experience as teacher

The Modern Transition exhibition is a total sensory experience for the viewer. Our emphasis has been placed on Le Corbusier's journey as equally important to his arrival to each of the Five Points of Architecture. As the viewer takes the journey from room to room, he or she will experience a taste of sights and sounds of Le Corbusier’s expedition. The marriage of the literal with the poetic is key within our theme. We long to pursuade the viewer of the importance of the Five points through a thorough steeping into the driving passions of Le Corbusier. Corbusier’s primary influences will be married to his point of view. The music and visuals will mesmerize to dislocate the viewer from the current moment and slice open a portal into Corbusier’s world.

destiny vinely

Destiny teaches aerial classes at the Quixotic studio.

becky buznedo

amy farrand

This is Thomas, Amy's ultra attention-needy cat. Whenever he was not posing in a photo with Amy, he was in my lap. I tried to pack him in my bag.

pricing & ethical guidelines

So far in my freelance pursuits, I have worked with solely non-profits. This is partially because I enjoy pursuing work with performance groups. I feel like some guidelines within this book don't quite apply to me just yet. My design reputation is still in the works, and so I don't feel I can charge a very decent amount. In the end, all pricing is subjective and a decision between the artist and the client.

"Artists need to be clear on the various components they will work on," as stated in the handbook. I appreciate the breakdown of five possible rolls of the graphic designer within a given project: orientation, design ideas, design execution, production and on-press. (Who knew it was possible to bill for each?) Honestly, when considering a printed project, I thoroughly enjoy all aspects, including the press-check. My experience at a printing company has instilled realistic as well as high expectations for the final product.

I had never considered asking the client to sign a contract—even a casual one. The confusion of what is expected by the artist could be made explicitly clear—if, of course the tight project specifications are known by the client him or herself at the beginning. Deciphering through the haze of a cloudy project can be frustrating.

Another bit of wisdom as gleaned from this book is, educating the client about the roll of a graphic designer, is the designers job. For instance, the client may choose the safe solution out of habit. The designer's roll is to attempt to steer the client from the idea of comfort to the most powerful solution. We are problem solvers, rather than pretty (non functional) thing makers.

WE! take two

WE! take one

before shredding the stage:
after shredding the stage!!!!!!!!!!:
The shredding action is hot off the press—and it has a photocopy feel. The project WE! will shred the concept of the traditional stage as well as the suffocating context of the office space. The main audience for this event will be art appreciating professionals. I am thinking happenings, bauhaus, deconstructivism. The context is the 6th floor of an office space. I imagine Jane Gotch standing on the window ledge with a decided aversion to setting a foot the floor.

Another photo possibility would be Mark Southerland holding a sledge hammer about to smash into a wall—because they are breaking down walls both figuratively and literally for this audience participatory performance.

So why not a poster series?

Additionally, I am not always a fan of the icon approach (literal representation of the person) BUT, Jane (and Mark as well) emit a powerful aroma of ethos. Dangerous soul penetrating actors, they are.

meat joy

Motion is beckoning my attention and I am smitten. My heart flutters concerning the conception, recording and editing processes. (This digital filmmaking class is going to change my life.)

Music: Hot Boyz, by Casiotone for the Painfully Alone (with Dear Nora)

meat joy from tammy shell dfilm on Vimeo.

This is a reaction to the linguistic experiments of the exploratory and portapak embracing videographer, Gary Hill. Specifically his piece from 1984, Why Do Things Get in a Muddle, Come on Petunia.

testing the portrait

My process is partially inspired by the writings of Annie Leibovitz, as I am currently sifting through a book titled, Annie Leibovitz at Work. So far I have realized, no matter how gloriously talented a photographer may be, a portrait that truly defines the subject is no swift journey. During one of her commissioned portrait campaigns, she devoted an entire day to interviewing and researching each subject. She is of the persuasion that solely reading about the person is not enough. A one on one exchange is much more effective if truth is the pursuit.
With Annie on the brain, I met up with Taylor at her house. (I recently purchased a set of strobes, so I am officially mobile!) When she opened the door, a pretty and especially clumsy puppy attempted to give me a hug—I knew I was in the right place. This project is sort of an invasion into the lives of people, some I only know from afar.

As we sat down at her table, I grabbed my detective hat as well as a pen and paper. Vintage details everywhere—I had a hunch. My inner Sophie Calle peaked out. Should I walk around photographing objects that I find interesting and ask for a story? Should I ask her to leave the room while I take a gander and determine a possible narrative? First things first, this is the just the facts ma'am part of the project, and my word, and I would like to create a (loose definition) traditional portrait.

Taylor began explaining how she has a hard time throwing anything away. And sentimental she is, her apartment contains many inherited items from her grandmother and great grandmother. Even Taylor's cat, Calle, belonged to her grandmother. Her world revolves around family. Upon the completion of the casual interview, I waited. Surely it would happen. The sign. The one that flashes with (almost all) working bulbs with the arrow pointing towards which path to pursue. (This is beginning to become a little verbose and so I will stop now...thank you for listening.)

For this portrait study, I plan to put into practice what I have (and will) glean from studying the masters. (Those that I consider masters are defined in previous posts.) I will bathe in their processes and emerge anew. My personal goal is to collaborate with the subject and allow the processes I have learned thus far from graphic design to merge with the tests.

alter ego exploration

networking site research

mo betta exhibit

1. (Poetic)Persuasive

Potential exhibit number one, The Sensory Experience. Mo, aka MoBettaDesign.com, and I are longing for the gallery visitor to engage in the tangible. Not only will the visitor experience in complementary text concerning the vital five points [toward] a new architecture, he or she will be able to taste them as well. (I suppose participate with them would be a more accurate description.)

2. (Practical)Persuasive

Potential exhibit number two, The Le Corbusier Experience. This exhibit will be more for the logical variety. Initially, to set the scene, the viewer will engage in a timeline room illustrating the life of Le Corbusier. Significant dates will be enlarged and significant events will be emphasized—for instance his love affair with the lovely Josephine Baker.

The five points will be demonstrated throughout the rest of the exhibit in reference to the specifics of the Villa Savoye. Mo and I imagine the initial room will contain a general plan view (of the first floor) of the actual structure. Color coded wall infographs will repeat throughout the consecutive rooms with more thoroughly detailed plan view sections on the floor.

Notes from Le Corbusier

Five Points [Toward] a New Architecture
Our confident (and feathery) friend, derived these points through practical experience, rather than via frivolous fantasy; additionally, Le Corbusier's theory is non-aestheticly driven, non-fashion minded, but solely based on facts.

1. The Supports

A building may be sifted into two categories, supporting and non supporting elements. Confusing the two will lead to shallow design.

(hmmm, I knew it—Vignelli was influenced by this man: see this—Mo, we could incorporate an exhibit of the designers he influenced, as Vignelli considered him a god.)

Anyway...back to the supports, Le Corbusier stated, "supports and support foundations are precisely calculated according to the burdens the are called upon to carry." Therefore, walls will be added out of free spirited desire, rather than structural necessity. Additionally the ground floor will be lifted above the damp soil, as it too is no longer necessary as a base element.

2. Roof Gardens

A flat roof = a fine area for a garden. Honestly, who would not love to recline on a roof while sipping on lemonade and inhaling fragrant greenery? Practically speaking, according to Le Corbusier, the consistent humidity of the roof concrete will allow for the reinforced concrete to remain at a regular temperature. And lastly, "roof gardens mean to a city the recovery of all the build up area." Green-minded architecture in 1926! Wow.

3. The Free Designing of the Ground Plan

If supporting walls are no longer necessary, absolute design freedom has emerged! Each floor may be designed "entirely independent of the rest." The only debatable drawback, would be the high cost of reinforced concrete. But really, who could dispute such design freedom?

4. The Horizontal Window

Let there be (evenly refracting) L I G H T throughout the structure. Amen. Since the exterior walls are no longer enlisted as supporting elements, why not stretch a window the entire length of the wall? Maximum illumination, as stated by The Raven, is an excellent architectural pursuit.

5. Free Design of the Facade

(Repetition is key to learning)..."Since the exterior walls are no longer enlisted as supporting elements," a quote from me as stated in the previous paragraph, why not...(and now back to The Raven) "project the floor beyond the supporting pillars, as a surrounding balcony?" Additionally, to speak the obvious, windows may be added at will.

And lastly, a demonstration of Le Corbusier's humility,
"Nothing is left to us of the architecture of past epochs, just as we can no longer derive any benefit from the literary and historical teaching given in schools."