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Table of contents
- New / Trial Databases
- Education – The Inclusive Historian's Handbook
- Kontakta oss
- Fall 12222 Class Schedule
He makes steel look fluid—and he himself is fluid. Kids of Survival. Together they developed a collaborative strategy by which one person would read aloud from a selected text often a literary classic while the other members drew, relating the stories to their own experiences. The project grew rapidly; K. More than 20 years later, the project continues to flourish. Work done by K. Although the work of Rollins and Murray is quite different, Rollins sees a similarity in their processes.
His work is simultaneously beautiful, classical and radical. S, Invisible Man after Ralph Ellison , , matte acrylic and book pages on canvas. Courtesy the artist and Lehmann Maupin, New York.
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His artistic landscape is full of monsters, gothic adventurers, vampires, ominous myths and dark fairy tales—the darker the better, in fact, which is something he has reveled in since childhood. I think those projects tend to fit my artistic voice more harmoniously. The response was immediate and positive. However, over time he began to add color, digitally, to the drawings and slowly they turned back into paintings.
Slowly, the paint replaced the ink. But I still use the same language as I would with a painting that could take me a couple of weeks. You can rent a great costume and hire someone attractive to wear it, and pose them how you want, getting all the wrinkles, folds, highlights and reflected light just right. With that in mind the bleak, the dark, and the troubled all have a champion in Sam Weber.
The process of matching student to mentor is long and arduous, but has resulted in many successes, including landing work for students. Each spring, the Mentors program culminates with an exhibition at the Visual Arts Gallery of work created during the partnerships; many different types of photography are always on display—fine art, commercial including fashion and portraiture and experimental. A selection of work by students involved in the program appears on the following pages, along with explanations from Frailey as to why each student was paired with his or her particular mentor.
Student: Samuel Dole Mentor: Dan Estabrook, photographer Both Dole and Estabrook are interested in antiquated photographic processes, historical pictorial and portrait references. Student: Sara Mayko Mentor: Doug Dubois, photographer As a photographer, Dubois is interested in portraiture that mines the emotional and psychological layering of family. For decades, risk-taking and creating unnerving situations— often riling up audiences in the process—have long been a part of artistic endeavors. And there was a lot of talk when Chris Burden had himself shot in the arm in Memorable moments all.
In fact, there are those who say that without taking risks an artist will almost always produce work that is formulaic at best. As a genre, performance art is inherently risky business. Live, interactive art often produces a gut reaction from the members of the audience—sometimes unpleasant ones. Audience members or unwitting participants may dislike finding themselves as part of the action, although others bask in the experience.
Inspired by the Living Newspaper performances of the Russian Bolshevik Revolution, in I Feel Your Pain, Laser directed professional actors to re-create real-life interactions and speeches by wellknown pundits and politicians. Some familiar and awkward interchanges between public figures are turned into romantic flirtations or spats between lovers. Instead of performing on stage, the actors were mixed in with the audience throughout the theater. To complicate the work further, the action was caught on camera and the images of both actors and audience members seated around them were live-streamed onto a big onstage screen.
The whole experience created multiple layers of perception. The live camera recorded awkward flirtation from actors playing the likes of Sarah Palin and Glenn Beck, while nearby audience members looked forward to or cowered from seeing themselves on camera. Laser admits the piece took major risks by being so public and was inevitably subject to disruptions, including actors occasionally being ejected by security. What now seems prophetic of Occupy Wall Street protest tactics, Laser points at our condition of corporate dependence by having people experience a sophisticated theatrical event in an ATM vestibule.
It takes a lot of courage to bite the hand that feeds you, and SVA alumna Andrea Fraser BFA risks her stature and reputation by taking jabs at the world that supports her. Fraser is an established performance artist who has carved out a niche in what is called the Institutional Critique art movement. Her work includes live performance art, video and writing.
In her work Museum Highlights, she asked visitors to the Philadelphia Museum of Art to participate in a guided tour of that vaunted institution. The work, which is a serious monologue full of comic irony, opens up a conversation about the role of the museum, the gallery, the collector and the artist in the machinations of the art world.
In the work, she speaks. The work reveals a complex web of money, networks, brown-nosing and all manner of scheming and dealing. As an artist whose work is shown in museums, major galleries and collected by important collectors, Fraser recognizes her own relationship to the art world and uses humor to skewer it.
Education – The Inclusive Historian's Handbook
Perhaps the most familiar form of risk is that which pushes physical limitations. Throughout the history of performance art, endurance has always held a treasured place in its heart. Often pushing the body to its physical limits, artists have endured gunshot wounds, year-long isolation and self-imposed restraints. Mirroring extreme censorship, political violence or the fight against disease, artists have risked their lives and safety by becoming vulnerable in front of an audience. In the work A Line Longs to Be a Circle, , Jurado is suspended with a black rope contorting to create geometric shapes and lines.
What appears clean and complete in the photographic or video documentation is at odds with what is gradually falling apart in real life. Live, interactive art often produces a gut reaction from members of the audience— sometimes unpleasant ones. He is interested in the visceral experience of the body.
Artists take risks to make us blush on camera, to shatter our images of pure unadulterated art, and to wince in recognition of the fallibility of the human body.
Unless there is an audience to witness its creation and to retell the sequence of events, performance art is a temporary experience arranged and choreographed for a set time and place. Live art offers us the opportunity to participate by simply being present. He also pitched and sold another screenplay to Charlize Theron, which she will star in and produce. Writing is actually a second career for Caspe, who in had solo exhibitions in New York and Los Angeles of large-format photography, videos, sculptures and mixed-media work.
But at the end of that year, at age 26, Caspe switched gears and began to pursue a writing career. Am I right that you studied fine art at SVA? Yes, but the teachers pushed us in many different directions, and I started to do video art. As I started to do more videos, I would write little things for them and then put out casting calls—at SVA you get a lot of free actors—and then I got to a place where I wanted to write more than I wanted to make traditional visual art, as far as painting and drawing goes.
I know it sounds super-cheesy, but all these things are related in that you have an idea and how do you want to show that idea. For instance, composition is a big part of shooting anything. Working with painting and drawings for so many years helped me develop a sense of where things should be in a frame, which is not so different from where things should appear in a shot on a TV show. And having spent endless hours sitting at SVA working on some little piece of animation, just cutting frame by frame, using trial and error to figure out things like, wow, this feels like it needs a beat before he says such-and-such to make this emotion land.
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All those rhythms and all that stuff is still applicable and a huge help to me. That exposed me to all these ideas. It can be so many different things.
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What would you say inspired you most to make the change from fine art to screenwriting? I have to say a lot of it was luck—and moving to Los Angeles. I started writing screenplays, and wrote one that happened to get into the right hands and it sold and that started a feature-writing career. And then after a few years of that I ended up pitching a TV show.
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What advice would you give graduating students who want to get into screenwriting? That way you meet other assistants—PAs and other people in the business and you can start throwing the script at everyone around you, and get anyone who will read it to read it. You find your core group, and people feed off one another to help get their work out there. But, the work has to be good.
Because the bottom line is that people want to make money. People want to read a great script. They want desperately for one of them to be great—to make a lot of money. If you focus on the work, things can happen. In addition to writing strong screenplays, you clearly have a talent for pitching them. Many screenwriting students struggle with pitching. Could you give them any advice about that? Please tell the students: no one likes pitching. That should make them feel better right off the bat.
There are some actual performing comedians who go in to pitch and crush, and are absolutely hilarious because they do improv or stand-up. So writers should take that pressure off themselves. I tend to think if the idea is strong, the pitch will work. You should pitch it to yourself; tell the idea as short and quick as you can.