Week 6

Summary of Work for Week 6

  1. Notes on the article “Turn and Face the Strange” by Darcey Steinke
  2. Look at works by Maurizio Cattelan, Cindy Sherman, Erwin Wurm, Janine Antoni, and others. Watch my short lecture video.
  3. Exercise: Post 3 new faces with brief descriptions
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Nathan’s Tech Talk time:
1.  How/where to download Affinity.  

2. A few moves on Affinity photo to improve the quality of their images – colour, light, contrast, minor adjustments, and reducing image size for the blog.

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  1. Read the article below and write up to 250-350 words reflecting on the questions below.

In the article Steinke says: When I look at masked people my brain still feels like its malfunctioning, a skipping sensation, a tenuous connection is reached for and missed.” Describe a situation from your recent experience where not seeing faces has caused significant misunderstanding, confusion, or grief.

Which of the faces discussed in the text were of particular interest to you and your experience? How do you think about these faces?

Who are you without your face? How is your experience different without your face in public? Can you imagine new ways to face the world?

MAURIZIO CATTELAN:


Goodnight, 2020
Maurizio Cattelan, Super Us, 1998.

First created in 1992, the self-portrait Super Us
also demonstrates Cattelan’s irreverent
approach to this type of work. It consists of
multiple portraits of Cattelan produced by
police-composite-sketch artists and based on
accounts submitted by friends and
acquaintances. The results are a record of the
varying impressions that he had made on those
who provided the descriptions. Beyond
portraying the self as a network of other
people’s appraisals, Cattelan’s goal was also to
visualize the way in which our perceptions of
others can never form a complete picture. The
work provides 50 different views of the artist,
presenting a multiple and fractured self rather
than a unified, integrated whole. Cattelan
states, “That piece was really about how people
around you perceive you in different ways than
how you really are. So I was thinking about
visualizing the idea of the self. The drawings
really looked like me, but at the same time they
were like cartoons. They were terrific. I don’t
know if it was a fluke.” From Guggenheim.org

JANINE ANTONI:

Mom and Dad, 1994

Janine Antoni has crafted her personal aesthetic out of everyday activities and the objects that surround them. In particular she focuses on the rituals of the body, such as eating, sleeping, and bathing, as well as what would once have been called “women’s work,” such as mopping and weaving. A polyglot when it comes to mediums, Antoni has created sculptures, videos, photographs, and paintings, but the unifying substrate in her work has always been her body and the actions and contexts that encode it.
Two photographic works have used her parents as sculptural material. In Mom and Dad (1994), Antoni made up each of her parents in the guise of the other, photographing them together in three different permutations with either one or both of them costumed in this way From Guggenheim.org

GILLIAN WEARING:

Gillian Wearing Self Portrait of Me Now in Mask 2011
Self Portrait at 17 Years Old, 2003© Gillian Wearing, courtesy Maureen Paley, London
Rock and Roll, Gillian Wearing 2015

ANA MENDIETA:

Ana Mendieta – Facial Hair Transplants, 1972

Ana Mendieta’s “Untitled (Facial Hair Transplants)” is a unique work that examines the boundary of what is typical for men and women.  In this 1972 work, Mendieta transfers the beard of a fellow student at the time, Morty Sklar, onto her own face.  The actual work is a group of photographs documenting the process and final result.  (From here)

ERWIN WURM:

From: Looking for a Bomb

Erwin Wurm: From top – One-Minute Sculptures (ongoing series)

Cindy Sherman (and follow her instagram for regular posts of facial transformations)

Jackie Nickerson

Nina Katchadourian

“Lavatory Self-Portraits in the Flemish Style” from Seat Assignment
2010 and ongoing

Improvising with materials close at hand, Seat Assignment consists of photographs, video, and digital images all made while in flight using only a camera phone. The project began spontaneously on a flight in March 2010 and is ongoing. At present, over 2500 photographs and video, made on nearly 200 different flights to date, constitute the raw material of the project.

While in the lavatory on a domestic flight in January 2011, I spontaneously put a tissue paper toilet cover seat cover over my head and took a picture in the mirror using my cellphone. The image evoked 15th-century Flemish portraiture. I decided to add more images made in this mode and planned to take advantage of a long-haul flight from San Francisco to Auckland, guessing that there were likely to be long periods of time when no one was using the lavatory on the 14-hour flight. I made several forays to the bathroom from my aisle seat, and by the time we landed I had a large group of new photographs entitled Lavatory Self-Portraits in the Flemish Style. I was wearing a thin black scarf that I sometimes hung up on the wall behind me to create the deep black ground that is typical of these portraits. There is no special illumination in use other than the lavatory’s own lights and all the images are shot hand-held with the camera phone. At the Dunedin Public Art gallery, the photos were framed in faux-historical frames and hung on a deep red wall reminiscent of the painting galleries in museums like the Metropolitan Museum of Art. From Nina Katchadourian

Jan Hakon Erichsen

Jan Hakon Erichsen, 2020

Jan Hakon Erichsen, 2020

EXCERCISE:

Change your face three ways. Make up a new face, or a new way to hide your face. Make an alternative pandemic mask. Use your face as the base of a sculpture. Make your face into something that is not a face. Or that is someone else’s face. Be playful, and see how many ways you might explore your own face, and to think about faces in this moment.

You must do this manually, using materials found around your home – not by altering/photoshopping the images. Some gestures might be light and quick, some might take more time.

Document your new face with your computer (like in zoom) or with a tripod and photo timer, or have someone in your household help out.

Post your three best transformations, with a brief description of each.


Week 5

Summary of work due AT THE LATEST: TUESDAY OCTOBER 27th, 2020

There is no new work to complete for this week .

I will be checking your Student page on the blog to find the work from the past 5 weeks. This is how your work will be evaluated. If work is incomplete, your will be deducted according to the amount of work incomplete. If everything is complete and the minimum requirements of each assignment are met – you will automatically receive a 75%. If it is completed with above-average level of curiosity, investment, effort and understanding of ideas – you may receive a higher grade.

See each week’s post to find a summary of work that should be on your blog.

Notes for weeks 1-5 (worth 20% of final grade)

Notes will be evaluated for completion, evidence of curiosity and full engagement with material, level of understanding of critical ideas at play.

Exercises for weeks 1-5 (worth 20% of final grade)

Exercises will be evaluated for completion, evidence of historical precedents for the work, understanding of conceptual ideas at play, evidence of technical investment and effort, evidence of experimentation and adventurousness.

TECH TALK TIME: In this week’s class, Nathan will talk about formatting your videos for uploading to the blog, and how to upload media to WordPress. Bring your questions – Nathan will join us for the last 20 minutes of each class.

Week 4

Summary of work for Week 4:

  1. Actively explore and think about the work of Adad Hannah
  2. Make a self-portrait or portrait of someone else in the style of Social Distancing Portraits. Post and describe your 1 minute video.
  1. Explore the website and look at the past work of Adad Hannah:

Adad Hannah was born in New York in 1971, spent his childhood in Israel and England, and moved to Vancouver in the early 1980’s. He lives and works in Vancouver, Canada.

From An Arrangement, Stripes

Focus on these works, and consider his conceptual approach to his videos. Think about the simple concept he begins with, and the prompts and rules he gives to his performers. Consider how when very action happens, all kinds of surprises and meaning happen.

Handheld Case Study:

https://adadhannah.com/2018-handheld-case-study-white-orange-blue

Burghers of Vancouver:

https://adadhannah.com/2015-burghers-of-vancouver

The Screen:https: //adadhannah.com/2013-the-screen

VIDEOS from Traces:

https://adadhannah.com/2010-traces

Look at his most recent project on Instagram – he is collecting portraits of citizens of Vancouver living, working, shopping, protesting, teaching, studying and more – during the Covid-19 Pandemic.

An ongoing collection of works that speak to the historical moment – made in the past, or made today.

Adad Hannah: Social Distancing Portraits 2020:

Visit this link to see the videos in the ongoing collection:

Stills from Adad Hannah: Social Distancing Portraits 2020:

Read the article about the project from the Vancouver Sun:

https://vancouversun.com/entertainment/adad-hannahs-social-distancing-portraits-capture-the-uncertainty-of-our-time

MAKE and post on blog:

You are going to make your own 1-minute version of a Social Distancing Portrait – based on the work of Adad Hannah (see link above).

You can make a self-portrait – or a portrait of someone you know, or of someone you don’t know. Strictly follow all public health guidelines during the pandemic at all times – and when you make your work.

Consider Adad Hannah’s examples, look at many of the videos from the past 6 months. What are the kinds of people he observes? How are they different from one another? How do the portraits change over time? How do the portraits witness important moments of the pandemic? What new insights or meaning does he bring with these videos – especially with so many of them?

Also consider the rules he uses to create the videos – in terms of framing, composition, and the prompts he gives his performers. Can you tell his concepts and forumulae for making these pieces? Use his rules – as far as you can deduce them.

We will be making videos with ambient sound – and not adding music to the videos. They will be unedited – just cut at the start and at the end to form an eternal loop. The will be approximately 1 minute long.

Adad Hannah has given his blessing to students in Experimental to appropriate his methods and make versions of his Social Distancing portraits. He wants to see the best ones – keep it real – and try to make them follow in the spirit of his concept for the series.

Post your 1 minute, one-shot video on the blog – and include a quote from your model (or self) the way Adad does. Include a description of your video, with references to Adad Hannah’s project, reflecting on some of the questions above in BOLD.