Enhance 34 to 36, Blade Runner Clip UNIT THREE note

The photograph has been scrutinized for data, and in this still image (taken from the 1984 sci-fi film Blade Runner) it is shown to tell more than what appears. By looking through the surface deep into the reflections in the mirror, the protagonist is able to find a necessary clue. See entire clip here---->x

willingness to work with the uncertainties and the constantly evolving experiences we have in the world

In this project the photograph is used as a way to consider physical space. A main condition of the photograph is its capturing of time. As well there is a constant evolution, or progression to the state of existing things, that they in effect are instances of their existence in time.  

PROCESS: select an image, event, figure, object, situation, concept

Categorize it according to a "stayed" position, à la Cartier-Bresson's decisive moment, or even in terms of a definition, "It is THIS".

The artwork you make is an 'undoing' of this instance, of this definition. It is to provide the layering and the expanded view, or the exploded view of the instance. See "Things Come Apart" link in side-column.

Materials: Open
Consider: the frame of reference in which we are to observe the work in its final form

I'll be looking at the wider context with which the work is displayed: the state of the wall, the floor, the plinth etc. Clean them and have us (your viewers) focus on what it is you are saying with your work!


further examples:
Andreas Johansson, Sweden
Collete Fu, USA


Andreas Johnasson: photograph as shown in installation

Installation view (not the clean and purposeful room!)

Opposiing view (background props of photographs):

Colette Fu

Critique day 18 Mar 2014

Please click on grading rubric as listed in pages menu above.

It's going to be an awesome critique today. I can't wait to see the work.

Unit Two Criteria etc.

Criteria:

To make an installation that discusses two-dimensional catered space of a photographic image

Parameters:

The choice of subject-matter is open.

A chosen photograph is "involved" in the final installation. How the photograph figures into the final installation is to be determined by the artist. This relationship between photograph and the installation is to be understandable by the viewer.

The photograph can be the resource for the installation, or vise versa. The installation can be the subject matter for the photo.

Where the installation is situated is to be considered. The installation borders are evident for the viewers.

Scale is to be determined by the artist.

Materials are consistent with and add to the design intentions and concept behind the work.

critique parameters

Quoted from (Launching the Imagination)

Description: The first step is to look carefully and report clearly. Without evaluating, telling stories, drawing conclusions, or making recommendations, simply describe the visual organization of the work presented. A descriptive critique can help you see details and heighten your understanding of the design. The student whose work you describe learns which aspects of the design are most eye catching and readable and which areas are muddled and need work.

When using description in a spoken critique, it is useful to consider the following compositional characteristics:

• What is the format or boundary for the design? A circle or sphere presents a very different compositional playing field than a cube or a square.
• What range of colors has been used? A place and white design is very different from a design in full colour.
• What is the size of the project? Extremes are especially notable. A sculpture that is 10 feet tall or a painting that is one-inch square will immediately attract attention.
• Is the visual information tightly packed, creating a very dense design, or is the design more spacious, with a lot of space between shapes or volumes?

Cause and Effect

Build on description using cause-and-effect critique, you might conclude that  because [of certain design qualities] you might conclude the design is dynamic. In a cause-and-effect critique, you discuss consequences as well as choices.

Greatest Strength/Greatest Potential

Many projects have one notable strength and one glaring weakness. To create a positive atmosphere, start by pointing out the strength in the work. Begin by looking for [formal attributes]:

The level of unity in the design and how it was achieved.

The amount of variety in the design, and how much energy it generates, 

The visual rhythms used and their emotional effect.

The attention to detail. This could include craftsmanship, conceptual nuance, or compositional economy.

A conceptual spark. We all love to see an unexpected solution that redefines the imaginative potential of a project.

notes for UNIT THREE "At this Given Instance"

"I would say we all practice it even if we don't like the word conceptualist or conceptualism. What we're practicing is no longer an attachment to something finite, but rather a willingness to work with the uncertainties and the constantly evolving experiences we have in the world, which are of course in our current condition largely brought to us through the agency of technology." Ian Carr Harris

Premise: Unit Three looks the dematerialization of the object of art (Lucy Lippard). It is to analyze and to situate an instance (whether it be an event or an object) and provide evidence to the structure and make-up surrounding that event or object, whether of its making, or of its demize.

 It is to illustrate the larger trajectory that its evolution can be said to exist (i.e from before it was assembled, or after it came apart). 

It is to discuss in an artwork how we construct our understanding of something, whether it be a condition, a thought, a situation, an object, a story, a figure, an image, and how the conception of it is informed by the maintenance of it as a static whole. 

See the work of Gillian Wearing, Rachel Whiteread (House), Ian Carr Harris, Adad Hannah (Two Views), Francis Alys (When Faith Moves Mountains, 2002)

It uses the photographic image as a metaphor for this idea, that at some point things are held together but will eventually fall apart. (A literary reference to this it Alan Weisman's book "The World Without Us", 2007).

Photographs, particularly documentary photographs capture and represent a given instance in time. That all moments leading up to the photograph and all instances after will have shifted or changed and perhaps no longer even be in existence. It is what legendary documentary photographer Henri Cartier Bresson referred to as the decisive moment.

This project is to address in an artwork the shifting nature of an object and how "we assign a hierarchy of value" to it according to what we know---> how we arrive at the conception of what something is, that the conception of it unfolds in time. We learn about something, or have a notion about what something is and we either maintain that conception, or it is forgotten. It is influenced according to new information or of new conceptions. We assign a value to it.

PROCESS: There is a constant evolution, or progression to the state of how things exist. They are assembled and absolute only for an instant, and only for the time in which we perceive them, or elaborate on them in our mind.

This is an open project that uses installation and/or photography.