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Showing posts with label FILM. Show all posts
Showing posts with label FILM. Show all posts

12 March 2012

WK7: DIGITAL TAKEOVER

DISCUSSION
The below quote comes from an interview with the photographer Ricky Adam about his forth coming book Destroying Everything. The Analogue V Digital argument is an ongoing one that may never be resolved satisfactorily. The whole interview can be found here: http://digbmx.mpora.com/photo-ops/ricky-adam-destroying-everything/


"What role does post production play?  
Is there a difference between working with chemicals and working in a ‘Digital’ darkroom as far as the ‘Legitimacy’ of the final image?So long as the image hasn’t been manipulated in any way a good photo is a good photo, regardless of what sort of camera was used to take it. You have to be a lot more resourceful when shooting film. For one you shoot fewer photos, but in doing so I think you learn a lot more about composition, lighting, etc. I often wonder how many more photos I would have if I could have shot digital when I first started out? Would I even have pursued photography? Possibly not… "


MY RESPONSE:

"I agree with Sarina, in terms of editing being appropriate to an extent. If you have shot an incredible image, there is always room for improvement! Iv also said before that the main benefit (in my opinion) from such technological advancements is the speed it provides.

This is where I get lost with negative scanners, if you gunna shoot film and digitally edit and print it, what was the point?!

However, I think in the art world, film is well suited with the blind eye to minor alterations and tweaks such as dust removable and stitching. Also with art photography the appreciation of methods and quality is always considered, and can be applied to music comparing mp3 to vinyl. In modern day pocket sized and portable society, digital works. I have mates who have graduated in journalism and cannot find work as magazine and news paper are all now online and fading out.

The other side of things that alex has so eloquently put it, you cant polish a turd. (chapman bros being an exception). If you’ve taken a crap shot first time, the among of airbrushing you sling at it wont make It better. Historically, as duncan has spoken about photography was associated with evidence and fact among resources. Over the past say… forty years the medium has become more malleable and distorted to suit opinions and views of the artist. Photoshop hasn’t really helped, but like alex (again) I know my way around digital manipulation way for I stepped foot in a darkroom as it was what was available to me. You can download programs not a darkroom!

Hopfully, my skills with even."


27 February 2012

WK5: BRISTOL




EXHIBITION
Our next destination was harbour side gallery The Arnolfini in Bristol, which demonstrated works from artists exhibiting both visual and audio displays, such as London based creator Sophy Rickett's "To The River" and technological fanatic Shipa Gupta's "Someone Else." Rickett's space involves the audience to an experience of the Serven Bore, a natural phenomenon along the River Severn in Wales, UK combining three screens of footage cutting from person to person in the crowd with snippets of conversation amoung the group. The main focus of the evening set installation was to capture the crescendoing emotion and anticipation of the forthcoming event from the public visually with the River being unseen however heard. The work seeks to unveil the relationship of people with the natural world amongst politics and the environment, through theatrical and cinematic elements, in order to create a space where the spectator feels lost and absorbed in a situation, which they can not quite figure and understand.


film still
artsway.org.uk

film still
artsway.org.uk

film still
blogs.lcc.arts.ac.uk


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Upstairs in the gallery was the revolutionary works of Shilpa Gupta who demonstrated a variety of mediums including sculpture, sound, video and photography over the space of three rooms, conveying themes of desire, religion, conflict, militarism, security, culture, technology, borders and censorship. The first room displays one hundred mental imitated book covers on a shelf based on authors who have used a pseudonym or are anonymous, each consisting of varied quotes from the writers reasoning why they have not revealed their true identity. 

The second room hold the piece titled "Singing Cloud" in which a cluster if four thousand microphones are suspended from the ceiling, emitting sounds abstracted from psychological tests, resulting in a haunting yet harmonious crackle of dialogue. Also in this room is a 1.5m flap board which is suspended as well from the high ceiling, which only contain twenty nine characters or letters and numbers. The associative pattern occurs for a couple of seconds before changing slightly using content and form of the previous line, concentrating on where religion, politics and ethics collide. 

The final room exemplifies the use of photography where an extra pair of hands covers the eyes, ears and mouth of a child gestures as if holding a fire arm, which addresses military aggression and democracy. On the opposing wall is arguable the most powerful piece of the exhibition, which has been translated into hundreds of languages, "There Is No Border Here." This piece illustrated the use of fine yellow tape applied through text in the shape of a flag, inscribed with the title enhancing the meaning and purpose behind such art. The piece begins and ends with the same sentence, "I tired very hard to cut the sky in half" which related to a text familiar among politics and address how militarism, religion and culture divide causing drastic measure of community and territory. 

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asiasociety.org



designboom.com

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