sonic appropriation also used sonic appropriation to sort of mimic the chaos of the public sphere where we are constantly bombarded by advertisements, billboards, etc. I also enjoyed Jon Leidecker’s lecture and found myself cracking up when we listened to Reagan Speaks for Himself by Douglas Kahn. The whole story about Negativland and U2 was confusing to me because, even though the song mentioned U2 and played their music, the only reason Negativland was sued was because of their artwork, which means that they could’ve continued to sell the song as long as they changed their artwork. After this discussion, I think that as long as credit is given when it due AND the artist whose work was appropriated in the first place gets reasonable monetary compensation, then there is no reason why appropriation in art should be a problem. However, Leidecker also brought up scary point about how networks like fox news are able to use appropriation and video editing techniques to change what people are saying. I started thinking about the power dynamic at play and I definitely feel like a new source like Fox that is responsible for accurately conveying information to the public should never be allowed to edit what people are saying. Timing is key; 30 years ago when TV and main stream news were still new, it made more sense to poke fun at the news with sonic appropriation then it does now, when networks are using appropriation and editing to confuse the public.

This quote below from the readings gives an eloquent explanation of why artists like Leidecker find appropriation so interesting:

Essentially, artists like Leidecker feel that music is kind of inherently live performance. When he listened to the collage and the layering of different tracks on his favorite radio show, it clicked for him he realized that music sounds different every single time you play it! Leidecker and others believe that focusing on what is happening in the background of a clip in both the literal sense as well as the symbolic sense (political climate, social setting, current events) rather than focusing on just the main melody or one single sound, can bring forward new and interesting music. In fact, in lecture he said that “we often make the mistake of thinking that recorded music is an object that doesn’t need people anymore.”

Here is a clip to Part 1 of Helter Stupid, the album released by Negativland after the whole axe murder ordeal:

https://www.youtube.com/watch?v=QiKITW9kWgQ

This album was went to poke fun at how the main stream media sensationalizes the news and fails to do even the most basic fact checks.

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Week 8: Digital Sculpture Moving Light

LS 25- Week 8

Conceptual art- questioning whether the artwork or the conception of the art that draws on other concepts ex. He had a picture of a blue light beam that was projected on a screen... is the picture the art or is the projection itself the art

Interactive art- mobile spectator, you interact with the art... spectator actually impacts the art and the art isn’t complete until the

Light art installations: our perception

3.5.18

Expanded Cinema

Cinema As Object - Sculpture

Film/ Video Installation Art.

Cinema is a femoral, part of the magic or dream life of cinema has to do with that idea.

The sense of non-objectiveness of cinema is part of its allure in a way.

We have very little idea of how this came to be, the mark of the best classical cinema is the film that hides its own traces of coming in to its being.

We immerse our selves in to the story lines.

The drive toward ultimate seemlessness becomes the object as technology of cinema continue to develop further.

Film and light could have a sculptural aspect to it.

Laszlo Moholy- Nagy - Light Prop

-How one could work with light and project with light

-Create objects that could alter light and change light was something he was very interested in.

Light Play in Black White and Grey

- Starts off with scripts of film as sculptural objects.

- the device rotates on a motor and a projection of light is passed through a bunch of objects on the device to cause the distortion of the light to make a bunch of shadows that rotate around the projection.

- It also goes in terms of white as well

- and then in to grey.

Anthony Marcar

"Line Describing a Cone"

The film that is running through the projector is slowing drawing a singly line that extends and extends

the emphasis is on the beam of line that is being drawn, creates the sense of solidarity and that it becomes an object within itself.

What is light? What is the relationship between Light as a material and something as a ephemorality.

Film

There is a projector shining and people waving their hands in the light in attempts to make shapes.

They see the cone given by the light as an object therefore want to pierce through it.

Film

A bunch of screens and multiple projectors going back and forth from reality. A very immersive environment with loud speakers.

Watching this makes me feel like I am actually at the place they are showing on all of these screens.

Maybe that is the point of this film is to show the power of screens, lights and sound to help individuals feel as if they are in the place and truly immerse themselves in to the screening

A sense of simultaneity, people become mobile spectators, people become as they are able to move around and get different experiences.

Picture of a series of sculptures by Robert Irwin.

Room light sculpture

- No light technology

-Only shadows and Reflections from Dawn to Dusk.

-The shapes change through out the room from the course of the day.

-The space is divided by a series of screens., this allows the light coming in to reflect in the different ways

- some could argue this cinematic as the shapes are in motion and are changing through out the day.

- This is a "Motion" picture installation.

Objective Art

The View on the mind in the viewer rather than in an object

Space as Medium

-from Medium Specificity to Site Specificity- where the work

Marcel Duchamp

Famously took a urinal in the men's room and place it in the gallery.

This makes us ask the question : "What is Art?: What can we distinctify as art? A kind of catalyst for the viewer to actively engage in the set of questions that become philosophical and ethical.

Joseph Kosuth

put a dictionary definition of meaning in the gallery as a painting and art.

Vague and Complex.

How do we articulate that something means something.

Nam Jun Pike

"Standing Shiva"

using both traditional sculptural objects and TV Cinema to make comparisons of both perspective.

3.7.18

March 7th

Jim Campbell. Moving Light Artists

First Film he shows is hit exhibit at the NY exhibit

Trying to show what it could feel like being mentally ill

He portrayed fire on the individuals being filmed, sometimes froze them

Memory Recollection

A lot of tv screens

If would start from the screen on the left and delayed showed the movements moving down the line of the screens.

Digital Watch

A portrayal of the watch and the image of the individuals on to the watch it self.

Tried to portray a times frame and wanted to inco

rporate that aspect in to his art.

Ruins of Light

First public art project he created in the Phoenix Suns Arena

Captured peoples imagery and super imposed on top of still images from scenic scenes from various places in the world.

Wanted to get rid of the taco bell and mcdonalds from the imagery

Created a couple of works that were dedicated to the uncertainty principle

there was a Buddha in the cube and the closer you get to the sculpture the foggier it got so you only got to see the shadow of the Buddha.

Untitled (for Heisenberg).

Light projected on to the bed of salt

theory of abstraction

the more you would approach the figure the less you would see

Anti Interactive works the more you wanted to see the less you would actually see

Reading the Bible

The Bible hung up while some one was spelling out the bible verses.

Cyclical Meter and Cyclical Counter

Clock represents the flow of air coming out of this woman

Camera Pointed at a candle inside the Brooklyn bridge, used a speaker to amplify sounds of wind

He wanted to create an interactive work with no goal and not game oriented and this led to a piece of work that changes color based on peoples touch of the screen. Images only come on when there is no sound and vice versa.

He started thinking about what goes in and out of the computer and wanted to focus on the Reconstruction Filter.

Ambiguous Icon

Created his own display icons

"Running Falling"

showing it with and with out and diffusing screen.

Fight

A boxing match in color but by filtering out the pixel structure the information is more comprehensible by brain

88 Pixels and at the limit of percieveability.

Fire and Freeway And a Walk

This work defines an image simply by its perimeter with a black picture and a string of LED lights all around the perimeter.

Primal Perception

Not enough details to have the analytical part of your brain to work so it shuts off.

It allows a subliminal part to show in terms of interpreting the work of art

Motion and Rest

six different disabled individuals walking to their gates.

the medium and tech and content all came together.

Wave Modulation

Ocean Waves going and gradually going in to regular speed motion and eventually stopping it. It is blurry and low res so it goes from representational to abstract

These works have a lot in common in sound.

Home Movies

Pixels instead of facing out are facing the wall.

There is no way of seeing the image with out the display device.

Very Low Res as well

Last Day in the Beginning of March

Visual Poem about the last day of his brothers life

Room that you walk in to there is a series of about 3 foot circles projected to the ground

Not a work of visual art but more about feeling it and being there.

25 different rhythms of being there that day.

Ocean Mirror with Fragments

Low Resolution Technology in public art works.

UCSF for about 10 years.

Glass Wall of images made up of 49 cubes, each cube was spread out in the garden . The whole garden dances minimally throughout the whole garden.

In Hong Kong the ICC building

he built an imagery of an individual swimming up the tallest building.

(Definnitely the coolest imagery I have seeen)

BLOG POST:

This week we discussed digital sculptures and moving light. Professor Skoller discussed how part of the magic or dream life of cinema has to do with that idea that film is ephemeral; the mark of the best classical cinema is when film hides its own traces of coming in to its being, allowing viewers to fully immerse themselves in the art. Reflecting on my favorite movie of all time, Carol (2015), really helped me internalize this point. Part of the reason why I loved this movie so much was because, for about 2 hours, I felt like I was actually there, living in the 1950’s, and like I was literally a part of the relationship between the 2 main characters. We also discussed conceptual and interactive art. Conceptual art involves questioning whether the artwork or the conception of the art is really the focal point of a piece. Interactive art is art where the spectator actually impacts a piece. The art isn’t complete until they’ve seen it and reflected back on their own life. For example, McCall’s film seemed like an example of conceptual art. I found myself thinking that the point of the film was probably to show the power of screens, lights and sound to help individuals feel as if they are in the place and truly immerse themselves in to the screening, rather than to have the audience look at the actual images depicted on the screen.

In discussion, we talked about the responsibility that artists face when making a public art piece that people have no choice but to look at, which also relates to Jim Campbell’s lecture. Campbell’s first public art piece was Ruins of Light, which captured peoples’ imagery super imposed on top of still images from scenic scenes from various places in the world. I thought it was interesting how, from the readings, it didn’t seem like Campbell was super into public light installations. I’ve included a quote below:

Basically, Campbell himself seemed to be turned off by flashy light installations, yet he still decided to take on the the salesforce project, because he was thought it would be a fun challenge. He saw his work as an experiment and was interested to see how people would react; in fact, this was a common theme in Campbell’s work. One of his main goals was to create interactive work that avoided being formulaic; this was clear when he was talking about Hallucination and Digital Watch and how they didn’t elicit the response from viewer that he’d hoped it would. It seems like Campbell is very considerate when developing public art pieces and he makes sure to think carefully about how pieces will affect the public.

Here is a picture from another public art piece called Skygate, which is an outdoor 1985 stainless steel sculpture by Roger Barr, installed along the Embarcadero in San Francisco:

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aryapathak-ls25-blog · 6 years

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Week 7: Collaborations & Xerox PARC

LS 25 Lecture Notes: Monday Feb 26, 2018 (No Guest Lecturer)

Alternative Space Assignment- Goal is to make us get up and explore the art spaces as well as the community and worlds they exist in…. trying to go into local communities to see how people live and to see how

Economics of Art Making – funding of art works themselves, survivability of artists to continue making work, etc.

After Mansfield Act, many artists left to do private research, work at private think tanks, joined underground art groups, etc… Art funding became obsolete unless people used computers and graphics for a specific military cause

Public Art funding is probably at the lowest its been in the past 75 years or so… DJT has made it very clear that he is trying to eliminate all public arts funding – he believes that taxpayers shouldn’t be responsible for funding art but rather the private sector should fund art.

· This raises the questions about the importance of art in a society. Is it a public good? Does a society have the responsibility to publicly subsidize Art?

Themes that have emerged across the past 6 weeks of lecture

1. Intentionality: Is intention necessary for something to be deemed art

2. What are the responsibilities of the artist in relation to their work

3. When did art become a commodity??

4. When does experimentation/exploration turn in to experimental art

In 1930’s unemployment has skyrocketed and the economy crashed – FDR was trying to kick start the economy by providing jobs that employed artists and put them back to work. Artist were making art for the state but it was representative of how people were living at the time and people could still express themselves

History of US Public Art Funding

· Federal arts employment programs of the 1930s. Part of Roosevelt’s New Deal which directly employed more than 45,000 artists during the depressions.

· Works Progress Administration – Roosevelt’s program to help artists find jobs helping the government

· 100+ community Art Centers

· The Federal Writers Program

· The Federal Art Project

· The Federal Theatre Project

· The Federal Music Project

WPA structure allowed for a public archive of art that captured the history American culture AND belonged to the America people because it was publicly created and archived since the artists worked for the public government. It also helped to legitimize artist’s and their work-> spread the notion that Artists should be able to sustain themselves and do what they love as their job. Artists were commissioned to beautify post offices, government subsidized parks, etc.

National Endowment for the Arts (1965)

· Enabled the construction of a vast network of nonprofit exhibition, performance, and media arts spaces across the county- continued what the WAP envisions, which was to bring culture to places across the country

o In many ways, public arts funding was a social justice movement -> increased access to technology

· Such local arts agencies supported performing arts – dance, music, theatre, visual, and media arts – as well as literary arts and regionally specific folk art

· From 1966 and 1979, the number of non-profit local arts agencies increased from about 150 to over 2000. Many agencies sprung up in towns and cities that had no real culutral centers such as museums and performing arts spaces

· These non-profit spaces were often the only place that local and national art could be seen. In more urban and culturally diverse citites.

· Non-profit art orgs offered intermediate spaces where emerging and mid career artists had the opportunity to to create ambitious and experimental exhibitions that were not dependent on establishment critical and economic success

Individual Artist Grants

· 1966-1995: When the NEA was discontinued by congess- congress awarded 6500 fellowships to 5147 artists working in painting, drawing, performance, instillation, etc.

· Support for artist employment reemerged in the 1970’s-from 1973-1981, U.S. Govt spent more than $300 million on a jobs programs for artists called the Comprehensive Employment and Training Act (CETA)

· CETA placed artists in communities, creating and training others to create murals, paintings, photography, and sculptures in public parks, public schools, agency lobbies, and waiting rooms

· CETA also funded artist residences and temporary staff positions in art orgs

These Programs especially helped to develop Media Arts:

· The emergence of experimental and activist forms of film, video, audio and electronic media arts in the 60’s and 70’s occurred almost entirely through a network of federally and state funded media art centers

· Individual artist’s grants supported experimental composers, musicians, electronics arts/engineers, and film/videomakers as they invented new art forms using the emerging technologies

· Such not-for-profit motived media arts spawned a new notion of independent cinema that was eventually appropriated and branded by Hollywood, setting he stage for the current pre-occupation with film and media art

The controversy surrounding publicly vs. privately funded arts

Critics of public funding:

• as a matter of principle support for the arts should not be a function of government. “These agencies can raise funds from private-sector patrons, which will also free them from any risk of political interference.” The Market Should determine the value of art—both culturally and economically

Supporters of public arts:

• a host of educational and economic benefits, like tourism, that are often fostered by the projects they finance. For every Metropolitan Museum of Art, where federal support is minimal, there are many other organizations that simply could not survive without public funding. Art in a Democratic Society should support marginal voices that may not be popular.

Privatization costs:

• Museums cost $20-30 for entry tickets

• Loss of community arts spaces in favor of centralized Arts organizations

• Research funded as Research and Design for commercial monetization.

• Value of an Artist’s work in ability to sell

• Non-commercially viable Art is not supported.

• Loss of Public non-commercial Media—Radio (NPR), TV (PBS), Non-Commercial Film (Documentary, CPB)

LS 25 – Finley and Muse

Collaboration: A form of experiment and a mode of research

“Fruitful interruption”

The each have strengths but still both “put their fingers on everything”

Based on a Story (2008)- “lend ourselves over... to our feelings” however cliché or banal- narrator is the woman behind the curtains… tbey further collaborated with the narrator Pamela Z…– explores the widely publicized encounter between a jewish guy and a kkk leader

Xerox PARC (PARC)- research wing

Single channel installation works – single channel means one video source

Catapult (2005)

Falsework (2013)- example of community based art, experimental documentary of a pet cemetery that was near road construction… interested in the metaphor of what scaffolding might mean more broadly

Social engagement components-threshold choir that usually sings at the bedside of a hospice, but they sang at the pet cemetery, there was a community get together where other related works were shown, etc.

Xerox Park – as reading says, we are drawn to the relationship between fiction and non-fiction

PARC- “Artist-Science Residency Program”

Observational- when you let video run without cutting anything, purely observing in the background

Experimental Short Film- “timebomb”

BLOG POST:

Professor Skoller’s lecture helped me to better understand the role of public and private structures in the development of art that was discussed by Gaboury last week. I personally believe that this is because most Americans believe that our government is only responsible for guaranteeing us our basic civil liberties; in a society that doesn’t even believe we should take care of our sick and poor, its hard to believe that we’ll suddenly be willing to support marginalized voices and fund public art. I would agree with the supporters of public funding who say that the government should fund art in order to give people whose opinions are in the minority a voice; after all, this is the whole idea behind the rationale for free expression based on the “marketplace of ideas.” However, even though the WPA and the network of federally and state funded media art centers allowed for a huge boom in experimental art in the 60’s and 70’s, it seems like FDR and the government at the time were mainly motivated by economic factors rather than a real appreciation of the role of art in society. Luckily Finley and Muse give us hope that experimental art can still thrive privately. The excerpt below from Leimbacher’s paper below perfectly describes the nature of their collaborative work:

This quote indicates that their works contain 2 main components: one that elicits an emotional reaction such as anger, fear, happiness, and one that elicits a rational reflection where we realize the irony of what we are viewing. Leimbacher continues on to elaborate on this, saying that Finley and Muse’s pieces are not complete until viewers interact with the art by first viewing it and allow themselves to feel whatever feelings they feel no matter how trivial, and then reflecting on the how the art relates to their own lives. For example, when I looked up falsework and watched it again at home, I found myself confused by all the different elements of the experimental documentary, such as the emotional interviews and testimonials about how much they loved the scaffolding and the final destruction of the cemetery at the end. But, as I reflected on the piece afterwards I started to think about why the pet cemetery was destroyed if people were so sure it was going to protect them, and I started to conceptualize the scaffolding metaphor.

Here is a link to a New Yorker article discussing another cool collaboration between bay area artists and chefs! https://www.newyorker.com/culture/culture-desk/an-experimental-feast-plated-by-artists-to-amuse-and-confound

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aryapathak-ls25-blog · 6 years

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Week 6:Analog/ Digital Transitions

Week 6- Analog/ Digital Transitions

Jacob Gaboury Professor at U.C. Berkeley Film & Media- Historian of Digital Media- Studied at University of Utah and NYU

· Experimental Computer Science (ex. AT&T Bell Labs and the University of Utah)

· Distinctions between public/private institutions and their funding of experimental art

· Bay Area Experiments

o Stanford

o Palo Alto

o Berkeley

Engineering Experimentation 1960-1980 -. Innovations in computer science and engineering and their relation with the arts

Computer Science didn’t exist until the 60’s- digital & electronic computers weren’t even developed until 50’s

All CS was experimental

ENIAC Computer – One of the first computers in the united states, big, not portable. Shows how far

How did the portable laptop we have today come around? It was not a necessary invention but instead the product of artists, engineers, etc imagining the future of the technology

1957-

US and USSR are in the cold war

After USSR launched sputnik, Americans got worries, ARPA (Advanced Research Projects) was

Licklider- “man machine symbiosis”- he wanted to change the way we think about was a computer is from a passive calculator to but rather as helpful tools

· First Director of the ARPA Information Processing Techniques Office (IPTO) in 1962

· Moved ARPA contracts from private sector to universities

o ended up founding 7 of the most influential CS departments

· Laid foundations for ARPANET which was the predecessor the the modern internet

AT&T Bell Labs (now called Nokia Bell Labs) – founded in 1925 by the inventor of the telephone (Alexander Graham Bell, originally in NY, now in NJ

· Responsible for numerous inventions in signal processing, electronics, computation

· In 1960’s artists and researchers collaborative to make

Lillian Schwartz (1927)

· Early Computer Art Pioneer

· Worked at AT&T Bell Labs throughout the 1960s and 70s

· Deployed mixed-media techniques, blending film, painting, and digital methods

University of Utah

· Funded by defense department (ARPA IPTO)

· Organized around “problem solving” for key technical challenges in this experimental research artea

o Texture shading, shadowing

· John Warnock (PhD 1974) – founded Adobe

· Nolan bushnell- Founded of the video game Artrori- later

· Ed Catmull - founded Pixar, phD thesis involves one of the visit computer animated/ digital 3d simulation . we watched a couple in class

Public/Private

Experimental research works on key problems, broad principles, and abstract concepts

Experimentation is not generally commercial or market driven

Industry wide-shit in the 1970’s

· Mansfield Amendments severely limits military funding of research

· Researchers flee universities and capitalize on experimental systems/ move to the private sector

Bay Area research

1962-Augmentation Research Center (ARC) earliest systems to develop and experiment with new tools and techniques for collaboration and information processing

Sponsored the same way by nsa> by arp> by ipto

NLS0 ARC developed on-Line System – one of the earliest system to employ many contemporary technologies- hyperlinks, computer mouses, raster-scan video monitors, screen windoq

Debuted in December of 1968- in what was later known as the “Mother of all Demos”

Combined the use of video conferencing and network collaboration

Prompted the “demo culture” in Silicon Valley

Palo Alto:

Xerox PARC –

· Tasked with designing the “office of the future”

· In 1970 after ARP/ IPTO were defunded, top CS students from schools like Stanford and Utah and went

· Hotbed of Innovation- Laser Printers, Graphical User Interphases, Ethernet

· Super Paint (1973, Richard Shout)-.essentially the first photo shop-like software

Berkeley:

Computer Memory- Installation

· 1972-1974- The World’s first computerized bulletin board system

· Effectively the first social network

· Users could ADD a message, ATTACH keywords to it, and FIND messages

· Project 1- (1971-1980) international community of place aka a technological commune in SF. began as collaboration

Experimentation is central to technological growth and innovation

Computer science was an experimental practice for most of its history

Experimentation and innovation benefit from and rely on public funding

BLOG POST:

Jacob Gaboury’s presentation on the history of experimental computer science and the transitions of analog and digital media was extremely enlightening. He started by discussing the history of the digital computers, which was already new information to me because I didn’t know that digital & electronic computers weren’t developed in the 50’s for military purposes. Gaboury seemed admirable of Licklider, the first director of the ARPA Information Processing Techniques Office (IPTO) and a proponent of “man machine symbiosis.” Licklider wanted to change the way that we think about computers from passive calculators to helpful tools. Throughout the lecture, it seemed like Gaboury was a supporter of this idea was well and the reading from this week confirmed this. The exerpt below provides evidence:

From this quote its clear that Gaboury similarly believed that by simply focusing on computers as passive calculators and focusing solely on the visual output of a machine, we are limiting ourselves to the “black boxed object,” which is the restricted image produced at the end of a process. The quote continues on to argue that we must understand the history of computers and acknowledge that the development of computing was not simply due to simple inheritance of one technology to the next more advanced one, but rather that various public and private institutions have played a critical role in the evolution of computing. Most of Gaboury’s presentation drove this point home. It’s clear that a lot of the experimentation and development with the actual digital media techniques, rather than the end results, done by Lillian Shwartz and later expanded on by Computer Science PhD candidates at the University of Utah was the result of increased public funding of the arts. When the Mansfield Act reduced public funding and these artists moves back to the private sector, Computer science became market driven and focused on the end product rather than the process of getting there.

Here is the link to see more of Lillian Schwartz’s artwork:

http://lillian.com/digital-animations/

This website is REALLY cool to me, especially because it goes in depth into her work, her contributions, and her life biography

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aryapathak-ls25-blog · 6 years

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Week 5: Experimental TV & Video

LECTURE

Lecture 1 Steve Seid. Film/Video and Scholar preserved and collected of films, mostly from the Bay Area, but also from all around.

early roots of video art * "The mass of an electron is 1/1835th the mass of an hydrogen atom. It i shere. It is a material with which we can make." -Brian Howard. Director of NCET.

Farnsworth: first innovator of the TV * TV was an interlaced television. An image was broken down 525 lines and a gun would spray electrons across them * Got the inspiration from a farm land that was plowed. * His second image was a $.

TV really blew up after the war as big radio companies immediately began to pour in their funds into it. At the time there was no video recordings. It was either live or something that already existed on film. 1956 Ampax introduced the first video recorder. Equipment was very cumbersome and ineffective

In the mid 60s, sony developed and introduced the first industrial educational portable video camera. "One glimmer of hope that an art world could form from an interest in media"

3 Categories: Gallery, TV and Guerrila TV

In mid 60s, artists are starting to think about TV because viewership is rising and every family is starting to hold a TV. Intentioanlly taking the medium of film and making it in to non abstract work, non- narrative works.

Wolf Vostell De-Collage * Being an early adventurer and trying to under this power

Nam June Paik 1946-1976 * The father of video art in the US * Approached Television as an object. * An image of a tv with a transmitter on the top and only one single line sowing. * Put a magnet on top of the tv to show the different distortions possible in the tv image.

a picture of a buddha contemplating itself because in front is a small tv and small recorder.

Brice comes to a revelation says you need to get out of theater space and move in to video space. eventually wrote two books tryinng to explain video space.

The First Round: William Allan, William Bro, Richard Felciano, Joanne Kyger, Loren Sears

(A painter, a poet, a composter, a video journalist and more. All trying to portray in their art form what view as video space)

Linerarity. Richard Felciano.

Daycard Attritus by Joanne Kyger How does language work inside a video space? it was a 6 part film. She had a very soothing voice, her narration sounded like poetry. A lot of blended imagery that was hallucinogenic.

She was talking about: our perception of the truth. our mere existence The notion that god exists

The Second Round: Phase Two Stephen Beck, William Gwin, Don Hallock, Warner Jepson, Willard Rosenquist, plus David Dowe, William Roarty.

Entered in to two new categories: Tools and Pedagogy. Create new tools for them selves in order to create more Published more, more seminars, and did an intern program.

Stephen Beck built a video synthesize from ground up. Doesn't require input nor video image fed by a camera. It will create it own imagery.

Videola creates the optical illusion. Is it a display device? or a sculpture with a moving images within it.

Lecture 2: Chip Loyd

Visiting Artist Chip Lord- Processor Emeritus of Film and Media UCSC Architecture Bachelor’s Degree- 5 year program, didn’t allow any other classes in digital arts Studied at Tulane 1960’s Brutalism- subset of modernism Marshall McLuhan and Quentin Fiore- the Medium is the Massage 1968- When he graduated there was “revolution in the air” Ant Farm was founded by Chip Lord and Doug Michaels- Lord had no desire to go into corporate architecture so he came out to san Francisco, underground culture emerged and the Ant Farm was an “underground architecture practice” Below ground, Ants were creating more interesting structures than what is above ground. Ant Farm-Work was symbolically the opposite of Brutalism, photographed experiments and collaged them to make psychedelic –looking architecture MEDIA PERFORMANCES: “Designed in California” is an exhibit at MoMa Gas Station (1970)- media performance at UCLA, Burned a highway flare and projected pictures of Gas Stations Earth Day (1970)- media performance done in Sproul Plaza- put on lab coats and announced “air emergency” and then everyone would line up to get into an inflatable “clean air pod” Wanted to raise awareness about the quality of the air and environment science issues Cadillac Ranch (1974-1999)- colleagues shared obsession with car designs and tracking the changes of models Cadillac ad in late 1950’s showed the evolutionary diagram of the tailspin Initially the piece of work consisted of 1 Cadillac where half an actual Cadillac car was perpendicular to the ground and embedded halfway in the ground… could be seen as a criticism of large cars, decline of automobile industry, etc…. One car added every year so by 1984, there were 10 cars. Still there today! Early 70’s – Guerilla Television-alternative video network… alternative journalism but it included artists working with video…. Idea was that handheld video may outshine broadcast television Media Burn (1975)- No art gallery or museum would fund this project… too “out there” Not until July 4, 1975 that project was realized – had rent-a-cop secutity and secret service agents, etc,, souveneir stand…. There was pushback because at the time there was a lot of strict separation of the different medias A car drove through a huge “wall” of tv sets-> interesting because the entire project started because of a desire to recreate this one image as a way of criticizing the 3 main tv networks that dominated television but actual realization of the project took a lot of work… Media Burn image was distributed on post cards.. over 100+.. idea was to comment of the politics and establishment-supported qualities of mass media For the next two decades from 1978 to 2008, there was not a lot of interest in experimental tv, Ant Farm ended and Professor Chip Lord wanted to teach and contribute to the collaborative environment… Also did a series of projects that played with media Worked in Marin County- because they worked with video rather than film, they were construct a location and dress it up for a specified scenario Easy Living- not animated but rather a “live action” … idea was to have inner conflict for viewers between reality and what wasn’t real Motorist- car was a 63’ Ford Thunderbird. the video had a narrative but the main focus was the car The Aroma of Enchantment- the idea of seeing things in America in the view point of a Jaoaese person Afterwards, Lord became interest in Air Travel “To & From LAX” was literally installed in the LAX airport To & From 2.0- replication of to & From LAX in the Buenos Aires Airport He’s done a couple projects related to the rising sea level and climate change as well. “how Much Tourism is to much?” ex. “Venice Underwater” idea that tourism has overtaken Venice. The most extreme example is cruise ships which are basically floating hotels where tourists contribute very little to the actual economy… installation was made to represent the idea that venice has been flooded both physically and by tourists “Miami Beach Elegy” – remembers Miami beach in the way it was before it was lost to the rising sea level

REFLECTION/JOURNAL ENTRY

This week in lecture, we discussed the idea of experimental television. In the mid 1960’s Sony developed the first portable video camera, which provided a glimmer of hope that art could form from an interest in media. Chip Lord was an architecture major at who graduated in 1968 when “revolution was in the air,” and he had no desire to settle down at a corporate architecture form so he created Ant Form, an underground architecture group, with some colleagues. They produced art that was symbolically the opposite of the raw, concrete, architecture style of brutalism- instead it was more psychedelic, and light. Chip Lord and his artist friends was far ahead of their time, as evident by the Earth Day performance they conducted in Sproul Plaza on the first ever Earth Day. In the early 70’s, Lord became interested in Guerilla Television, which was an alternative video journalism network that included artists working with radio. Guerilla Television was inspired by the idea that handheld video could outshine broadcast television and this was the motivation for a lot of Lord’s work in this decade. Instead of taking the Brutalist view that media is always destructive and disruptive, Guerilla Television wants to better understand the role of media in America and to make sure that media and technology are not being abused. The excerpt from the assigned reading on Guerilla Television that I’ve included below represented this idea.

The work produced by Lord in the 70’s was some of my favorite artwork I’ve seen so far this semester. I particularly loved Media Burn (1975), a project where a car drove through a “wall” of TV-sets. The idea behind this project was to comment on the politics of establishment-supported qualities of mass media, such as the fact that 3 main TV networks control the flow of information via broadcast television. When Chip Lord discussed the process he underwent to bring this piece to fruition, I gained even more respect for experimental artists and filmmakers. For years, no art museum or gallery would fund this project because it was too “out there” and there was a lot of pushback because there was still a strict separation between different medias. This indicates that not only do experimental artists have to come up with good outside of the box ideas, but they also have to be very confident in them because of the inevitable pushback that comes with being in at the forefront of anything. People resist change! I love Chip Lord’s other airport pieces as well as his Easy Living live action movie as well. I’ve attached a preview of one of his projects called “New Cars” which is a book containing a survey of 2012 cars’ pictures, “reflecting a time in which the values driving car design are changing radically.”

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aryapathak-ls25-blog · 6 years

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Week 4: Experimental Film in the Bay

LECTURES

Musical innovation in the San Francisco Bay Area

Last week- roots of experimental film in the bay

This week- experimental music in the bay area

Professor Bernstein – professor at Mills College

· His lecture is on the context of the San Francisco Tate music center

· Written several books on experimental music and the Avant Garde

· From NY, lived there most of his life

· After he received his doctorate he got a job at an institute in the Midwest… already had a job but was offered an interview at Mills college and really wanted to go to the bay area

· Was very impressed with the polyculture nature of experiment music- combining technology with simple instruments

· Being brought up in the East Coast and teaching at Columbia, he was used to the “uptown” school

· Mills college has a center for contemporary music founded in 1966

· Was interested in why the bay was such a hotbed for experimental music

o Bay’s geography is very important… the degree of isolation (in the Bay around the 60’s-70’s) from the rest of the world was critical in the development of experimental music because people could do their own thing and try new things out

o Thriving bohemian community of painters, poets, musicians etc. from the early 19th century

Aurelia Reinhardt-Prez of mills college, ph.d in literature which was uncommon for women in those days, delegate for UN played crucial role in harboring the liberal, intellectual, experimental environment of Mills college

Mills college had “legendary summer sessions” where famous artists (dancers, artists, etc) came to teach

· Henry Cowell- once was described as the open sesame of experimental music. He was a facilitator and a maverick… didn’t want to get everything from European music, wanted to mix cultures

o Used his fists and elbows when playing, creating “tone clusters”

· John Cage- wrote a lot of percussion pieces

o Interested in eliminating the distinction between musical sound and noise- we listened to “credo in us”

o Credo in Us was inspired by

o Also was interested in electronic music but he didn’t have it so he got creative-plugged a slinky into a phonograph, used buzzers, etc.

· Amadeo Roldan- Cuban experimental artist. We listened to “Ritmica 5”

o Another percussion song

· Darius Mio- taught in Aspen, Paris, Mills College, jumped from one location to the next

· Ramon Sender

o Known for taking a lot of LSD and was maybe for Overeducated.

o Rebelled against everything

o Wonderful Talent

o One of the founders of SF Tape Music Center

· Pauline Oliveros- Co- Founder of the SF Tape Music Center

o Felt oppressed in Houston so she left.

o Was also a gay women

· Morton Subotnick

o Also found the SF tape Music Center

"An excess of a very crazy noises.

Loucianno Berio

· Eliminating the boundaries of art and lfe, one of the fundamentals aspects of Avant Garde.

· The whole idea was to make this sort of music available to the community, not only in terms of concerts but also in terms of facilities.

· Experimental music was being developed in very institutional places, such as public radios or universities or govt sponsored facilities

· They kept their independence.

· Terry Riley

o Steve Reich

o Very controlled, allowed the performance freedom to do things together. The music reflected a very different mind than what was the norm in academic circles.

§ Anna Halpburn

· Example of Tape Music Center, Signature Work

· Tony Martin (Anthony Martin)

o "Desert Ambulance". Has a visual component, worked at light shows.

o used a lot of methods for creating improvised light methods.

o Solo for accordian performed by Oliveros.

o Not through notation but through direct communication from the compose and improvisation by the performers.

· Live performance

o A lot of crazy noise but there was a crazy colored projection on to an individual perfomring the accordian

o Electronic music mixed with classical sounds, lots of up and down in the piece.

San Francisco Tate Music Center

Ramone Sender-composer who was big during the counterculture period, total rebel, one of the founders of tape music center

Pauline Oliveros- 1950’s another founder of the tape music center, felt oppressed at university of Houston, felt they didn’t take her seriously, gay woman who was worried about her sexuality

Morton Subotnick- 3rd founder of tape music center

Many experimental musicians are interested in free improvisation

“In sea” piece by Terry Reilly, allowed performers to have more freedom, different from what was going on in academic circles at that time

Desert Ambulance-composer tony martin liked to call himself a visual composer, liked to use light-

The way technology was used out of the mainstream.. they wer

The modular electronic system-allowed you to send different volateges to different modules of a synthesizer allowed different aspects of music ex. Tambre, amplitude ex. To change spontaneously, had a touch pad that would start a sequence of spontaneous music

The genius of this machine

B.A. From Queens, Masters and ph. D from Columbia University

Experimental Music:

o Electronic

o Percussive

o Unusual Structure, Rythms

o Non-traditional

o Against mainstream methods

o Inspired by political movements- during his time a lot of music was in protest of the Vietnam War

Bay Area cultivates a lot of free thinking and is geographically isolated, making it a hotbed of experiment art and music

Anthony Braxton- Jazz musician, focused a lot on “free jazz,” which is considered the experiment sect of Art

Experimented a lot with percussive sounds, hard to follow along with

David Rosenboom- made art with peoples’ brainwaves, focus on the music that comes from our own bodies and nervous systems… -> “Active, imaginative listening”

San Francisco Tape Center:

o Tap music medium,

o Multiple sound layers, multiple physical tapes that were manually layered

o Early versions of sampling

o SF Tape Center closes

o Merging of counter culture and experimental arts

Lecture 2

Composer, vocalist, and sound artist

Trying to propose that screaming should be considered too and everyone has their own unique sound

didn’t grow up playing classical musical on the violin and piano like most composers

had a different life plan until his mid twenties-his life plan was to try to resolve his identity

complicated childhood, born in New York but moved to japan when he was like 8 months old then later he moved to Switzerland where he started to learn English… later moved back to California to Los Angeles.

felt like he didn’t belong which was important to his as a sensitive young person… wanted to belong

plan a- nominee was to get a congressional nomination go to west point and later become a senator

went to west point and during his sophomore here he injured himself and had to leave west point

o went back home to life with mom

o had to start playing guitar after hearing jimmy hendrix.. all he was doing was physical therapy and playing music

o Jimmy Hendrix was all he listened to after his withdrawal from westpoint, inspired him to pursue music

Talked about B.B. King in the readings-> B.B. King visited when Ken was studying for his ph. D. from Harvard…

he went to Berklee College of Music, learned Music History, Jazz

A lot of experimental music is just using whatever is availabile.

Starts off with one of his own performances with megaphone. Throat Vocalist.

Each of us have our own type of sound even our own type of screams.

3 main art output areas

Composer- Classical Music. Traditional Instrumentalist

Vocalist- throat noises. Screams.

Sound Artists- Sonic sculptures incorporated with technology.

Analysis of a Complex Sound:

Frequencies vs Traditional Notes.

· Saxophone Multi-sonic.

· Think of Frequencies instead of pitches.

Go looking for sounds that work on his body and through analytical tools and can find them.

Frequency- Based Harmonies, Acoustic Resynthesis, Formant Chords, String Multiphonics, Overtone Chrods, Mixed

Poetics

· broken bone of Wendy . The bolts in her bone looked like harmonies and frequencies from the spaces between the bolts. It gives a feeling of authenticity. Framing the narrative of the context of the peace.

Person/Specific

· Physical/Personal Embodiment of sounds overtone singing.

· Vocal Multiphonics

· Using his face as a filter to change sounds.

Strategies for person-specifying piece to myself: Counterpoint with recording of myself when I was six

RESPONSES/JOURNAL ENTRY

This week, we looked at experimental music of the Bay Area. David Bernstein was our first speaker and he started out talking about why the Bay Area is such a hotbed for musical experimentation. I never thought about how actual geographic features, such as the the fact that the Bay Area is on the edge of the continent and therefore we are isolated and more free to try experimenting, could make a place more or less prone to certain art types so this was an interesting discussion to me. My favorite piece we heard was the first piece by John Cage, Credo in Us, a song that started out sounding very light and beautiful like a classical piece, and then suddenly turned percussive with a lot of accompanying buzzing sounds coming from an electronic device. Bernstein later described historical context of the SF Tape Music Center, a collaborative non-profit music center where musicians could work together and explore the tape medium. It’s founders Roman Sender, Pauline Oliveros, and Morton Subotonick were all musicians as well as active participants in the counter culture movement. Bernstein’s description of the “modular electronic music system” they created indicates that experimental musicians are often at the forefront of technological advancement, simply because they like to mess around with whatever is available to make music. It was interesting to see that so far, pretty much every artist we’ve met or heard about became passionate about experimental art during the counterculture era, suggesting that increases social and political tensions also increase the likelihood of a place or time period becoming a political hotbed for experiment art. At the end of his presentation, I asked Bernstein about what he thought the “next big thing” in universal music was and he told me that he believes free and collaborative improvisation is the most important area to keep exploring in experiment music. Ken Ueno, our guest speaker on Thursday, was is another incredible musician with an incredible story as well. After getting injured at West Point Military Academy, he was inspired by Jimmy Hendrix and started practicing the guitar every day. He received multiple degrees from Berklee College of Music and Harvard. Ken Ueno wanted to propose that screaming should be considered music too, and that everyone should have their own sound rather than wanting to sound like someone else. I was surprised at how good his throat noises sounded on top of classical music. One thing that stood out to me when I read Ken’s Article about B.B. King, was the focus on using art to find your own voice. It reminded me of when Karen, the film curator and guest speaker from Mon January 21 compared Avant Garde film to taking a traveling tour rather than a guided tour. Both speakers allude to the notion that experimental art lets you play around with mediums and whatever else is around you until you find something that allows you to express your own unique personality and views to the world. The quote is below along with another link to a short close-up video of Ken Ueno throat singing.

Link: https://www.youtube.com/watch?v=kA2k8NTDuiw

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aryapathak-ls25-blog · 6 years

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Week 3: Experimental Film in the Bay

Lecture Notes

Screening: History of Bay Area experimental Film Kathy (Avant Garde Cinema)

Film Curator/ Way Bay Show.Author of Book "Radical Light"

Focus on Artist Made Films Involved in a project to research the history of the films and its regions history- how the culture explains the longevity of artist made films.Non Standard is what it is important to think about here, because artists are drawn to what allows them to be specific.The viewer needs to work to find the films language. What pattern or structures are they exploring. Guided tour- everyone sees the same thing. You know what is expected.Travel- You get the unexpected. but there is the opportunity for surprise.

Inventors and Artists

-extends back to 1940s.

-Local history includes tech innovators, people are interested in entertainment

Edward Moybridge

-Panoramic Photo of SF

-Big Influence on film makers

-Specific topography and geography of SF.

- Zoogryroscope: Focus on images of motion.

-Case of Tech innovator showing work in an art setting.

-This was a immediate precursor to cinema.

Ernie Gher

-Sense of Displacement

-Verticle Panormaic Photo of SF -

Notion of how you take in the space around you Did not get the fruit of his own envision.Got this work stolen

Artist working in 16 and Super 8Amatur Film MakersLocal sex film making - was an innovation at the time.Activist Films and ,Expanded Projection 1915 at the Festival of Light50s and 60s when light shows were explored as an art form.

Luis Recoder Projection Performances (Alumni Here at Berkeley)

The Bay Area has one of the most films shown compared to most places in the US West Coast

films were disparaged as experimental, and free

What Contributed to the longevity of film culture in the SF bay Area?Primarily looking at 3 areas

Film and Video Schools Canyon Cinema Film and Video Production

Father of Found Footage was the Bruce Conner, early found footage film in

1958 titled "A Movie". Experimental film making by using already existing film. Reusing and Reordering already existing images of the world.

Frank Stauffacher "Port of St Francis" 1951 One of the first films he screened was from amateur film clubs.

Harry Smith painted directly on film strips.

Jordan Belson Caravan.Both was related to UC Berkeley at some point.Belson started hosting film screening at coffee houses.

Lawrence Jordan Poet, Sculpturs, Painters, all worked together and sometimes would jump mediums from one to the other.jtsArtists who saw experimental films often becamem filmmakers.

Sydney Peterson - Lead Shoesand James Braughton - Lead Shoes Black and White film starts with a video of a girl playing hop scotch There is an old lady with no shoes screaming. She jumps down on a man drinking his coffee. The old lady is walking on the beach with a guy in a submarine suite. Hop Scotch seems to be a main theme of the film. The film seems to be playing backwards now. Deep Sea Diving in the SeaSlowed Footage and also did it in reverse. The guy in the Submarine Suit is buried in the sand.

Film Programs that helped film.

Christopher Maclain (1953) The End - Apocalyptic film with SF as the setting . (went crazy and ended up in a mental hospital) But later his films were saved by Brakerage.

Artists Started Organizations- Camera Obscura FIlm Society

Bruce Conner - A Movie

Naked Girl taking off her stockings. Native Americans on horses chasing western settlers. People in Cars Racing Seems to be a development of time maybe? Lots of The ends. and Quick images of the movie title. Cuts to a scene of someone tight roping in the middle of new york. College of a lot of different things. Not exactly sure what the theme was.

Samadhi 1967 by Jordan Belson (non objective Mnadalas) -The film was very crazy not only in the sense of imagery but also with sound. The film was centered in circular motions and spherical shapes, lot of bright colors and smokey shadows. The sound was lot of changes in pithces and harmonious ringing sounds. Definitely gave the sense of a hallucinogenic recreation or some sort of spiritual realm type of goal.

Lecture 2: Barbara Hammer

RESONSE/JOURNAL ENTRY

Today is my first day in L&S 25 and I absolutely loved this lecture so I’m writing this entry right after class. Barbara Hammer was an extremely talented, funny woman and as a woman and member of the LGBT community I found her presentation to be very inspiring. She came out around the 1970’s after leaving her husband and she “felt like she had so many films to make.” When she came to the Bay Area, there weren’t many Avant Garde filmmakers on the West Coast. Hammer described the 1970’s as a time period when you took risks, threw out the old norms, and resisted, and that’s exactly what she did with her films and her life. She said she made “a film for every girl friend.” Hammer ended up winning the first ever Shirley Clarke Avant Garde Award. I was shocked when she said that she was the only woman in her lesbian film class, so she was forced to get as strong as her male peers so she could lift equipment. In terms of her artistic works, I really loved Hammer’s 1978 performance art piece, called Homage to Sappho’s, which was inspired by Hammer’s desire to “put lesbians and lesbian art in the museum and not pussy foot with the project label.” She and her lesbian friends wanted to wrap a long white strip of paper covered with the names of lesbian artists all around what is now the MOMA in San Francisco but instead they decided to send the names up in balloons so they’d land all over the streets and everyone would see the names. I really loved this because her entire story exemplifies how she used experimental art as an outlet for self expression and exploration and now she seems so proud and confident about who she is. My favorite film piece we watched in class was Available Space (1979), which is a film meant to be viewed on a 360 rotating projector, so Elisa moved the projector around manually to mimic this motion. I was intrigued when she said that she made the piece when she “was in a relationship that was too narrow and too tight,” but when I watched the film I immediately knew what she meant. A naked women tried to break through the confinements of the house, like the window, wall, etc., but she is also limited by the frame of the film, and as the room turns we see all these edges and sharp corners and unexpected other confinements and I felt myself literally getting out of my seat to see what was going on. I was completely engaged with the film and I could feel the uncomfortable feeling of being suffocated and wanted to break out of it. Hammer challenged the idea that viewers should be passive and one of our readings discusses this notion below. Below is an excerpt from the reading where she discussed her interest in having an active audience.

Barbara Hammer’s film Psychosynthesis also captures the point she’s trying to make in her article on the politics of abstractness. She likes abstract images because she wants viewers to feel the satisfaction of watching the film over and over again and picking up on new things until we’ve finally felt the “pleasure of discovery. The full quote is below, followed by a clip from one of her more abstract pieces.

Link to one of her more abstract pieces, called Generations:

https://vimeo.com/48666938

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aryapathak-ls25-blog · 6 years

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Week 2: Bay Area Underground Art

LECTURE NOTES:

Lecture 1- Speaker: David Way Bay

sweeping exploration of the creative energies that have emerged from the SF Bay Area over the past two centuriesFirst picture was of a group of collective pouring paint in to a sifter. - Talks about a little of the history of Bay Area Art. Very community oriented and DIY projects that are mostly Artists led. Not about the money but enriching the living experience

First Picture was of view from the oakland hills. Pencil drawn. The scenery of the city, hills and SF from afar. 22 ft tall and 12 ft deep was made in sections -Used as a form of meditation.

2nd Picture - picture of people sitting in the woods with a taped recorder hanging from the ceiling. -Not about imagery but about creating an experience

3rd picture - Using a new approach to presenting art - Making the art a part of the Environment

125 W 24th St, New York, NY 10011

4th Picture.

- A picture of the speaker leading a talk in the old building. -Everyone sitting in a circle around the speaker inn order to engage the audience

6th - Engaging material ext clay, mirror, reflecting

Focus on the body and you as an individual and what it means politically, socially.

3 print series: 1.) Poetry, 2.) Archival, 3.) Performance

Poetry Component Bampfa Artlab Postcard- Simple structure but the post card is a vehicle immediately opens up the potential for broadcast and move outward from the museum.

-Pat Parker: Oakland based lesbian, black panther activist. Started a black women movement in the Oakland Area.

Ken Kesey -Acid test poster -Said to challenge reality. - “successful dope fiend.”

Think about not only the art objects but also the representations of the art that cannot be boiled down to the object.

Archival Component

Way Bay Archive

-30 videos

Performance Component

using art to present pieces for future events

Distinct Bay Area Energy

Other Sources exhibitionWorlds in Collision: turned in to a curriculum, had seminars and events that he taught at SFAI and has been passed on till current times. dance and performance - Sir Jaquis -Non traditional Art Spaces but still can open up and extend this celebration outward.

Lecture 2

First of the Public Speaker Series

Craig Baldwin

Reason of his presence to talk about the context or history. Sharing his experience with us for what its worth.

Intro

Group Show- the idea of shorts.

Anti, Counter, Constantly Defending himself is the central theme of his work

New ATA by Byan Boyce

Going in from Screen through Screen.Very Ominous tone. Scary imagery in the movie theater Narrator repeating forget, forget.

Film 2Situationists, in the post war years, group of people who theorized the take over of everyday life by a spectacle.Slave to the device.Critique against Centralization.

Starts in a different language.“Official Language of General Separated”

Film 3Art Proverias (Impoverished Art) ( Availablism- working with what you have) Folk Art Archive.“Checker Boarded with the Present”

Manifesto is Orphan MorphinDetournement - His page rescued the films that were being thrown away by the UC Extension.

Hollywood’s Bird - Film 3

Bible Reference.

Insets to the story of Moses but with reference to Hollywood and copy right issues and not having free access to data. -It was interesting to see they placed Moses who is supposedly freeing the people in the bible as the antagonist in this film instead of the Egyptians being the antagonist “Place the video tape as absolute control.”“We will not live by your copyright commandments. ”“Who is on the piracy side. "Reference to rock and roll.

Film 4 - Jeremy’s work There is someone performing music as there is a film going behind him. He is basically performing the film going on behind him. There are screens around him on all sides. Absolute attention to the details while singing in sync to the film going on behind him.

Largest social Instrument - Radical Free Thinking. Anti Institutional. Alternative Spaces Culture being destroyed of the Urban Area.

Film 5- Unamerican Activities made in 1962

Black and White Film, 60 mm. Students were lied to because the hearing wasn’t open to the public. There is a guy who is screaming open the door, open the door.

Would only let in the white card holding community. All about free assembly and the gov’t decieving the community about first come first serve and denying their rights such as free speach, right to petition and right to assembly.The protesters were eventually dragged out and arrested for refusing to leave a "public hearing”

All the manufacturing spaces in San Francisco turned in to artists spaces which allowed the artist to move in and experiment in San Francisco which further made it the hub for experimental art.

Film 6- Billboard Liberation. Bilboard Company. Infinity Outdoor Advertisingusing Billboards as a populist message

Film 7- Bikes not Bombs ( war in Iraq)

A lot of people on bikes protesting the war in Ieaq. They have messaged taped on to them and are chanting while riding their bikes. “No more War"People riding on to the freeways as well.

REFLECTIONS/ JOURNAL ENTRY

[Disclaimer: I wasn’t enrolled in class during this week, so this entry is based off of my own research of Craig Baldwin, the readings, and the lecture notes that I got from a friend.]

In Lawrence Jordan’s interviews, which were part of our assigned readings, he discusses the collaborative environment of the small art scene in San Francisco and the surrounding metro areas. The open, “anything goes” environment in the Bay Area around the 60′s-80′s and beyond allowed people to experiment and be creative and it’s one of the main reasons why the region became such a “hub” for experimental art. Here is a quote from the reading that further discusses the art scene in the Bay Area around the 1960′s. Although Baldwin started producing pieces a decade or so later, much of same descriptions apply.

Baldwin’s work seems heavily influenced by his location in the Bay; this became obvious when he nostalgically discussed the manufacturing spaces in San Francisco that were turned into artists spaces which allowed the artist to move in and experiment when he was younger. Baldwin explored his artistic interests with freedom and without constant judgement, and he became famous for his signature technique of re-contextualizing “found” footage like images and film clips (sometimes from news, sometimes from “fringes of popular conscience”), and infusing a provocative commentary over it that discussed issues he care about. Craig Baldwin started off his presentation by saying that he hoped we’d understand more about the context and history of underground art by the end of it and getting exposure to his work definitely helped me understand what underground art is. Politics play a critical role in the context of underground art. Baldwin’s work tends to be heavily influenced by his views on social and political issues and he used experimental film to cleverly convey his views to the audience. When I watched Wild Gunman, one of his earlier movies, I was amazed at how the juxtaposition of fleeting images from b-list movies, advertisements, etc. along with the disjointed noises from ad jingles, movies, mass media, political speeches, etc. were used so effectively to deconstruct the image of western cowboy masculinity by the end of the film and criticize consumerism. Just as Wild Gunman (1978) implemented a combination of experimental film methods with a provocative political message as a detournement (a situationist attack on corporate advertise), underground art can be distinguished from other forms because it combines art (i.e. film, music, art, architecture, etc.) with an underlying political theme that goes against the norms of the time. Here is the link for Wild Gunman (I don’t know if it was shown in class because I wasn’t enrolled yet):

https://www.youtube.com/watch?v=u1Es5FlHev0

On an unrelated note, Baldwin’s commitment to copyright and his view that collages shouldn’t be considered copyright bring up some really good points that I hadn’t thought about and I’d definitely agree that copyright laws should not apply to an artist’s collage.

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