Workshops are listed by date

Afterimage, May-June, 2003

JUNE 30-JULY 4

IMAGE, SEQUENCE AND SERIES NATHAN LYONS

The workshop will explore narrative and non narrative visual structures. How the context of images can reinforce a comprehensive strategy in the development of one's own working methods will be investigated, as well as the development of project-based concerns that are to be presented in exhibition or book form. Participants should come prepared to shoot and make contact sheets on a daily basis.

Nathan Lyons, Founder and Director Emeritus of the Visual Studies Workshop, has curated and been included in numerous exhibitions over the past forty-five years. He is the author and editor of many books, including two sequences of his own photographic work, Notations in Passing and Riding First Class on the Titanic. He has recently had solo exhibitions at the Addison Museum of American Art, the George Eastman House, The Houston Center for Photography, the International Center for Photography and the Howard Greenberg Gallery in NYC. Lyons is currently working on a third book, entitled After 9/11, to be published in the Fall of this year.

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JUNE 30-JULY 4

PRINTED PRANKS AND PROTEST: ARTIST-ACTIVIST PUBLICATIONS MARSHALL WEBER

Artist/curator Marshall Weber opens his extensive archive of thirty years of innovative printed materials designed to provoke, disturb and disrupt the status quo to hands-on exploration. He provides a veritable feast of tasty tools and tactics for creative dissent of great interest to both artists working in printed matter and to activists trying to get the word out. Billboard manipulation, books, emails, forgeries, handouts, posters, public signage, simulacra, stickers, 'zines, and other forms of both creation and manipulation of printed material will be explored. Classroom presentations in numerous media will be accompanied by class and individual culturejamming projects.

Marshall Weber was a founder, in 1989, of Artists Television Access in San Francisco and of the Brooklyn Artists Alliance in 1999. As a curator, Weber designs national multi-site collaborations that bring together artists, social service organizations and the public to explore issues of social justice. He has organized projects concerning gentrification and housing rights ("Who's the Landlord?," San Francisco, New York, 1989-1991), penal reform ("Correcting Corrections," Wisconsin, 1994-1997) and is now directing "... even the birds were on fire ..." a tour of artworks by New York artists responding to the aftermath of 9/11. His work in book art, collage, poetry, performance/installation, and video focuses on creating intimate and tactile anti-spectacles as antidotes to the manipulative virtual spectacles of corporate culture. He is best known for his endurance performance work, including a solo recitation of the entire Bible in eighty hours.

JUNE 30-JULY 4

INTERACTIVE MULTIMEDIA USING DIRECTOR: HYPERTEXT TO VR CHRIS BURNETT

Computer multimedia and hypermedia offer exciting possibilities as well as unsolved problems for cultural communication and art. Participants in this workshop will assess a range of multimedia authoring systems, their practical pros and cons, along with hands-on experience using the industry standard for multimedia production: Macromedia Director. The workshop covers the technical basics with an emphasis on handling text, image, sound and movie leading up to the new 3-d capabilities of version 8.5. Additionally, through informal presentations and discussions, we will probe the social history and critical issues behind multimedia technologies. This history includes encyclopedias, panoramic displays, mechanical memory, and the early visions of hypertext. The contemporary issues for discussion would range from the structure of "non-linear" narratives to the cultural status of computer games. The workshop will broaden the participants' knowledge of interactive multimedia and prepare the way for a critical understanding of virtual reality.

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Chris Burnett is the Director of the Visual Studies Workshop. His books and computer interactive works have been shown nationally and internationally in a variety of exhibitions realizing critical as well as aesthetic possibilities for computer generated artwork. Recent work, supported by a grant from Creative Capital, investigates how language can directly generate form in a virtual environment. His critical essays on photography and computer media have appeared in Afterimage. New Mexico Studies in the Fine Arts. Spot, U-Turn, Views, and Visual Resources Journal.

JUNE 30-JULY 4

MAKING MOVIES: METHODS AND MEANING IN FILM/VIDEO PRODUCTION RICH DELLA COSTA

The course is designed to give students a practical, hands-on experience with film and video production equipment. Each student will produce a short, simple video, shot on Hi 8 tape and edited to the SVHS format in the off-line edit suite. Students will also receive an introduction to Super 8 and 16mm film production with an emphasis on independent and experimental film. The course will cover pre-production (script writing, treatment writing, story-boards, shooting scripts, location scouting, shooting schedules), production (using analog and digital cameras, Super 8 and 16mm cameras, light meters, lighting design, location shoots, working with actors), and post-production (pace and rhythm in the edit, analog off-line editing, digital systems, cutting film). Examples of short films and videos from the Visual Studies Workshop archives will punctuate the course throughout the week, presenting a variety of film and video artists' styles and methods. Featured are the films of Bunuel, Dali, Man Ray, Maya Deren, Ken Jacobs, Ed Emshwiller, Stan Brackage, Michael Snow, Bill Viola, Gary Hill and many more. Equipment will be provided, but students are expected to bring Hi 8 and digital tapes with them to the workshop.