AMAZING!!!

http://www.eisbergfreistadt.com/

AMAZING!

How funny...

http://community.feministing.com/2008/12/tuesday-ten-ten-things-i-love.html

Note to all

Hi all, 

I just wanted to say Thank you for a great class it has been wonderful. 

When I finish the crazyness that is finals I will work on typing up your notes and sending them out. It might take me a bit of time so bare with me. 

Hope you all have a wonderful break. get lots of rest you deserve it and of course make some fantastic photographs! 

Note to all

Hi everyone,

A quick few things to keep in mind for all of you, know who your work is in dialog with and know how your work is relevant to what is going on currently in the art world. 

Use you artist statement as a cheat sheet for yourself, write any notes you might need on it. 

Control your crit, these are your 15 minutes to get whatever you want out it of so don't be afraid to politely redirect the conversation. 

You have all done really wonderful work and I thought that our mock jury went really well on Tuesday. Be excited you've already done the hard part and you know all your work really well you are ready for this. 

I'm at work on Friday from 8 - 12 and can get there a little early if anyone needs/ wants to chat about sequence or anything. Also I saw on facebook that some folks are getting together for a student crit. you should go if you can it looks like it could be great! 

Good luck with finals! 

Katie O

I would consider during the crit turning either the volume down or the video off - because it's cuteness is has potential to be a little distracting. 

Here are some things that came up during class: 

1) Are you controlling time? 

2) Why include the real and fake real? 

3) How does yours and your families engagement with this project differ from everyone else? 

4) What role is the installation playing in this work?

5) Is there truth in this project? Or is there no truth? in each case how does that function for the work?

6) In 10 years how would this project be different? 

7) After looking at and interacting with this work what will I know that I didn't before?

8) How is a families compulsion to make photos and videos that may never be viewed factor in to this project/ how is that something that you are in dialog with?

9) Why is this work important? (do NOT say, maybe it's not, even if that's what you think)

10) Do you want us to understand that it is important to not overlook out childhood memories? 

11) Why did you not create new photographs?

12) Where does your work go from here? 

13) Who is your work in dialog with?

14) What is the most successful part of this to you? What would you do differently if you had more time? 

Molly

We talked a little bit about the "quality of life" phrase in your artist statement consider changing those words to something like renegotiation. Or just keep re arranging and see what fits best to you. You also might want to put in something about how you found these families, that there are three of them and that you visited them all multiple times. Consider doing a little statistical research and having it on hand about how many young moms ect... 

Here are questions that came up in class:

1) Have you shown these parents as bad parents?

2) How didi you find these families and how many of them are there represented?

- i thought what you said about it being important to them as well as you was great! 

3) Why did you choose to show the indifference (parent and child alike)?

- why these moments

4) Is this documentary? / what is documentary and are you engaging it? 

5) What were you assumptions going into this project and how have those affected the result? 

6) Is there a media influence in this work?

7) Objective vs. subjective? 

8) Are we just stupid? Have we been romanticising parenthood when no matter what age the mother it is hard and tiring? 

9) Whose work is your work in dialog with? 

Kate B

Here are some of the questions that came up in class:

1) What role do the photographs with out the figure play in this sequence? 

2) Are these images meant to act as a tool to raise awareness or a way for us to see into this other world that is happening for you?

3) Why aren't we seeing your face?

4) Which image is your strongest? Which image is your weakest? 

5) Are you chronicling two worlds? Evoking vs. illustrating? 

6) Who are your influences?

7) These images make this other world look desirable in some sense is that something that you wanted to try and do? 

7.5) How would you describe your visual language? 

8) How did you use fairy tales as a reference tool? 

*** if it comes up this is the time to talk about old world fairy tales! 

9) Victimization? Female victimization? 

Tara

We talked a bit about the word fruitless, just think about the pros and cons of keeping it around.

A book that was recommended was Paradise Lost by John Milton 

Here are some of the questions that came up in class...

1) how are the figures functioning in the images vs. the images that are just still lives 

2) absurdity? 

3) alter pieces?

4) how are you using time in these images?

5) can you talk about your use of light in these images?

6) the triptych seems to be functioning differently then can you talk about that? 

7) can you talk about your repeated use of salt and ice? 

if ice and salt can stave off rot for meat and fish can love stave for humans

8) how are you using the stains in these images? 

9) can you address your use of grotesque? can you address your use of beauty? 

Chris

Be prepared to bring the discussion back to your work if the comparisons between it and Lindsay's work go on for more then three questions. Have a kind and calm way to do it. 

Here are the questions that were asked in class:

1)How come we're not stuck in the world Lindsay made? 

- Is Lindsay right or are you right?

2) Are these representations of you? 

- If they are a character how is he different from you?

3) Are these first experience for you and or for your character? 

4) What's the deal with the uniform outfit that your character is wearing? 

5) How would these images function or be different with out the character in the image? 

6) As viewers are we meant to be experiencing the landscape with the character or is the character a pointer for the things that you and he think that we should be paying more attention to? 

7) In looking at your images we are having a virtual experience, is that good enough? 

8) Is the where important? 

9) The one of the rock face really stands out as being touched by man, can you explain how it is functioning in this sequence? 

10) Why does the character need a document of his experience? 

Think about the difference between joy and awe, notions of beauty, romantic and historically sublime - how are these relevant or irrelevant in your work? 

Lindsay

Here are some of the questions that we talked about...

1) Plausible vs. implausible? 

2) Can you talk about why all of these are in a home setting? 

3) Are you making fun of people? 

4) Do you think people believe that they are making things better? 

5) Would the world be a better place if we didn't do this? 

6) Why didn't you just go out and find these places?

7) Is creating a fake nature adding to the destruction of the world? 

8) Are people trying to preserve the object or the idea of the object? What's the difference? 

9) Who is your work in dialog with? 

Sam

These are the major questions that we had during your mock crit: 

1) What images show guilt? 

a) if you have an chance talk about the ice 

2) Is this you or is this a character?

3) Can you explain the function pine tree image? 

(you said it's like a pause and also represents your families guidance)  

4) What is the circle/ sphere represent? 

5) Why don't we see your face more? 

6) Can you talk about the fire image? 

7) Who is your work in dialog with?

8) What does you aesthetic doing for the images? 

Be ready to talk about how are these image talking about your experience as a Japanese American and how are they specifically feminine?

revising artist statement again