What to do if Share is not working ...

1. Have your final sequence open in the Timeline.

2. Go to File>Export>Using Quicktime Conversion.

3. Create a file name (something with final QT or similar in it, so you know which version it is you are saving), decide where to save it, for Format choose QuickTime movie, then click Options.

4. Under Video, click on Settings and make sure the Compression is set to H. 264 and the Quality is Best. Click OK, and exporting should begin.

5. This may take a while -- don't do anything else on your computer until it's finished. Once it's done, burn the file to a DVD.

Tom's video screening Monday March 29 (extra credit!)

Tom's video piece Sunset Demo will be screened Monday March 29 (7-8:30pm) as part of Seven Easy Steps, a Video screening series at the Horton Gallery. Please go and support Tom. If you write 3 paragraphs about the show in your sketchbook, I will give you extra credit.

Monday March 29
7-8:30pm
Horton Gallery
504 West 22nd Street
Parlor Level
New York, NY 10011 USA
1+[212] 243-2663

Homework + Supplies due 04.02.10

1. Email me your 3 ideas for your final project, and tell me which idea you are most excited about. Scan your sketchbook pages -- include any and all notes and drawings, however vague. During the week I will go through your notes and drawings, and we will have an individual meeting next week.

2. Start shooting your footage. As you now know, video takes a lot of time.
Deadlines
-Rough cut (assembled in FCP) due 04.16.10
-Class critique of rough cuts 04.23.10
-Final project (mastered DVD) due 05.07.10

3. For next week, please watch:

"Meshes of the Afternoon" by Maya Deren


"Roof Sex" by PES
http://www.eatpes.com/roofsex.html

"The Making of Roof Sex" by PES
http://www.eatpes.com/makingofroofsex.html

Pipilotti Rist

Ever is Over All


Sip My Ocean


Be Nice to Me (Flatten 04)

Viewing List 03.26 and 04.02

Linear vs. Nonlinear (or Disrupted) Narrative
"Meshes of the Afternoon" by Maya Deren
“Peel” and "Passionless Moments” by Jane Campion
“Garden of Earthly Delights” and “Commingled Containers” by Stan Brakhage
"Ever is Over All," "Sip My Ocean" and "Be Nice to Me (Flatten 04)" by Pipilotti Rist

Intro to Stop-Motion Animation
PES http://www.eatpes.com
Scenes from “Alice,” dir. Jan Svankmajer
Scenes from “William Kentridge: Drawing the Passing”

Final Project: Personal Narrative

Narrative: the representation in art of an event or story.
Create a personal narrative using material and ideas developed in your sketchbook. This can be linear or non-linear, and could incorporate stop-motion animation. Final piece must have a total run time of 3-5 minutes.

Deadlines
-Rough cut (assembled in FCP) due 04.16.10
-Class critique of rough cuts 04.23.10
-Final project (mastered DVD) due 05.07.10

Extra Credit: Joan Jonas lecture Wed. 03.24.10 at 7pm

Translations: Joan Jonas Artist Talk with Linda Nochlin
Moderated by Jovana Stokić
Wednesday, March 24, 2010 at 7pm
Free and open to the public
Location One • 26 Greene Street NYC 10013 • +1 212.334.3347 • http://location1.org

Location One is proud to present Drawing/Performance/Video, a new exhibition by Joan Jonas that highlights the role of drawing in the artist's performance and video work, on view through May 8, 2010.
In conjunction with this exhibition, Location One will host two evenings of conversation with Jonas.
March 24 at 7pm: Translations

Linda Nochlin speaks with Joan Jonas, moderated by Jovana Stokić

Beyond the current heated discussion of museums' interest in preserving the legacy of performance art of the 1970s, this talk will focus on another issue central to performance art: the representation of the feminine self from the 1970s till today. It brings together preeminent feminist art historian Linda Nochlin, and visionary artist Joan Jonas, contemporaries who, in different ways, have worked for more than five decades on debunking the myths of the essential female subject. The moderator of this encounter, art historian and curator Jovana Stokić, has written a PhD dissertation based on these quests in both art and art history. It is a critical intervention into the notion of contemporary femininity in representation by tracing the ways in which the genre of self-portraiture became the principal constituent of a specific, feminine artistic identity. This talk will discuss the strategy of performative reading that hopes to show how the representation of the body is constructed as a site of subjectivity for a particular artist–Joan Jonas. It will offer analysis of Jonas's works that focus on the notion of feminine self-representation: from her early video performances to her later works. It will shed light on Jonas's articulation of the artistic self in representation, and her purposeful evocation of feminine beauty in performance.

Please also join us
Thursday, April 8th at 7 pm

Bonnie Marranca, Founder and Publisher of PAJ, A Journal of Performance and Art, and Claire MacDonald, Director, International Centre for Fine Arts Research, University of the Arts London/Central St. Martins speak with Joan Jonas.

Joan Jonas is a pioneer of video-performance art. Her experiments and productions in the late 1960s and early 1970s were essential to the formulation of the genre. Threads of Jonas's influence can be found in many genres; from performance and video to conceptual art and theater.

Jonas has worked with composers such as Alvin Lucier and Jason Moran to develop video-performance works. Her work continues to explore the relationship of digital media to performance.

Jonas has had major retrospectives at the Stedelijk Museum, Amsterdam (1994), and Galerie der Stadt Stuttgart, Germany (2000), and was represented in Documenta V, VI, VII and XI in Kassel, Germany. In 2004, the Queens Museum of Art presented Joan Jonas: Five Works, the first major exhibition of the Joan Jonas's work in a New York museum. The exhibition included a selection of the artist's most significant installations, a video room, and a survey of Jonas' drawings, photographs, and sketchbooks.

The first installation and performance of Jonas's Reading Dante was at the 2008 Biennale of Sydney. Later that year Jonas performed the work at the Yokohama Triennale, and also performed a reading at The Isabella Stewart Gardner Museum in Boston. Jonas was featured in the International Pavilion of the 2009 Venice Biennale where she installed Reading Dante II. Most recently, the artist presented Reading Dante II at the Performing Garage in New York as part of Performa '09, and selected elements of this performance are featured in Reading Dante III at Yvon Lambert New York. Also at the Museum of Modern Art, through May 31, 2010, Performance 7: Mirage, which is a reimagining of the groundbreaking performance originally created in 1976. In 2009 Jonas was awarded the Guggenheim's first annual Lifetime Achievement Award.

Joan Jonas is represented by Yvon Lambert Gallery, and was Senior Artist in Residence at Location One in 2008-09.

Linda Nochlin, a Professor and art historian, is considered to be a leader in feminist art history studies. In 1971, the magazine ArtNews published an essay whose title posed a question that would spearhead an entirely new branch of art history. The essay, "Why Have There Been No Great Women Artists?," explores possible reasons why "greatness" in artistic accomplishment has been reserved for male "geniuses" such as Michelangelo. Nochlin argues that general social expectations against women seriously pursuing art, restrictions on educating women at art academies, and "the entire romantic, elitist, individual-glorifying, and monograph-producing substructure upon which the profession of art history is based" have systematically precluded the emergence of great women artists. Nochlin has also been involved in publishing other essays and books including Women, Art, and Power: And Other Essays (1988), The Politics of Vision: Essays on Nineteenth-Century Art and Society (1989), Women in the 19th Century: Categories and Contradictions (1997), and Representing Women (1999). Nochlin was the co-curator of a number of landmark exhibitions exploring the history and achievements of female artists. "Women Artists: 1550-1950" (with Anne Sutherland Harris) opened at the Los Angeles County Museum of Art in 1976. "Global Feminisms" (with Maura Reilly) opened at the Brooklyn Museum in 2007. Nochlin received her BA from Vassar College, an MA in English from Columbia University, and her PhD in the history of art from the Institute of Fine Arts at New York University in 1963. Besides feminist art history, she is best known for her work on Realism, specifically on Courbet. After working in the art history departments at Yale University, the Graduate Center of the City University of New York (with Rosalind Krauss), and Vassar College, Nochlin took a position at the Institute of Fine Arts, where she continues to teach.The thirty-year anniversary of Nochlin's query motivated a conference at Princeton University in 2001. The book associated with the conference, "Women artists at the Millennium", that hosts Nochlin's new essay ""Why Have There Been No Great Women Artists?" Thirty Years After", and in which art historians discuss the innovative work of contemporary artists in the light of the legacies of thirty years of feminist art history, appeared in 2006.

Belgrade-born, New York-based art historian and critic Jovana Stokić holds a PhD from the Institute of Fine Arts at the New York University. Her dissertation, titled "The Body Beautiful: Feminine Self-Representations 1970 - 2007," analyzes works of several women artists — Marina Abramovic, Martha Rosler, Joan Jonas — since the 1970s, particularly focusing on the notions of self-representation and beauty. Jovana has been writing art criticism for several years, and has curated several thematic exhibitions and performance events in the US, Italy, Spain and Serbia. Jovana was a fellow at the New Museum of Contemporary Art, New York, a researcher at the Whitney Museum of American Art, New York, and the curator of the Kimmel Center Galleries, New York University. She has most recently written an essay for Marina Abramović's MoMA exhibition catalogue.
NY State Council on the Arts

ABOUT LOCATION ONE

Based in the Soho arts district of New York, Location One is an independent, non-profit organization dedicated to fostering new forms of creative expression and cultural exchange through exhibitions, residencies, performances, public lectures and workshops. Traditionally focused on technological experimentation and new media, Location One's residencies and programs have favored social and political discourse and dialogue, and acted as a catalyst for collaborations. With a unique environment providing individualized training, support, and guidance to each artist, as well as exposure for their creations and collaborations, Location One continues to nurture the spirit of experimentation that it considers the cornerstone of its mission.

Homework + supplies due 03.26.10

1. Mastered SD DVD, ready for critique.

2. Three ideas for your final project: in your sketchbook, do at least one drawing for each idea, along with some text explaining it.

Have a great spring break!

Exporting from FCP

As of FCP 7, you can burn a mastered DVD directly from FCP (both SD and HD) -- super exciting!

Detailed instructions for burning an SD DVD (for most consumer DVD players) can be found on Ken Stone's Final Cut Pro website, click here.

For detailed instructions to burn a Blu-ray playable disc (only viewable from a Blu-ray DVD player, not your mac or a SD DVD player) click here.

*Ken Stone's website is an excellent FCP resource for many issues. Use it in addition to your textbook, and you can figure out anything.

Homework + supplies due 03.12.10

Finished sequence in FCP with split screen, filters, etc. Please make sure it's ready to go at the beginning of class!

Revised Syllabus

Due to the snow day and technical issues with some of your cameras, I've made some changes to the syllabus. The due date of the Multiple Personalities project is now 03.26.10, and some of the Origins of Cinema presentations have been moved. This still gives you a good amount of time to work on your final project, we just have one less field trip. Revised syllabus is below.


F 3/5 Session 6
-Cinema presentations
Lola: Fritz Lang's Metropolis (1927)
Suzette: Dziga Vertov's Man With A Movie Camera (1929)
-Fine cut of Multiple Personalities project due (in FCP)
Please arrive with your project fully edited (divided into split screens with accurate timing) and ready to apply filters, effects and/or transitions as needed. We will go over how to apply them, as well as how to export your project for DVD.
-Homework: Final cut of Multiple Personalities. Research export settings for your camera (full quality QuickTime file).

F 3/12 Session 7
-Cinema presentations
Daniel: Dali + Bunuel's Un Chien Andalou (1928)
Joanne: Charlie Chaplin's Modern Times (1936)
-Final Multiple Personalities sequence due.
-Lecture/Demo: Exporting, Mastering to DVD in iDVD and posting video to youtube
-Homework: Mastered DVD of Multiple Personalities. Read “WETUBE” by Mark Grief and be prepared to discuss in class.

F 3/19 Spring Break NO CLASS

F 3/26 Session 8
-Critique Multiple Personality projects
-Introduce Final Project: Personal Narrative
Due 5/7 (rough cut due 4/23). Narrative: the representation in art of an event or story.
Create a personal narrative using material and ideas developed in your sketchbook. This can be linear or non-linear, and incorporate stop-motion animation. Final piece must have a total run time of 3-5 minutes. Though not required, you are encouraged to work in teams.

-Lecture/Screenings:

Video as Narrative
Brief introduction to non-linear narrative, alternative ways of telling a story
"Meshes of the Afternoon" by Maya Deren
"Peel” and "Passionless Moments" by Jane Campion
"Garden of Earthly Delights" and "Commingled Containers" by Stan Brakhage

Intro to Stop-Motion Animation
Scenes from “William Kentridge: Drawing the Passing”
PES www.eatpes.com
Scenes from “Alice,” dir. Jan Svankmajer

-Discussion: “WETUBE”
-Homework: Drawings for Personal Narrative, 18 x 24.

F 4/2 Session 9
-Cinema presentations
Hannah: Welle's Citizen Kane (1941)
Bunny: Bergman's The Seventh Seal (1957)
-Individual meetings about final projects, review footage
-In-class work time
-Homework: Start shooting footage for Personal Narrative.

F 4/9 Session 10
-Field trip: “Marina Abramovic: The Artist is Present” at MoMA (free + subway fare) OR the Whitney Biennial ($12 + subway fare)
-Homework: Finish shooting footage for Personal Narrative.

F 4/16 Session 11
-Cinema presentations
Zach: Fellini's Satyricon (1969)
Robin: Tarkovsky's The Mirror (1975)
-Individual meetings about final projects, review footage
-In-class work time
-Homework: Rough cut of Personal Narrative.

F 4/23 Session 12
-Cinema presentations
Tyson: Truffaut's The 400 Blows (1959)
Amanda: Kurosawa's Dreams (1990)
Lisandra: Miike's ... ?
-Class critique of rough cuts
-In-class work time
-Homework: Final cut of Personal Narrative.

F 4/30 Session 13
-Review Mastering to DVD
-Individual meetings
-In-class work time
-Homework: Master final project to DVD.

F 5/7 Session 14
-LAST CLASS: Critique of Personal Narrative projects