Schedule

 

Class 1, Jan 28: Shaping A History

READING:
John Hanhardt, Video, Media, Culture of the Late Twentieth Century
Hollis Frampton, The Withering of the State of Art
Robert Bresson, Notes on the Cinematographer

SCREENING: (excerpts as needed)
Warhol, Inner and Outer Space, 1966
Vasulka, Violin Power, 1978
Peter Campus, Three Transitions, 1973
Joan Jonas, Vertical Roll, 1972
Richard Serra, Television Delivers People, 1973
Robert Bresson, Au Hasard Balthazar, 1966
optional:
Art of Memory (excerpt) mcc 36:37
Lilith, Steina
Ernie Gehr, Serene Velocity mcc 23:00

Technical: Premiere introductory tutorial

To begin: Shoot video on your phone, with Mitch's SLR cameras, with the GoPro. Think about and use the characteristics of each. Change it up. What if you shot something with a GoPro that is better suited to the SLR etc.

Read this website:
http://learnaboutfilm.com/
and this for composition:
http://www.photographymad.com/pages/view/10-top-photography-composition-rules
 

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Class 2, February 4: Immediacy

Jenn's SLR camera demo

READING:
William Kaizen, “Live on Tape: Video, Liveness and the Immediate” in Art and the Moving Image: A Critical Reader (Tate Publishing, 2008). 
Seth Price, Dispersion, 2007. 

Further reading with a good sense of the life and times of early video technology:
Interview with Gary Hill by Lucinda Furlong

SCREENING:
Acconci, Red Tapes, 1976
George Kuchar, Weather Diary I (excerpt), 1986
(Kuchar's statement about Weather Diaries)
Bruce Nauman, Dance or Walk on the Perimeter of a Square, 1967 
Baldessari, I Will Not Make Any More Boring Art, 1971

for fun: Bjork Talking About Her Television:
https://www.youtube.com/watch?v=75WFTHpOw8Y

Technical: Playing and marking shots, subclips, insert editing, moving/swapping shots, 3 pt editing, basic trims, splitting clips

DUE: In progress work or previous work presentation

1.

2.

3.

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Class 3, February 11: Cinema and Time

JENN's iPhone Setting Demo

READING:
Gilles Deleuze, “The Crystals of Time,” in Cinema 2 (Minneapolis: University of Minnesota Press, 1989): 68-97. 
Barbara London, Time as Medium, Five Artists Video Installations 

SCREENING:
Sans Soleil (Chris Marker, 1983, 16mm transferred to video, 100min)
Bill Viola, Reflecting Pool, 1979
Bill Viola, Anthem, 1983
Douglas Gordon, 24 hour Psycho, 1993
Gary Hill, Suspension of Disbelief, 1991-1992

DUE: In progress work or previous work presentation

1.

2.

3.

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(CONVERSION DAY, FEB 18, MONDAY SCHEDULE)

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Class 4, Feb 25: Jean-Luc Godard: Montage as Ontology

READING:
Jacques Ranciere, “Godard, Hitchcock, and the Cinematographic Image” in Godard For Ever (Black Dog, 2004): 214-231.  
Jean-Luc Godard, “Montage My Fine Care,” in Godard on Godard  

SCREENING:
Selections from Histoire(s) du Cinema (Jean-Luc Godard, 1988-1998, video, 266min)
Aida Ruilova, “Beat/Perv” and “Hey”, 1999
Omer Fast, "CNN Concatenated", 2002

DUE: In progress work 

1.

2.

3.

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Class 5,  Mar 4: Video and Space

COLLAGE PDF
READING:
Rosalind Krauss, Sculpture in the Expanded Field, October   
Graham, Essay on Video, Architecture, and Television  
Malcolm Turvey, Chrissie Iles et al., “Round Table: The Projected Image in Contemporary Art,” October , Vol. 104 (Spring 2003), pp. 71-96.
Henriette Huldisch, Before and Besides Projection 

OPTIONAL:
Miwon Kwon, “One Place after Another: Notes on Site Specificity,” October , Vol. 80(Spring 1997), pp. 85-110.
Liz Kotz, Space Between the Screens.

SCREENING:
notes
Rivane Neuenschwander, The Tenant, 2010
Tony Oursler MCA
https://www.youtube.com/watch?v=yTG1oxBo-3o
Jesper Just, Corporealites, 2020
Doug Aitken, “These Restless Minds”, 1997 and  “Migrations” (2009)
Cauleen Smith, "Crow Requiem," 2015

DUE: In progress work 

1.

2.

3.

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Class 6, March 11: Performing Bodies
READING: 
Rosalind Krauss, “Video: The Aesthetics of Narcissism” from Art and the Moving Image: A Critical Reader (Tate Publishing, 2008). 

Interview with Patty Chang

SCREENING: 
Linda Montano, Mitchell's Death, 1977
Sue de Beer MAKING OUT WITH MYSELF (1998)
Cheryl Donegan,  “Head”, 1993
Kate Gilmore Built To Burst, and “Rock Hard Place”, 2011
Alex Bag, '95
Patty Chang.”Eels” and “Fountain”, 1999
Francis Alys, “When Faith Moves Mountains”, 2002
Cauleen Smith, Chronicles of a Lying Spirit (mcc), 1992

DUE: In progress work 

1.

2.

3.

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Class 7, March 18: Video and Gesture

READING:
Chrissie Iles, “Issues in the New Cinematic Aesthetic in Video” from Saving the Image: Art After Film (Glasgow: Centre for Contemporary Arts, 2003): 129-141.

Amelia Jones, "From Body Art/Performing the Subject" Art of the Twentieth Century" introduction and chapter 1. 

Martine Syms,  Black Vernacular: Reading New Media

READING:
Burns and Martin, Recall, 2010?
Pipilotti Rist, early tapes
Alex Da Corte, “ Chelsea Hotel no. 2”, 2010
Martine Syms, Notes on Gesture, 2015
Technical: After Effects

DUE: In progress work 

1.

2.

3.

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Class 8, March 25:  Circulation and Speed
READING:
Paul Virilio, “The Vision Machine” from The Vision Machine (Indiana University Press, 1994) p. 59-77.  
Hito Steyerl, " In Defense of the Poor Image" e-flux, Journal no. 10, November 2009.    

SCREENING:
Screening: War at a Distance (Harun Farocki, 2003, video, 58min)

Extra READING:
Dana Liljegren, Suspension of Disbelief. 

DUE: In progress work 

1.

2.

3.

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Class 9, April 1: Documentary Dislocations

DUE:MID TERM WORK DUE, Last Call
READING:
1. Jonathan Walley, Modes of Film Practice in the Avant-Garde, Art and the Moving Image: A Critical Reader (Tate Publishing, 2008).   
2. Pp 1-18 ,Maeve Connelly, Event Sites and Documentary Dislocations, The Place of Artists Cinema, 2009.    

Optional :

3. 11.4: Shelleen Greene/Sondra Perry, It’s In the Game ‘17 , or Mirror Gag for Vitrine and Projection

4. Alessandra Raengo and Lauren McLeod Cramer, “There Is No Form in the Middle”: Kevin Jerome Everson's Massive Abstraction

SCREENING: 
Amie Siegel, Quarry, 2015
Omer Fast, “Spielberg’s List”, 2003
Rachel Rose, “Sitting, Feeding, Sleeping” 2013 and “A Minute Ago” 2014
Sondra Perry, “It’s in the Game”, 2017
Kevin Everson, “ Ears, Nose and Throat, 2016
Kevin Jerome Everson, “Sound That”
Cauleen Smith, Chronicles of a Lying Spirt (by Kelly Gabron)

DUE: In progress work 

1.

2.

3.

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Class 10, April 8:   Found Footage, Readymades, Appropriation 
READING:
Nicolas Bourriaud, “Deejaying and Contemporary Art,” Postproduction/Culture asScreenplay: How Art Reprograms the World, trans. Jeanine Herman (New York:Lukas & Sternberg, 2002), pp. 39-45 (page 19 of the pdf).   

ASAP Review, Love is the Message, The Message is Death, by Huey Copeland

SCREENING:
Decasia, Bill Morrison, 2002
Candice Breitz, "Her" 2008
Technology/Transformation: Wonder Woman (Dara Birnbaum, 1978, 5 min.),
Martin Arnold, Piece Touche, 1989
Ja'Tovia Gary, An Ecstatic Experience, 2015
Arthur Jafa, “Love is the Message, the Message is Death” ,2017
Harun Farocki, How to Live in the FRG, 1990
Jon Rafman, REKT, 2022

DUE: In progress work 

1.

2.

3.

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Class 11, April 22:  Genre Dislocations
READING:
George Baker, “An Interview with Pierre Huyghe,” October , Vol. 110 (Autumn 2004), pp. 80-106. 
Holland Cotter, Video Art Thinks Big, The New York Times, January 2008.
Chan Marshall, Kalup Linzy, Interview Magazine

READING:
The Third Memory (Pierre Huyghe, 2000, 10 min.),
Streamside Day (Pierre Huyghe,2003, 26 min.),
Ryan Trecartin
Alex Bag '95, 1995
Guy Ben Nur, "Moby Dick", 2000
Kalup Linzy, All My Churren, 2003

DUE: In progress work 

1.

2.

3.

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Class 12, April 29: Post Human Imaginations

READING:
Lev Manovich, “What is Digital Cinema?”  
Jennifer Chan, Notes on Post-Internet Art.

Extra:
Brian Feldman, New York Magazine, Video Is the Web’s Future and It’s a Wonderful Mess
Peter Weibel, “Expanded Cinema, Video, and Virtual Environments,” Future Cinema:The Cinematic Imaginary After Film, eds. Jeffrey Shaw and Peter Weibel(Cambridge, MA: MIT Press, 2003), pp. 110-125.

SCREENINGS:
Loretta Fahrenholz, Ditch Plains, 2013
Oliver Laric, Versions
Khavn, Love is a Dog From Hell, 2021
Takeshi Murata, Om Rider, 2013

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Class 13, May 6: Final Work
Determine Order Below:  You may switch with someone if that helps the timing. Plan on up to 25 min total (including screenings of up to 15min lengths).

FINAL PROJECTS

1.

2.

3.

4.

5.

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Class 14, May 13: Final Work

Determine Order Below:  You may switch with someone if that helps the timing. Plan on up to 25 min total (including screenings of up to 15min lengths).

FINAL PROJECTS

1.

2.

3.

4.

5.

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Extra Works/Artists to keep in mind: