Blue Velvet Opening

TUTORIAL no:3

POINTS & OBJECTIVES:

• What makes something Scary?
• Videos of Ink and water & Immediate surroundings 
• Suburban Journey's 

SUGGESTED RELATED ARTISTS:

Ged Quinn

Ged Quinn 2005 Oil on linen 267 x 183 cm

Ged Quinn, 'The Lone Ranger', 2007 Oil on canvas, 183 x 252 cm 

Daniel Richter

Daniel Richter - Fatifa

Saskia Olde Wolbers

Often taking the inspiration for her stories from actual news articles, television documentaries, and urban legends, each of Saskia Olde Wolbers films narrate fictional biographies into complex backgrounds of global politics, neuroses, and contemporary mythology. Loosely based on the real life story of a man who convinced his family he was a doctor for over 20 years, Olde Wolbers’s Placebo and Interloper videos explore the dynamic of relationships, identity construction, and co-dependence.

From 'Placebo', 2002

TUTORIAL no 2:

POINTS & OBJECTIVES: 

• Manipulation of environment
• What is installation?
• Real space & Virtual space
• What format? What scale?

SUGGESTED RELATED ARTISTS:

ANSELM KIEFER

Osiris und Isis (Osiris and Isis) 1985-1987 Painting | oil and acrylic emulsion with additional three-dimensional media

Steigend sinke nieder by Anselm Kiefer. Photo by Nigel Young. © The artist and the Thaddeus Ropac Gallery

MARIELE NEUDECKER

The Sunken Village (Das Versunkenes Dorf)

 2001 mixed media incl. building timber, roof tiles, iron, approx. 2000 x 2500 cm

 permanent installation of two domestic houses and one church drowned in the Tiggelsee, Steinfurt in Münster, Germany commissioned by Skulpturen Bienale Münsterland

This Thing Called Darkness

 2008mixed media including resin, steel, lamp 560 x 920 x 470 cm 

permanent installation for Towada Art Centre, Amori prefecture, Japan

I Don’t Know How I Resisted the Urge to Run, 1998

GERHARD RICHTER

Gerhard Richter, Seascape (Cloudy), 1969, Oil on canvas

TUTORIAL no 1:

POINTS & OBJECTIVES:

• Film relationship to Painting
• Cinematography
• Is scale important?
• Post Apocalyptic landscape - How is it imagined? Is there a narrative? 
• Narrative and Anti-Narrative
• Could I create a fictional environment in my immediate space?

SUGGESTED RELATED ARTISTS:

Steve McQueen

Filmed in New York City, Drumroll (22 min., 4 sec., 1998; color-video projection with sound) beautifully combines the artist’s interest in performance art, improvisation, music, the tradition of film and the cinematic experience. Three cameras mounted inside of a barrel offer spinning views of New York City as the artist pushes the barrel along the streets and sidewalks of Manhattan. The viewer listens to the cacophony of the city interrupted occasionally by the voice of the artist.

His 2008 film Hunger, about the 1981 Irish hunger strike, premiered at the 2008 Cannes Film Festival. McQueen received the Caméra d'Or (first-time director) Award at Cannes


The Wilson Twins 

Projected onto four screens, the scenes shift subtly in pace and orientation, from close-up to distant shots and from vertical to horizontal. Such contrasts are typical in the Wilsons' formal repertoire. The underlying narrative is a tale of utopian idealism, science, and Communism gone awry, yielding only unfulfilled expectations and a program that languishes in economic disarray.

Jane and Louise Wilson. Stasi City , (still) (1997).

Cormac McCarthy (review by Adam Mars-Jones for The Guardian) 

A man and his young son make their slow way across a blasted landscape towards the sea. Theirs is a rodent life of hiding and scavenging. They follow the road, but sleep out of sight of it whenever they can. Other human beings have nothing to offer but cruelty and danger. The father creeps out of the boy's earshot at night when he has a coughing fit.

For all practical purposes, the world came to an end some years before in what was presumably a nuclear war, although those words are not used. The dead are unburied and thousands of mummified corpses can be seen still stuck in the tar of the roads that melted round them as they tried to escape.

The boy was not yet born then, though he was well on the way. It isn't certain that he remembers his mother. Now the sun hardly shows its face and nothing grows. The man has to explain the phrase 'as the crow flies' to his son, in the absence of crows or anything else that flies.

Without vitamin D in pill form, the boy will get rickets. There's rarely a roof over his head, so he's out in all weathers, but the sun no longer plays its part in the old bargain of outdoor lives and healthy bones. The only food to be had for the dwindling bands of survivors is tinned - and miraculously undiscovered by all the other scavengers - or else human.

The Road isn't a fable, or a prophesy, or even a tract in the manner of Shute's On the Beach. It's a thought and feeling experiment, bleak, exhilarating (in fact, endurable) only because of its integrity, its wholeness of seeing. The man pushing his shopping cart towards nothing hopeful, boxing the compass of despair, makes Brecht's Mother Courage seem downright fortunate in the choices she must make.

Film Landscapes

My experimentation in my visual journals outside of this blog is developing into the field of captured landscapes, I am interested in film and manipulating the narrative of a landscape. The idea that a landscape has been picked to create 

Apocalyptic monsters - Creating an army

Continuing fantasy worlds ...


Many of the post apocalyptic fantastical landscapes I have discovered are inhabited in some way by a form, sometimes human form, sometimes fictional. In my research I am pulled into two directions, there is the element of sci fi that naturally runs through ideas of the end and then there is the natural landscape that invokes ideas of the sublime with creation and cataclysm. Creation has historical attachments to a time before science and technological development, a time where the imagination created fact from description and writings. Cataclysm has in a postmodern world become a futuristic idea embroiled in hyper reality, science and rapidly progressing digital advancements. 


 Kris Kuksis Imminent Utopia

Zislaw Beksinski