If you haven’t been to see it yet you have until this Sunday to get out to Cockatoo Island and check out the biggest street art show in the Southern Hemisphere.
1 still camera
288,000 jelly beans
NSW Parliamentary Plein Air Photography Prize.
Call for entries for ‘NSW Parliamentary Plein Air Photography Secondary Schools Competition’
The Parliamentary Photography Prize is now in its second year and for the first time is now open to secondary school students. If you are interested, go to
Please read the conditions of entry, as this is the first time digital upload has been incorporated into the submission process.
A nice animated storyboard for U2’s ‘I’ll go crazy tonight’
Worth looking at for the development sketchup and sequencing.
A fascinating look behind the scenes into the making of the Collision Course. Super slow motion footage shot using high speed cameras @ 1500fps.
This submission for 2008 HSC by Anke Vermeulan was part of a body of work comprising photographic works, documentation and installation. I’m placing this here so any student in the current year who is considering a video submission can get a good idea of what goes into a successful work in this media area.
During term 1 of Yr 12 Anke had a clear idea of some of the components of her Body of Work and over the Xmas break scripted and filmed the first part of this work. It was to have been a music video clip that still required a green screen sequence. After some long discussions she decided to complete the green screen sequence and open out the concept to include multiple videos in the one edit. Over the next term she scripted and shot the main sequence of this work whilst refining the green screen/chroma keying, as both works now included this, and the second shoot was more complex, because of some reflectance problems which made the chroma keying quite tricky. However the work still needed more to pull it together. After prototyping the split screen sequences it was decided to include some home video footage, text and an appropriated sequence to introduce the whole work. I had mentioned the works of Andre Tarkovsky as a possible source and she settled on a small sequence from ‘The Mirror”. The scene was a slow dolly from a hallway to a room. The beauty of this was that it provided a workspace in which to place elements of her own work projected onto floor, ceiling, walls and into picture frames within the room. A nice idea that was a technical nightmare requiring extensive use of the motion capability of the software and long hours of editing for her and a steep leraning curve for me. By the end of term two the work was beginning to take shape but the sequencing and the pace of the work needed a lot of refining. The text transitions were still a little clumsy and it was decided to link each transition from a common letter within each word, slowly getting there. The soundtrack was only in skeleton form at this stage and required much more than. In term 3 Anke brought in a recorded dialogue which set the whole tone and made it so much easier to sequence an ambient score around it. Long hours scouring sound libraries and it was beginning to come together. The final touch was a transitional link using an 3 sec grab from a Fellini movie, that joined the opening to the body of the video. Syncing the soundtrack to the video was labourious and we were both beginning to fray at the edges by this time. In between all this came the development of a body of photographic work drawn directly from the documentation of the filming process and some other works. The roulette wheel that features in the film was constructed by her and included in the body of work.
click on link to view
“Taking part in the exhibition Utopia Matters at the Deutsche Guggenheim, Chinese artist Cao Fei presents a unique and “cozy” installation of the virtual space RMB City. RMB City is a project that involves the creation of a virtual city and art platform in the online 3D world of SecondLife.“Playing on the idea of ‘private utopias’ and the splitting between a ‘real’ and physical space and a virtual ideal world, RMB City takes the shape of an intimate room where visitors can actively experience its virtual existence. Through SL portals, videos, press material and old project installations visitors can actually enter Cao Fei’s utopian world as if they were in their own bedrooms”. (Cao Fei).” Vernissage Art
At the forefront of contemporary practice, Cao Fei successfully negotiates the integration of RPG’s into a mainstream practice. She is one of the few artists to embrace contemporary online cultural phenomena and receive the recognition of major galleries.
Follow the discussion and case study here
Shaun Gladwell represented Australia at the 53rd International Art Exhibition La Biennale di Venezia 2009. The show was entitled MADDESTMAXIMVS and it brings together the artist’s trademark slowed-footage video installations of figures undertaking acts of physical virtuosity, with sculptural works and interventions into the fabric of the pavilion itself, such as a motorcycle that sticks in the outer wall of the building.
Follow the discussion and case study here
“MADDESTMAXIMVS had been developed over a two-year period and marks a shift from Shaun Gladwell’s earlier focus on urban environments and engages instead in a personal exploration of the boundaries and possibilities of a human relationship to the Australian hinterland.” Vernissage Art TV
Courtesy of Vernissage Art TV
Part 2 of an interview with David Elliott, artistic director of the 17th Sydney Biennale 2010.
In this the 2nd part of the interview, David Elliott talks about his reasons for the inclusion of Australian indigenous art and the art of first peoples globally. He discusses the relevance of Mario Mertz and Joseph Beuys to the theme and looks at the notions of ‘survival’ as it relates to the sub theme and discusses the inclusion of music in the Biennale.
Courtesy of Vernissage TV
This is part 1 of an interview with David Elliott, director of the Sydney Biennale 2010. The Sydney Biennale opens in May 2010 and will feature works from first nation peoples. In this interview David Elliott talks about his background, his rationale for the concept and title for the Sydney Biennale and it’s connection to the region and what is happening in contemporary art. He also discusses the notion of ‘distance’ within the context of the concept for the Biennale. He also discuses the issue of notions of quality in art and his hopes for a shift in the dominant hegemony of Western Art.
This interview was conducted at Artane Gallery Istanbul in September of this year.
Courtesy of Vernissage TV