Archive for January, 2008

Monday, January 28th, 2008

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These are two paintings I have been working on for 6 months.  They are both 5×7 feet.  At first they looked a lot like the painting in the previous post but now they are much further along in their development.  Starting a painting is usually the  most exciting part of the process for me.  It is fast paced and constantly changing as the design is worked out.  At the stage these pictures are at the painting really slows down.  It is still enjoyable but very different.  The paintings seem close to being finished but I have a feeling I will continue to work on them for 6 or 8 more months. 

Designs on the Presidency

Sunday, January 27th, 2008

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Rolling up to the primaries, it was hard to find any substantial information on the candidates.  Many I asked said, for example, that since there was no real difference between Obama and Clinton, they were voting with who had more charm and charisma.  I always think that’s a really bad way to elect a president.  But, as politics go, looking for information, you get a progression of poses—moments of vulnerability, log cabin speeches, podium spats—nothing except style.  So let’s go into a style that is overlooked: the cascading style sheets (CSS) of the front running democratic contenders’ web sites.  The menus on Clinton’s and Obama’s websites are remarkably similar, yet if you go to the all-important “ISSUES” drop down, you can notice a substantial difference in style.  Obama’s list is abstract, alphabetized, information-lean.  The alphabetization allows him to avoid the issue of what his priorities are, the abstraction doesn’t give us a sense of his stance until one clicks through.  He’s trying to be too Helvetica (although two terms in his list stick out like gory, lopped off sore thumbs—“faith” and “homeland security”).  Clinton’s more meaty list actually gives you a sense of her stance before clicking through, and we can reasonably assume the order gives a sense of priority.  Since Clinton has been around the block, she can be more forward about her goals and positions, without trying to be everything for everyone.

Tuesday, January 22nd, 2008

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This is a painting I recently started.  It is around 6.5×9 feet.  The idea for the painting began about a year ago when I was talking with a family member who told me her dog had died from the extreme heat.  I had a similiar experience 16 years prior and the conversation made me look back at the event and circumstances from a different persepective which revealed a lot that I had not realized.  So I wanted to make to make a painting that recreated both the experience of participating in something significant and reflection across an expanse of time.

The idea is that the story will unfold through a series of shifts in perspective which continually changes your relationship to the characters involved.  The picture is composed of a dog in the bottom left with a woman and two boys directly above.  There is a baby to the right of that group and a young girl in profile sitting above.  On the far right is a man spraying his head with a water hose. 

The painting is in the early stages of its development and I am sure I’ll be working on and blogging about it and a couple of others for the whole semester.  I’d like to hear what anyone thinks. 

Zodiac Sounds

Wednesday, January 16th, 2008

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As I plan to screen The Conversation for the umpteenth time in my film sound class this semester, I’m thinking about Zodiac—that film that seemed to slip under the radar in 2007 but wound up on a bunch of “best of” lists. I’m not quite sure I agree with the hyperbolic reviews but while, for example, a recent Film Comment article points to Vertigo as the San Francisco thriller that Zodiac pays homage to, I really think that the biggest intertextual pay-off comes from its relation to that other techno-frisco data-durational film. The Conversation and Zodiac share a film score by David Shire, whose music from The Conversation, echoed in Zodiac, has become the theme for poring over inconclusive record, to painstakingly piece together an elusive truth. Interestingly, when you hear Shire’s music in Zodiac that most resembles his work in The Conversation, it is only well after the half-way point of the film, at the point when you think everything has happened. Thus starts the real story and drama of the piece—the part of the film before which everything was prelude. The Shire music keeps you engaged, as if the director is telling you, yes he knows what he is doing, and there’s still a long way to the end. This is not a coda. The thriller music referencing the earlier Coppola film accompanies the extra laps Robert Graysmith (Jake Gyllenhaal) runs through, year after year, following old leads and revisiting far flung police archives, until he finally lands on a sort-of-certainty, only after much time has passed and the original crime much forgotten.