#Assessment1

[hotwater3104]

Storyboard

Storyboards and camera shots

[heal2020]

Assessment 1: Reverse Tonal Portrait

Tonal Self-Portrait 45cm x 60cm Acrylic on canvas 2020

[miaaapoh]

Communication Design Studies - Assessment 1

Progress...(Post-production)

After the shooting, I started the post-production work. I chose to use Adobe Photoshop to do it because all the letters are not in the same photo, so I need to put all the photos together through post-production. (Photo 1)

Photo 2 is my first result and after the teacher's feedback. The teacher thinks that the colors of lemon and lime seem to be somewhat similar to the background, so they are a little difficult to read. So I chose kiwi (Green and Gold) instead of lemon and lime and got the result of photo 3. In the "is" and "?" part, the teacher suggested that I can use more flour to make the font more obvious. At the same time, the teacher likes my "DESIGN" design and feels creative, because different fruits are spliced ​​into a font, which is very interesting.

*The next post will share the details of final result 

[annieareumshin]

W1: Some forms to start with

I have no idea. I have nothing to offer this terracotta but where my hands take me. What I see here is a weird mix of my past works - the biomorphs, the textures and the geometric melted in it, and cut-outs. A kind of excuse to make sample figures for glaze tests. 

[rach-aloe-blog]

DART1130 Assessment 1

Photograms: The Agency of Chance

Assessment 1 requires us to harness a range of camera-less photography techniques that utilises light sources from enlargers, computers, scanners, natural phenomenas, and many more non-conventional darkroom processes.

Through trial and error, I will begin to explore such aesthetics of analogue production by relying on the agency of chance to create a body of related works.

This blog serves as an online diary that summarises content learnt in the tutorials and serves as a record of future ideas for my photograms.

[heal2018]

Final Artwork: ‘1:26′

(1:26, Needle-felted patches on leather coat, Aileen Heal, 2018)

[annaengesser-blog]

Geta Bratescu, Romania from top left - Vestigii (Remnants), 1978; Costum, date unknown; and Self Portrait in the Mirror, 2001 As a product of Modernist movement, Geta Bratescu worked with a special interest in the ready made (or rather) actively sought to subvert this. Calling to mind my mothers relationship with her materials, Bratescu limited herself to creating with the limited materials she had. In her series of works, Remnants, the artist felts together scrap material irregardless of make it colour to in a way, document time and place. I really love these works as abstracted representations of consumerism, removed from political intent.

[sethmcmurray]

R&E #5 - Atomville

I am intrigued by Paul Laszlo’s concept of Atomville. In 1954, Popular Mechanics published an article by Laszlo outlining what his concepts were for American future living in 2004, a place he called Atomville. In this place, most travel is done by flying, with cars only used for short trips around the town. To accomodate this, all the houses are built underground with landing strips for helicopters and ‘convertiplanes’ on top of them.

‘Because of increased population, land would be at a premium, so Laszlo envisioned "three-level use of a lot:  living below the surface, landing on it and traveling above it."’

http://mid2mod.blogspot.com/2011/02/paul-laszlos-atomville.html

Also included in the article is an idea for an underground bomb shelter, which shows a further possible method of underground living.

This whole idea gives a very interesting perspective on what a future world may be like, and consequently how humans would have to live and interact with the environment differently to accommodate it.

Atomville, Paul Laszlo (1954). Sources: http://mid2mod.blogspot.com/2011/02/paul-laszlos-atomville.html http://architectuul.com/architecture/atomville

[cindinh]

FINAL POSTER (double-sided)

“5 Communities. Find them.” 

[hotwater3104]

Camera Motion Tracks

Basic ideas about the process of camera movement.

[lachwp]

Poster: Informal Vote

For this assessment I responded to the second research topic, regarding the canonisation of rebellion in art history. The prompt suggests that rebellion must be an original action, but because rebellion has become a canonical technique, that, in contemporary practice, rebellion is impossible. The work serves as a proposition for what a contemporary rebellion would look like.

Initially, my research began with analysis of a Calvin and Hobbes strip, ‘Metal’. From this, I determined the key to genuine rebellion was the sincerity of the action. In art, wherever sincerity appears in excess, camp often appears alongside it. This led me to Sontag’s Notes on “Camp” which informed the remainder of my assessment.

My work serves as a metaphor for a rebellious action, specifically rebellion against mandatory voting. The ability to vote is often regarded as a privilege, however, when made mandatory not only do you disregard this privilege, you also eliminate the option of abstinence. Under this system, if someone wishes to abstain from voting they must submit an informal vote.

I see intentional submission of an informal vote to be an ideal way to rebel in contemporary society. The action’s ethos borrows heavily from that of 70s and 80s punk culture (that of antiauthoritarianism and individual liberty), yet subverts these attitudes to be more appropriate for a modern person. It assumes the guise of civility and keeps the actor safe from repercussion, yet down the line wastes the time of vote counters and contributes to the ever-growing statistics indicating public frustration and dissatisfaction with our current mode of government.

Sontag’s defines camp as “love of the unnatural: of artifice and exaggeration.” I tried to harness this with the poster, utilizing the exaggerated and the absurd in order to project onto (and therefore reveal) the ridiculousness of the AEC. It is often said that it is not the lawmaker who incites social change but the artist. My ambition is not that great, but hopefully I have done enough to breed doubt in an individual who might not have felt so otherwise.

References:

Sontag, S ‘Notes on “Camp”’ Camp: queer aesthetics and the performing subject: a reader (1964): 53-65.

Watterson, B ‘Calvin and Hobbes’, March 18 1992

[claresadad-blog]

http://www.rookiemag.com/2015/02/tiny-rebellions/Final work.

Rebellion is the act of going against the rules to try to invoke change. Since rebellion has now become a norm, nobody really is inspired by simple rebellion art because it has now been demoted to purely just art. The question of whether rebellions have any power to rally the society since they have been canonised in art is a complex issue that has many layers behind it. Rebellion is still very present in our modern day society, however as united protests and demands have become ineffective and less popular, individual rebellions are slowly increasing. People have begun to rebel for the way that they feel unhappy with how their lives are- this may include negative forms of release like drinking or smoking, or personal protests for change such as breaking female stereotypes. I communicated this by photoshopping such personal forms of rebellion onto the fragile petals of a floral background to suggest that in our everyday world, there are always secrets and individual problems that people face. The quote in the rose petals is by Kaveh Sharooz, former senior policy adviser to global affairs Canada, commenting on the Iranian uprising currently fighting for better food and pay conditions. I decided to use a play on words to create my poster, by producing a false quote from an authoritative government figure. The quote, “What I’ll conclude with is; we are proud to tell you that rebelling no longer exists from this day forward.” is supposed to invoke a sense of oppression and loss of hope for those who want change. However, as you shine a torch across the grey words, certain words become highlighted, revealing the secret message “what are you rebelling for?” This is meant to suggest that although creative rebellions have been canonised into art, individuals are still fighting for what they want for every single day, as well as provoke the responder to try to answer the question as a final impression of the work.

references:

B. Fishel., Morpheus, [website], 2015,  https://www.thisismorpheus.com/2015/12/the-art-of-rebellion-in-the-21st-century/, (accessed on 15 Aug 2018)

T. Glavin., The uprising in Iran: ‘This is what revolution looks like’, [website], 2018, https://www.macleans.ca/news/world/the-uprising-in-iran-this-is-what-revolution-looks-like/, (accessed on 15 Aug 2018)

B. Valentino., Tiny rebellions, [wesite], 2015, http://www.rookiemag.com/2015/02/tiny-rebellions/, (accessed on 16 Aug 2018)

[joshuaalipioadad]

Assessment 1 - Final Work:

[nehaponnala]

ADAD Sem 2 - Assessment 1

After our presentation we were encouraged to leave our posters out for the rest of the campus to see, so I placed mine by the message board. This section made sense as my ‘advertisement’ is intended to be educational so I hope people observe it and consider my message.

Moreover, I forgot to mention this to the class, but today is the 72nd year of Independence for India, and I couldn’t help but feel the sense of irony of presenting a poster about cultural appropriation on our day of Independence. 

[divyaadad]

Final work: Presentation