And reminder that no music is to be used. The sound should not just be a backdrop to your video but multple sounds edited in relation to your video. Like examples sent (purely for example), what if the sound of a metal door could be heard when the eye lid in James’ video shuts? Or the sound of a tea kettle whistling when the skate opens it’s mouth in Stephanie’s video? A few well placed sounds can go further than a blanket of continuous sound.
Interviews & Classmate work analysis:
Keep comparing to the works you have seen and to the ideas brought up in the texts. Cheryl Donegan turned her body into a camera confusing and questioning in comical ways the relationship between herself as a female artist and her work. Both Stan Douglas (referenced in Horsefield) and Donegan use the mode of the “commercial” as a structure in their work. Anri Sala confused the agency and location of sound with psychological and cultural consequences. McLuhan, Beller and Debord all in different ways warn about the negative influences of media and the moving image. Horsefield writes about artists responding to the history of their time. Are any of your classmates? Rosalind Krauss writes about the documentation of artists in their studios (Bruce Nauman pacing his studio, repeating a gesture) and she also writes of Lynda Benglis’s work “Now” where the time of video and the time of reality become confused. Elwes writes of fractured narratives that evolve in artists hands once editing software was possible in the home studio. Elwes further contrasts video to other art forms as a medium that is truly dematerialized (unlike the physical forms of painting and sculpture). Etc. Etc.