The Digital Media Department at Memphis College of Art presents The First Annual Student Premier, Show Up And Show Out, which will be held Thursday, May 6 in Callicott Auditorium, Memphis College of Art at 7pm. This year Jill Wissmiller, professor and head of the digital media department worked with four senior students at the Memphis College of Art to organize a yearly collaborative screening for students working with video and animation. The premier features a collection of short films and animations of different projects they created throughout the semester. In addition the screening is themed around graumen's chinese theater and eccourages students to dress up in according attire. Food and drink will be provided. One amaznng price package will be awared to the best dressed student along with the announcement for the Digital Media Area Award for two recipients. The event focuses on showcasing highly motivated individuals who pursue working in this area of concentration and provides graduating seniors an opportunity to give a brief presentation about the extensive process of their work. The digital medial department supports building a diverse educational community for leading artists who engage in ongoing dialoge with each other and with their professors in effort to create an intellectual framework through which to develop their professional training. .....blah blah blah

Outline for presentation

I.
Introduction-name, major concentration, what my interests are
II. Body
a.) What I studied this semester in senior studio, what my objectives and goals were-interdisciplinary art, and how I found major interest in film and cinema and how I incorporate this with traditional painting
b.) How I went about the process with the models and the video- interests in merging different formats that allow room for interaction, a video does not necessarily belong on a tv/movie screen and painting does not just need be nailed on a wall in the interior of a living space, the importance of working from a live model in classical style figurative work
c.) Projection, trial and error

III. Closure
a.) What I am going to be doing after graduation
b.) What I want to do in the future with video and crossing different media

Updated Calender and Inventory

Over Spring Break-
Finishing touches on all four paintings, make separate edits for each painting
Mar 23-new painting started, finish making separate edits for painting-up to four, if time allots then maybe a few more
Mar-30 post production, assembling portfolio
April 6-Post production assembling portfolio
April 13-Installation

Inventory
So far I have two paintings complete-that's 50% of the four that I intended for this studio project
I have one edit that I think is close to success but I also have 5 different versions-so I plan to make these into 3 more edits, so I have 75% more to finish quick.
I also need to put together my portfolio-I have 50% left to do as I have documented half of the work

Goals for next week-that includes tuesday and thursday

For next week-I have to finish four fucking 3x4 paintings pronto! These paintings will be shot on Wednesday by Hailey and photo students in the lighting studio so they will be professionally photographed, thanks to them. I will then have the remaining two-3 weeks to organize these images and send them out for applications to calls for entries, internships, grad schools, residencies, and studio programs!! For this class I need to figure out the best format to show how the paintings and the video footage is supposed to be documented together. Also, on wednesday I need to get measurements in the upper gallery so I can start building a pedestal. In addition, I have to reshoot some footage over next weekend (because that is the next time my model is available) and edit down all of the footage I have gathered along the way for senior studio!!!!!!!!!!!!!!!!!

Meeting with Marina:Chief Curator of the Brooks

I had my meeting with Marina Paccini, chief curator at the Brooks Museum and I had a brief chance to interview her on her expertise. It occurred to somewhat after-the-fact, that I had to know alot of art history if I were to pursue curatorial studies. This does not sound that great to me-not because I dont care but because I am more interested in handling the work itself and putting things together, not looking through catalogues and thinking about audience development. Anyway, Marina advised me to pursue higher education if I wanted to work in a museum-which means getting a PhD would be preferable. Regardless, if I am handling contemporary work or historical work, I need to know enough about how and why the art fits together. I applied for the internship position though. I was also told to see if I can get a couple of shows curated here around town for my own experience.

Studio Program Fall 2010

Sofia, Bulgaria
http://www.nha-bg.org/en/admission/specialization

Multimedia

Aili Schmeltz

http://www.ailischmeltz.com/


Artist Marissa Olson-Jill gave me this reference=fucking awsome.
http://www.marisaolson.com/

Misha Mazor-
motion graphics demo reel
http://mishamazor.com/

Chris Cunningham-Video Work






Photographing Grace Jones

Jobs/Internships

http://www.slam.org/index.aspx?id=485

Portfolios

http://www.karimhamid.com/

Scene Outline

Black back drop or white back drop??

I will have another session with my model this Wednesday Feb 17. We have set up a schedule to meet every two weeks.
1.) I will ask her to undress for me.
I will take full body shots and close ups as she she takes her clothes off.
2.) I will need some frontal view full body shots
3.) Some three quarter close ups
Also, I will shoot some footage over the weekend at night from outside. Jenny Seville's paintings were a huge inspiration for this paiting series. She paints models pressed up against glass so that the skin looks stretched and smeared.
1.) I will have the model pressed up against the window and shoot from the outside in. WIth good lighting set up ofcourse.
2.) I will ask her to strip and film once from the front and once from behind
3.) She will press up against the wimdow and make facial expressions and different gestures.
4.) She will then pound on the window with her fists so that it looks as if she is trying to find a way to get outside.

Lists-talking about what it is you do

Like any writer, there are rituals that are a part of Didion's creative thought process. At the end of the day, Didion must take a break from writing to remove herself from the "pages."[12] She feels closeness to her work; without a necessary break, she cannot make proper adjustments.-Joan Didion on ritual


"I wouldn't call myself a feminist because I don't understand the term or the baggage it takes along with it. I'd feel like I really have to go back and study its history to associate myself with it, and I don't feel the need to do that. I'd much rather just get on and do things the way I have been doing them... I think I'd find it quite patronising to be called a Riot Grrrl if I was one of them, but they obviously don't think so."[5] More recently she told Bust: "I don’t ever think about [feminism]. I mean, it doesn't cross my mind. I certainly don’t think in terms of gender when I'm writing songs, and I never had any problems as the result of being female that I couldn't get over. Maybe I'm not thankful for the things that have gone before me, you know. But I don't see that there's any need to be aware of being a woman in this business. It just seems a waste of time." She added, "I don't offer [support] specifically to women; I offer it to people who write music. That's a lot of men."- PJH on feminism

"it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that’s just my twisted sense of beauty."[8] However, she later told Dazed & Confused magazine, "That was kind of a mask. It was much more of a mask than I’ve ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never again repeated the overt theatricality of the To Bring You My Love tour. _PJH on sense of self

"I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children."-PJM on inspiration

Follow up on Career Services

I am currently debating on whether or not to do an artist residency program or a studio program. The difference is that most artist residencies are awarded with a fellowship and/or stipend to young artists and are given housing, meals, and sometimes cover materials. Studio programs generally do not award monetary assistance unless it is through undergraduate courses. I was told to consider going to a top artist residency even if I have to pay for it because it would pay off when I applied for grad schools, in other words it would show that I was ambitious and persistant enough to want to pursue a residency program that may have seemed out of reach on my own. Also, in the mean time while I apply to these, I also am considering applying for the Dean's Council Residency here at MCA because it gives you access to the school and all the work spaces, and it also gives you means to your own studio in the graduate center for one semester.

Residencies, Internships, Studio Programs

Top 5 art residencies I am considering:

The Houston Core program for curating-http://core.mfah.org/home.asp

Skowhegan in Maine for painting-http://www.skowheganart.org/

Anderson Ranch in Colorado-http://www.andersonranch.org/about/index.php

Isabella Stewart Gardner Museum in Boston-http://www.gardnermuseum.org/

The Sacatar Foundation in Brazil through California http://www.sacatar.org/

Studio Programs

Seattle Studio Program http://www.crawlspacegallery.com/v2/

National Academy of Arts Sofia-http://www.nha-bg.org/

Internships

Penland in North Carolina-http://penland.org/about/jobs.html

Exhibition Opportunities-
Urban Arts Commission- Deadline Feb 29
University of Memphis-Deadline Feb 25

Testy 2 Stop Motion Painting

Portrait Footage

Testy 3

Gallery Wrapped Canvases and Masonite Panels

David Comstock 901-605-7096

36x36 $30
36x48 $35
48x48 $45
48x60 $55

All sizes and custom orders available LOCAL!!!

David Lynch-Alphabet

Alexandra Ranner

Art 21-Video Artist/Inspiration

Ann Hamilton http://video.pbs.org/video/1237561674

JOB

https://www.callforentry.org/index.php
the cafe

Shadows 2

Figure

Shadows 1

Timeline

Feb 2, tues- test shoots 2

Feb 9, tues-test shoots 3

Feb 16, tues first model shoot, painting 1 complete

Feb 23, tues first model edit

Mar 2,  tues, second model shoot, painting 2 complete

Mar 9, tues second model edit

Mar 16, tues more paintings complete, and edits

Mar 23, tues more paintings complete and edits

Mar 30, tues test run

April 6, tues test run 

April 13, installation

Testy 1

Notes

In the grand scheme of things I seem to have two different ideas that I need to experiment with and see what works, what doesn't, and can both work together. Here is a breakdown of an estimated time-line and further technicalities....

Things I am currently working out

-Hiring model(s)
-Appropriate location and setting for filming
-Camera Schedule
-Starting the paintings!

Krzysztof Wodiczko, Director of The Center for Art, Culture, and Technology at MIT animates architecture and public monuments by projecting stories and histories onto them. In this way, technology become an apparatus for projecting the self outward, for the collection of memory.

The Black Box from Dorian Carlos Sensi on Vimeo.

First Pitch

    This semester I am interested in studying the human figure. I intend to complete a body of figurative paintings that largely relies on demonstrating the figure ground relationship between the body and its relationship to the space it embodies. The paintings themselves will illustrate nude figures in a variety of postures, color schemes, and perspectives while overlapping film onto the canvas. The purpose of this project is to merge film layers onto two-dimensional work and document a process. The film overlay, which is to be projected onto the canvas, will construct a build up of layers acting as if they free the figure’s presence from the enclosed space of a rectangular picture frame.

During the execution of filming, I plan to document nude figure models and /or experiment with successfully capturing silhouettes and shadows on film. I will work with various lighting setups and conditions to capture both and then determine how adequately the film can be projected on top of a painting. For this process I will need 1 person to assist, plenty of lights, models, concise film editing, and access to a projector.  I plan to shoot as frequently as possible a single model or figure at a time and never having more than two simultaneously in the film. Depending on how large I decide the painting will be and how much space I am given for the senior show I would like to leave a portion of the figure incomplete so that the rest would be filled in with a projection of the footage. If I properly manage to shoot silhouettes of the figure, I intend to use the film as way to project these shadows on top of the work. The shadows will consist of the painter themselves (me) standing over the painted figure and demonstrating the action of making brushstrokes on the canvas while another silhouette of the model changes positions in a succession. The success of the projection will also depend on indoor lighting conditions during the BFA installation.

   I will need the following:

·            Camera equipment (camera and tripod) No sound equip needed.

·            Lighting kit, may need more than one, good lighting conditions

·           May need 1 crew member

·           Access to professional models/hired models

·           A projector
      
         I plan to shoot weeknights, or whenever a model is available