poster/flyer mockup! [EDIT]

obviously, we have not settled a date yet.... but hopefully that will be taken care of soon!

so what do you think of the title? the design? comment!

-------------EDIT

here's a couple other versions

master to-do list

yep, there's a lot on there.

that slowly progressing series of people with their books....

craig's books

for the books series

exhibition preparation schedule/thesis talk preparation

This is the schedule I've devised for myself:

02/07 – 02/20

- Select images to be printed for senior thesis exhibition

- Complete video for installation at exhibition

- Take photographs and measurements of exhibition space

- Finalize ideas for display of prints and video installation

- Consider title for exhibition/project

02/21 - 03/06

- Settle date for exhibition

- Finalize title

- Begin printing images for exhibition

- Determine logistics of how prints will be framed/mounted/displayed

- Reserve necessary equipment for installation

03/07 – 03/20

- Complete printing

- Begin framing/mounting/whatever method of display for prints

- Begin any building required for installation

- Poster/flyer designs

03/21 – 4/3

- Complete framing/mounting/etc

- Test run of installation

- Send out flyers/hang posters

4/4 – 4/30

- Exhibition will take place on one of these dates.

- Exhibition will be completely installed and shown during this time.



In the meantime, I'll also be working on my senior thesis talk, which will take place on 27 April.

I've started that... it was suggested that we organize our talk not chronologically, but by related ideas or themes. So I came up with a list of themes that commonly appear in my work, then a list of all the projects I've done. But I realized that these themes can apply to much of my work. I tried to make a flow chart illustrating this...

.... but that got a little messy.

so instead i did this:

The projects are listed on the left side, somewhat chronologically, and the themes are on the right. I gave each theme a color, then drew a line from that theme to each project it applies to.

So now I just have to work out how and in what order I'm going to talk about everything. Yay.

younger days

at this point we lived on Charlotte.

my dad & me

the date on this picture is wrong. i know i got that camera when i was eight. (also, i was not alive in '85)

check out the bandaid on my foot.

i either just turned sixteen or was about to here.

drawing with my mom.

words.

thanks to stumbleupon, i found this piece by ariana boussard/reifel:

it's called 'between the lines.' she cut out every single word from klassen's 'rahowa! this planet is all ours' (rahowa means racial holy war.)

this never appeared on my blog (because i wasn't blogging yet,) but in my sophomore year i did a series of photographs called 'words'

i initially began this project by attempting to cut out every single word from freud's 'the ego and the id.' i never got that far, but i did cut out plenty of words to work with...

after the critique at school, i didn't really go anywhere with this project. it was my intention to give myself a long, tedious task to complete and then create images. the resulting photographs were meant to be symbolic of a number of things... how we are surrounded by words, how singular words can become incredibly important and significant, how we spit out words without always considering them, how we can be greedy with our words, and of course, words are like cocaine. (that's kind of a joke. but with that mirror photograph, what else do i mean?) I never figured out the connection between the monotonous cutting out of words and the content of the images, nor did I have any real reason why i used Freud. realizing these things, i abandoned the project. (though i continued working with books and words in my 'books' series and 'subtext' series... more an indication of my obsession with words rather than a logical growth)

with boussard-reifel's piece, her intentions are clear. 'read between the lines.' removing the words from a white power book. our intentions are not very similar. perhaps the connection is a purely visual one. Perhaps... something to think about.

in other news, i've updated my website and i'm looking at a space for my senior exhibition tonight.

that is all.

b&w nz

i shot one and a half rolls of 120 in the six months i was in new zealand.

here's some of first roll

classes start tomorrow!

the new year/some photographers/fred lebain

it's the new year, and i shall attempt to blog more often.

so on the subject of Fred Lebain. can you believe that i hadn't seen his work before my own Vagrant Disposition? i can't believe it, either. he was featured on i heart photograph, but that wasn't 'a spring in new york'.
in that series, he took photographs around New York City (Lebain is a Frenchman), made some massive prints, and returned with the prints to those locations. he then shot a wider image of the posters in place, blending them in with the landscape.

in some cases, such as the image above, it is not clear how the print is being suspended in the space, but it is obviously a print.

in others, a person (possibly Lebain? i like to think so) is holding the print in place. in this image, you can also see how the print is being warped, bent and battered by the wind.

this is obviously extremely similar to Vagrant Disposition. however, there are some pretty big differences as well. first of all, I took photos of my self, rather than just locations, and shot video of myself holding these posters in the location. it was extremely important for me to include myself in the images, because this series wasn't just about the places I'd seen, but placing myself there as well. a temporary monument to the fact that I was there. also, the fact that I shot video rather than an image was a way to show the struggle of holding these prints in place, and give a moving example of what happened to the prints in the process. the other major difference between my work and Lebain's is my displaying of the prints as screens for the projection. my intention was to allow people to see the print in all its damaged glory... to examine where my hands clutched the sides of the print, where the dimples showed up most, where the wind ripped it apart. as with my alludere: surrealist exploration installation, it was crucial to show that the print has a life of its own. since I've struggled with the digital print for quite some time now (my first attempt to distance myself from the traditional digital print method was with The Manhattan Project: Retreat the Digital Print) I wanted to put more value into these digital prints. when you're working with a file, you can reproduce a print as many times as you like... so why then do we treat them as precious objects? money aside, I see no point in it. to me, a battered print is more valuable than a pristine one, because you absolutely cannot recreate it. and it grows and changes with time - the holes poked through it for installation, the marks from bands keeping it rolled up, the gradual fading and changing that happens as time passes. this was extremely important to me.

I guess I had to know that someone already did something similar to what I was doing. that's always the case. but it will never be exactly the same.

thanks, Chelsea, for putting me on to Lebain's work!

and now, here are some photographers i've been digging lately (the majority discovered on 500 photographers)....

Aaron Hobson - extremely influential to me right now (at least mentally). definitely makes me regret not shooting some of my later ideas in NZ.

Celine Clanet is drawing me to Scandinavia.. though I suppose Lindsborg will have to do for now.

Christian Hansen - self explanatory.

Ellen Kooi - inspiring me to use children and colored gels.

more thoughts later.