Posting Video to Your Blog...

...is a thankfully simple process. With your project open in iMovie, select Share -> YouTube. Add your YouTube account name (you must open an account on YouTube in order to post), and your password. Select a category, and then give your video a title and - if you like - description. This is not an appropriate place for your summary description, however. Your summary should be posted underneath the video on your blog (see below, for example).

Be sure to select either Large or HD as the size for your video (preferably HD, unless you shot your video on a camera without this capability). Once you've posted your video to YouTube, it will be available on the site, although this can sometimes take several minutes to several hours depending on how busy the server is. DO NOT LEAVE THIS TO THE LAST MINUTE.

Once you are logged into YouTube, under your account name, select My Videos, then click on the title of your video. Your video will open and play in a viewing window on YouTube. Notice the box below containing both URL and Embed html codes. Be sure to select the customize icon to the right of the Embed code. Type in a width of 400. The height will be determined automatically. This will ensure that the Blogger window has enough room to show your video and that it will upload quickly. Keep the rest of the boxes unchecked. Please also ensure that your video is not set to "private" as this can cause viewing problems.

Now, highlight/select all of the code in the Embed box and select Copy. Then simply create a New Post on your blog, and paste the code into the text box.



When composing your post, you will only see html code, but when you preview or publish your post, you will see the embedded video file (see above). Your final task is to include the summary paragraphs for your video, which should be at the bottom of your post.

Joan Jonas Receives Lifetime Achievement Award from Guggenheim

On the occasion of the First Annual Art Awards, the Guggenheim is proud to honor Joan Jonas and Kasper Koenig with Lifetime Achievement Awards for their extraordinary contributions to the field of contem- porary art.

Joan Jonas

Over the course of four decades, Joan Jonas has created a consistently unique body of work, establishing herself as a pioneering force in the genres of body art, performance, and video art. Within this expanded field of production—which also includes the mediums of drawing, film, installation, photography, and sculpture—Jonas has systematically investigated the structures of time and space that govern our physical world, and the place of the perceiving subject within them. All the while she has also remained deeply engaged with the cultural realms of myth, folklore, and history, and how identity, especially feminine identity, plays a role in these constructions.

Getting her start in New York’s downtown art scene of the 1960s, Jonas—like her artistic peers—set out to rethink the status of the artwork in the wake of Pop art and Minimalism. Adopting the idea of art-as-process, Jonas turned to performance, systematically yet intuitively exploring every aspect of how live events could be structured. She moved outdoors, emphasizing the physical properties of sound and vision in real space, and used mirrors to reverse her audience’s gaze, turning spectators into spectacle. Delving into new technology, she forged bold paths for a phenomenology of video, in all its permutations. She donned costumes and appropriated folkloric traditions, unearthing forgotten archetypes of the feminine just as the women’s movement gained power. By the early 1980s Jonas had begun to create complex, nonlinear narratives premised on literary and historical texts, reaching back to medieval Icelandic sagas, the work of the poet H.D., and, more recently, the writings and biography of famed art historian Aby Warburg.

Jonas has been the subject of several major retrospectives organized by the Stedelijk Museum, Amsterdam; the Van Abbemuseum, Eindhoven; the Staatsgalerie Stuttgart; and the Queens Museum of Art, Flushing, New York. She has performed and exhibited her work extensively, working internationally with institutions too numerous to list, and collaborating with such contemporaries as the Wooster Group. Most recently, she presented her multimedia installation Reading Dante at this year’s Venice Biennale to much critical acclaim.

Above content from www.guggenheim.org

It's MacArthur Fellow Time!!!

Always exciting - this year, digital artist Camille Utterback is among those to receive the "Genius Grant". To find out more about her work, watch the clip below and have a glance at her website - the link to which is available HERE.

Camille Utterback, 2009 MacArthur Fellow

September 22, 2009

MacArthur Fellows, Multimedia

Digital artist Camille Utterback was named a MacArthur Fellow in 2009. The Fellowship is a $500,000, no-strings-attached grant for individuals who have shown exceptional creativity in their work and the promise to do more.

For more information, click HERE.
Above content provided by The John T. and Catherine D. MacArthur Foundation

Leighton Pierce at LaViolaBank Gallery in NYC

And the hits just keep on coming! This announcement just came to my inbox today. In THIS instance, I will be fortunate to be in New York right before the shows closes. Finally. Pierce is known for creating lush soundscapes that accompany his equally lush imagery. This will be my first chance to see his video work in an installation format.

I highly encourage anyone who will be in NYC during this event to go have a look.

Wow, I'm just running across all manner of interesting stuff this weekend. This volume, although likely not a real page turner, certainly relates to our recent class discussions in ART130 regarding the reproducibility of of digital images and archiving issues.

The Digital Print.
Identification and Preservation.
By Martin C. Jürgens.
The Getty Museum, 2009. 304 pp., 227 color and 49 black & white illustrations, 8x10".

Publisher's Description
This invaluable resource demystifies the complex, rapidly changing, and sometimes confusing world of digital print technologies. It describes the major digital printing processes used by photographers and artists over the past forty years, explaining and illustrating materials and their deterioration, methods of identification, and options for acquiring and preserving digital prints. A removable chart provides a ready reference for identifying specific materials.

Anyone involved in identifying and preserving digital prints-from conservators, curators, archivists, and registrars to photographers, artists, and printing studios-will welcome this comprehensive, one-of-a-kind volume.

Above content from photo-eye newsletter

Kim Boske - Mapping

Image Credit: http://www.kimboske.com/

Just came across some pretty interesting work by this artist. This work is useful to consider alongside the next assignment dealing with montage in ART130.

Below is an excerpt from the 1000 Words Photography Magazine Blog about the work.

Boske is fascinated by the system of time and space. In her work she tries to capture this illusive reality by exploring the mutability of things. Her photos incorporate various levels, merging different moments in time together. They reveal phenomena that are impossible to see or witness with the naked eye.

In Mapping, Boske investigates how physical movement in time and space continually changes our perspective on the world. By eschewing individual perspective and instead combining multiple perspectives in a single image, she creates a new, layered reality. Here Boske presents a series of views of trees that she photographed from different angles. She combines the various shots to form a new image that shows each tree in its entirety. All the perspectives of the tree exist simultaneously; they overlap each other and join together to form a single image in a changing world of appearance and disappearance.

Above content from 1000 Words Photography Magazine

Caroline Martel's new installation encompasses archival and classic film footage. Opening @ Dazibao in Montreal this December

Caroline Martel

Cinémas de l'industrie

12.09.09 – 17.10.09

Image Credit: Caroline Martel, 2009

It is believed that several hundred thousand industrial films were produced in the United States between 1920 and the late 1970s. These commissioned films, with their precise goals and within the constraints of an acknowledged rhetoric, were never meant to be or perceived as works of art. Going against the current of received ideas on the topic, the documentary filmmaker Caroline Martel has carried out a close and thoroughly original study of these fringe cinemas to create works of art out of orphan films and film classics alike.

Cinémas de l’industrie is made up of two separate projections, one of industrial films and the other of films from the cinematic canon. In the break between these two practices thereby revealed, the codes they share are made visible, as well as a subtle play of interference and quotation. Using some twenty works covering a century (1896 to 1991), Martel composes a counterpoint that reveals the clichés and commonplaces of film language—all those techniques whose eloquence transcends genre. Frank B. Gilbreth’s one best way studies, films made by Bell Laboratories and other excerpts found in the course of patient research are seen alongside famous films, they sometimes imitate sometimes inspire, such as Modern Times, 2001: A Space Odyssey and Tron.

In La Chimie du temps, Martel examines the effect on the viewing experience of changes to the film stock over time. Even the worst-preserved films are rarely seen in their real state: the job of technicians in audio-visual archives is to make them “legible”, by restoring their colours for example. What then is the original of an archival image: its filmic source as it has been preserved or the corrected—altered—version that is nevertheless closer to how it first appeared? How should an archive be read?

Above content courtesy of Dazibao

Dan Graham's Greatest Hits at the Whitney

This retrospective will close soon at The Whitney - I'll just miss it. Of course. Loads and loads of great information about Graham and his work are available on the Whitney website - you can link to that HERE.

About the Exhibition
On view June 25-October 11, 2009

Dan Graham: Beyond surveys the artist's career from the mid-1960s to the present. As one of contemporary art's most innovative and influential figures, Dan Graham has been at the forefront of many of the most significant developments in art, including conceptual art, video and film installation, performance, site-specific sculpture, and musical collaboration. This exhibition—his first retrospective in the United States—examines each stage of Graham's career through his photographs, projects for magazine pages, films, architectural models and pavilions, performances, video installations, prints, drawings, writings, and his work with musicians Sonic Youth, Glenn Branca, and Japanther.

Graham was born in Urbana, Illinois, in 1942 and grew up in New Jersey, a suburban landscape that would inspire him throughout his career. He began his career as a writer, and founded and directed the short-lived John Daniels Gallery in New York in 1964, exhibiting the work of a new generation of conceptual and Minimalist artists—including Donald Judd, Sol LeWitt, and Robert Smithson. This experience had a deep influence on Graham's subsequent work, particularly the artist's relationship to his peers and to the culture at large as well as his interest in art’s economic and social framework.

Graham's rejection of the high-seriousness of modern art emerged at the same moment as Pop art in the early 1960s. "I love magazines because they are like pop songs," he once explained about his early conceptual magazine works, "easily disposable, dealing with momentary pleasures." He infused his approach with a wide range of literary, anthropological, and scientific influences, from cybernetics and topology to the writings of Jean-Paul Sartre, Gregory Bateson, and Margaret Mead. Graham's performances of the 1970s and his architectural pavilions of the 1980s to the present, with their kaleidoscopic refraction of bodily experience, demonstrate his interest in revealing the private self as part of a social, public context.

The fluid, democratic quality of Graham's work continues to exert a powerful influence on younger generations of artists. His desire for a connection to others mirrors our own; yet his work offers a way to critically explore that desire at a moment when interconnectivity and instant feedback are conditioning our collective consciousness to an unprecedented, global degree.

Above content provided by The Whitney Museum of American Art

Robert Frank's Elevator Girl Sees Herself Years Later

Pretty great little story - the link is below:
http://www.npr.org/templates/story/story.php?storyId=112389032&ft=1&f=1001

Image Credit: Robert Frank/Courtesy of the National Gallery of Art

Pat Boas @ Marylhurst's Art Gym in Oregon

I know not many of you will be able to make it out to Portland for this exhibition, but Boas' work is worth having a close look at, especially for those of you in the new Introduction to Digital Media course. You can find out more about her work by reading the press release from Marylhurst and also from the artist's own website - www.patboas.com

Pat Boas — Record Record.
Preview Reception
Sunday, Sept. 13, 3 to 5 PM
Exhibition continues through October 28.
http://www.marylhurst.edu/aboutmarylhurst/pressrelease20090805.php

Gallery Talk
Thursday, Oct. 8 at Noon

Pat Boas is an artist who has intrigued me for a number of years. The artist makes work
that explores and examines language in context— letter by letter, word by word, image
by image. I have long been drawn to the elegance of her ideas and their expression.
The Art Gym exhibition Pat Boas — Record Record includes four series that comment in
very quiet ways on the text and images in The New York Times and a new series of digital
works What Our Homes Can Tell Us that captures language found in the artist’s home and
places of importance to her extended family.



From the series NYT Little People
June 22, 2008 Inside the Interrogation Of a 9/11 Mastermind, 2009 (detail)
Gouache on paper



From the series What Our Homes Can Tell Us, 2008-09, digital prints and projected video

Above content provided by Terri Hopkins, Director and Curator of The Art Gym

Rollins Professor Rachel Simmons Lecture @ CFAM

(Please click on the image to enlarge)

Artist Presentations - Discussion Follow Up

In case any of you are interested in continuing the discussion or posing questions about any of the artists who were presented on today, please feel free to use this blog as a forum. You may post pictures and/or add links in your comments, or you may forward an image on to me if you would like me to post.

Here is a list of the artists who were discussed today and their presenters:

Holt on Axel Hutte
Carly on Bernd and Hilla Becher
Richard on Chan Chao
Lindsey R. on Joan Fontcuberta
Robert on Hiromix
Lindsey S. on Jeff Wall
Sam on Joel Sternfeld
Corinna on John Riddy
Eric on Tatsumi Orimoto, or, Breadman
Walt on James Welling
Stephanie on Fazal Sheikh

Interesting New Photography Publication to Check Out....

Lay Flat 01.
Remain in Light.
Edited by Shane Lavalette. Photographs by various photographers, text by Tim Davis, Darius Himes, Cara Phillips, Shane Lavalette, and others.
Lay Flat, 2009. 40 pp., 20 color illustrations, 5½x7½".

Publisher's Description

Lay Flat is a new print publication devoted to promoting the best in contemporary fine art photography and writing on the medium. Each issue is assembled by Shane Lavalette in close collaboration with a co-curator.

Included in Lay Flat 01: Remain in Light are essays by Tim Davis, Darius Himes, Cara Phillips and Eric William Carroll, an interview with Mike Mandel by Shane Lavalette and a poem by Jason Fulford, all accompanied by 20 unbound photographs from a selection of international photographers: Andreas Weinand, Anne Lass, Coley Brown, Debora Mittelstaedt, Ed Panar, Estelle Hanania, Gustav Almestål, Hiroyo Kaneko, Kamden Vencill, Mark McKnight, Michel Campeau, Nicolai Howalt & Trine Søndergaard, Nicola Kast, Nicholas Haggard, Shawn Records, Raimond Wouda, Richard Barnes, Thobias Fäldt, Whitney Hubbs and Yann Orhan.

You can order this publication for only $25! The link is here: http://www.layflat.org/

Above content from Photo-Eye Newsletter

Upcoming Conference at The University of Plymouth...

...called Framing Time and Place - Repeats and Returns in Photography. I'll be speaking about my series, ...from time to time. The provisional program just came out - looks to be a pretty interesting three days!

(Click on the images below for a larger version to read the text and such)

Mark Klett and Byron Wolfe - New Work at Phoenix Art Museum

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Norton Photography Gallery
March 21, 2009 – July 12, 2009

Arizona's Grand Canyon—natural wonder, national park, tourist attraction, sacred land—is perhaps the world's best “photo op.” The collaborative photographic team of Mark Klett and Byron Wolfe have set out to explore this celebrated place of dramatic beauty, and Phoenix Art Museum is proud to be the first to show a comprehensive look at their powerful, thoughtful, and playful approach to the Grand Canyon.

Drawn from two seasons of fieldwork, Charting the Canyon will include about 30 photographs ranging from a modest 20 by 20–inch print to a panorama nearly 10 feet wide. Mark Klett, a Regents Professor at Arizona State University, and Byron Wolfe, a former student of Klett’s who is now a Lantis’ University Professor teaches at California State University at Chico, have been interested in rephotographing historic images since their collaboration began in 1997.

Now the pair combines their own color photographs with imagery by 19th-century photographer J. K. Hillers and artist William Holmes and by Ansel Adams and Edward Weston, who worked at the Canyon in the early 20th century. Klett and Wolfe respond to the historic images and the Canyon itself, yielding artworks that reconsider an icon, challenge how we perceive the land, and bring a new perspective to its portrayals.

Charting the Canyon offers visual delights: the humorous layering of a 19th-century drawing with contemporary photographic details, the extension of an Ansel Adams view into a serene panorama, and the illusion of three-dimensions with a stereopticon viewer built for the twenty-first century, among others to be discovered in this unique exhibition.

Above content from Phoenix Art Museum