1 Art 309: Video for Visual Artists Spring 2017 Professor: Tori Foster Class time: Mon & Wed 11-1:45 in AC401 Office hours: By appointment on Fri in SB Lab: 6 hours / week Prerequisite: Upper Division Standing It s not what you look at that matters, its what you see. - Henry David Thoreau Description This course will explore, at an introductory level, the skills, techniques, theories, and historical and contemporary landscapes of video as a visual art form. You will engage in multiple modes of learning, including art creation, discussion, field trips, student presentations, readings, lectures, quizzes and workshops. You will improve your research and critique skills, learn about the contemporary context of video as well as its historical origins, learn the fundamental skills of capturing and editing moving images, and enhance your ability to develop robust concepts, all as applied to video within the realm of visual arts. You will not be learning about time-based media within the realms of film for theatrical presentation, television, or commercial advertising (though many of the techniques learned within this class may be applied to these other disciplines). Objectives This course will provide you with an assortment of valuable time-based media skills that you can apply to your art or design practice. Below are five areas that we will focus our exploration on, in addition to the two specific techniques or skill sets that you will be developing within those areas. Physical video techniques You will learn how to: Use a video camera and it s manual functions Edit time-based media Theoretical video techniques You will learn how to implement: Cinematic and editing techniques, and A variety of narrative forms within timebased media Conceptual rigor You will learn how to make: Conceptually robust, and Meaningful and impactful video work Video context You will learn about: Contemporary video art and artists The historical origins of video as a technology and as an art form Learning how to learn You will learn how to: Research video art and artists Critique video work Assignments Note: Unless otherwise stated, all videos must adhere to the following requirements: 1) All content must be created by you (no found footage, no use of music, etc.). 2) All videos must be between seconds in length. 3) All videos must have sound (if you want your video to be silent, you must record silence). 4) No footage of your home or the school may be used (unless it is shot in a shooting studio).
2 10% Attendance & Participation 90% Projects 20% One A Day A one hundred day long time lapse. Each frame taken over one hundred consecutive days 10% Camera A brief introduction to shutter speed, ISO, and aperture 20% Me and the World Create a 30 second video that illustrates your perception of the world. Follow it with a 30 second video that illustrates how the world perceives you. 20% After Cubism Using video as a medium, create a spatial montage inspired by Picasso and the Cubist movement. 20% Article Choose an article that you ve read in a newspaper, magazine or book. Create a video derived from or inspired by that article. Extra Credit Assignments 10% Video Exhibition review Visit an exhibition that includes video or digital content. Write a one-page review of the show. Required readings Required readings will be delivered as PDF handouts via Moodle. Attendance Since students benefit from an active involvement with faculty and with their fellow students, you are required to attend and participate fully in all classes. You are responsible for ALL information and deadlines delivered in class regardless of whether you attended class. Class content (including lectures, demos and handouts) will not be repeated for students who are not present. If you are absent, late, or leaving early, please get lecture and demo notes from students in the class. If you do not attend the first two classes you have lost the right to attend this class unless you have notified me that the absence is temporary. Failure to withdraw will result in me assigning you a grade of U which, in computing a student s grade point average, counts as an F. Late work You may elect to take a one class grace period for any assignment no questions asked. If you choose to take advantage of this privilege the only requirement is that you inform me sometime the day of or in the days leading up to the deadline. If you are still having trouble completing the assignment you must set up a time to meet with me in class to go over an outline of your ideas and set a timeline for completion. Late deliverables are not eligible for re-submission and might not receive feedback. The final project cannot be turned in late.
3 Revised work Deliverables that have been handed in on time may be re-submitted after being re-worked to attain a higher grade. Re-submitted assignments must be handed in no later than Week 14. Classroom Deportment Participation: Everyone is expected to use the entire class period, arriving on time and staying until the end. Arrive prepared to work with needed materials/supplies, and to critiques with completed assignments, ready to participate. Social Media: is allowed during breaks only. Cell phones and other portable electronics: must be turned off during class and stored in bags, not set to vibrate. Exceptions only for caretakers or family/medical emergency, when you can keep your phone on vibrate. Please let me know the first week of class if you are a caretaker and before class if there is an emergency. Failure to comply with deportment rules will count as an absence on the day of non-compliance. Student Support Services and Learning Resources Lynda is free for all CSUN students: Center on Disabilities: Counseling: Career Center: Suggested readings for your professional arts career Darcy Bhandiari, Heather, and Jonathan Melber. Art/Work: Everything You Need to Know (and Do) As You Pursue Your Art Career. New York: Free Press, Rosenberg, Gigi. The Artist s Guide to Grant Writing. USA: Watson-Guptill Publications, Wojak, Angie, and Stacy Miller. Starting your Career as an Artist, 2 nd Edition. New York: Allworth Press, Encouraged equipment and supplies Camera Access to a video camera. Highly recommended that you gain access to a camera with manual functions, however, if this is not possible, then any video camera will do. Please speak with me if you have concerns about fulfilling this requirement. Data storage One large capacity flash drive or a portable external hard drive I recommend one of the following: - Kingston 64GB DataTraveler SE9 USB Flash Drive - WD 1TB Elements Portable Hard Drive - WD 2TB My Passport Ultra Portable Hard Drive If you have a DSLR camera, you will need a highspeed data card for your camera (such as an SD or microsd card) I recommend: - For recording HD video: minimum speed of Speed Class 10 or UHS Speed Class 1 - For recording 4K video: minimum speed of UHS Speed Class 3
4 Equipment suppliers Los Angeles suppliers Samy s Camera Multiple locations in LA: Video, photo, lighting, hardware supplies Fry s Electronics Multiple locations in LA: Video, and photo supplies Mail order suppliers B&H Photo Superstore based in NYC: / Video, photo, lighting, hardware supplies Footage resources Free / open source / copyleft photos and videos Internet Archive: Prelinger Archive: Creative Commons: Morgue File: Free Images: Course Description from CSUN Catalog Video for Visual Artists explores the relationship between visual art and video/moving images. Students create short video explorations to study the camera, movement, composition, color, and editing. Art program goals addressed in this course The art department program goals are described below. The portions applicable to this course are underlined. 1. Acquire a basic knowledge, theories, and concepts about art; develop a foundation of art skills and a high level of craft (video); communicate ideas and concepts through writing, speaking and art making; acquire a competency with the tools and technologies associated with the visual arts (camera and editing software). 2. Broaden knowledge of ancient through contemporary art; develop an understanding of the theoretical, cultural, and historical contexts of art. 3. Apply processes of generating and solving problems in art; analyze, interpret and question traditional methodologies and preconceived notions of art and art making. 4. Explore and engage in interdisciplinary forms of art making (understanding the relationship of visual art to video). 5. Develop an appreciation and tolerance of diverse perspectives dealing with art, culture, teaching and learning. 6. Become involved in both individual (projects) and collaborative (critiques) art experiences with other students, faculty, and community.
5 Student Learning Outcomes 1. Demonstrate basic principles of videography including contrast, lenses, lighting, camera angles, editing. 2. Demonstrate proficiency in use of the camera and editing software. 3. Demonstrate proficiency in the use of simple non sync-sound production pipelines for use in art projects 4. Describe the relationship of video to fundamental concepts in art including objectivity, interpretation, abstraction and gesture. 5. Exhibit an understanding of the way their own interests and abilities in visual art are expressed within time-based media.
6 Art 309 Schedule Week Date In-class Project assigned Project due 1 Jan 23 Introductions #1 One a day Jan 25 Shutter #2 Camera #1 Proposals 2 Jan 30 Aperture #1 First two shots Feb 1 ISO 3 Feb 6 WB / Focus / Premiere Feb 8 Early motion media #1 Submit work in progress 4 Feb 13 Me and the World: launch #3 Me and the World Feb 15 Me and the World: ideation Camera: production #2 Camera 5 Feb 20 Me and the World: proposals #3 Proposals Feb 22 Me and the World: production 6 Feb 27 Me and the World: production Mar 1 Me and the World: production #1 Submit work in progress 7 Mar 6 Me and the World: production Mar 8 Me and the World: production 8 Mar 13 Me and the World: critique #3 Final Mar 15 Space vs. time #4 After Cubism 9 Mar 20 MARCH BREAK Mar 22 MARCH BREAK 10 Mar 27 Intro to After Effects Mar 29 After Cubism: production 11 Apr 3 After Cubism: production Apr 5 After Cubism: production 12 Apr 10 After Cubism: critique #4 Final Apr 12 Article: ideation #5 Article 13 Apr 17 Article: proposals #5 Proposals Apr 19 Article: production 14 Apr 24 Article: production Apr 26 Article: production 15 May 1 Article: production May 3 16 May 8 May 10 Article: production Final Critiques: One a day Final Critiques: One a day #1 Final #5 Final