STAGESIX a resource site for HSC Visual Arts educators, students and the broader education community is now live. This site is part of project REWIRE and is currently in it’s initial phase of development. To get an overview of what STAGESIX is about click here or click on the STAGESIX graphic in the sidebar.
Every now and then something comes along that has all the hallmarks of becoming a future place of pilgrimage in the educational landscape. Emily Portmann’s new Stage 6 Visual Art WordPress blog site is just that.
HSC Visual Art Resources is Portmann’s response to the need for an articulate, concise and informative repository of case study resources for HSC Visual Art students and teachers.
Recently launched and still in it’s infancy HSC Visual Art Resources is already flush with quality content that is organized into a systemic and logically sequential flow of information that addresses the work of each cataloged artist in terms of biographical information, ‘Conceptual Framework’ breakdown, ‘Frames’ breakdown and relevant ‘Practice’ references along with a healthy selection of supporting images.
As Portmann so succinctly put it
“HSC Visual Art Resources’ aim is to become a data base of relevant artists explored as case studies for both teachers and students. Teachers can access new contemporary artists in which to add to their own programs and course content, whilst students can access this information as inspiration for their own artmaking (particularly in reference to their HSC Body of Work, BOW’s) as well as for their theoretical studies of art criticism and art history.” @http://hscvisualartresources.wordpress.com/
Emily Portmann is an acclaimed photographer entering a promising educational career.
I would certainly encourage any teacher and/or their students to do themselves a great service; visit the site and select any artist under ‘Recent Post’s’ in the right sidebar and enjoy the journey.
“Sintel” is an independently produced short film, initiated by the Blender Foundation as a means to further improve and validate the free/open source 3D creation suite Blender. With initial funding provided by 1000s of donations via the internet community, it has again proven to be a viable development model for both open 3D technology as for independent animation film.”
The Blender community have engaged in a number of ‘open’ movie projects involving online collaboration with hundreds of animators around the globe. This is the third such project and it is no doubt quite an extraordinary testament to the power of open source technology and online collaboration.
Finalists for the NSW Parliamentary Plein Air Photography Prize and Secondary Schools Competition have been published at the Plein air Photography Prize website.
Click on the image below to view
Missing form this years list are some of the big names in Australian photography such as Dean Sewell, William Yang, Peter Elliston and Andrew Quilty.
The exhibition at Parliament House runs from 2nd – 25th August.
An extraordinary viewing experience. Made entirely using 3dsMax, VRay, Premiere and After Effects.
Vodpod videos no longer available.
“The founder of NeuroFocus, the world’s biggest neuromarketing firm, is AK Pradeep, a PhD in engineering from the University of California, Berkeley. Five years ago, having moved from designing satellites to management consultancy, he found himself sitting next to a neuroscientist on a flight back from Atlanta: “I had just had a meeting with someone senior at Coke. He had been telling me that despite spending $3 billion on marketing and another $3 billion on indirect marketing, he was not sure what precisely he got out of it. This was still on my mind when I asked the neuroscientist what he did. He told me he helps children with attention deficit disorders, adults with emotional problems, and he works with the aged suffering from diseases such as Alzheimer’s. It struck me that this was exactly what the man at Coke was looking for. How do you get people to pay attention? How do you engage them emotionally, and how do you ensure they remember what is being said to them? Can’t I apply what he was doing in the clinic to what was happening?”
Read more here
Image: Siddhartha Dutta
Part 1 of an interview with David Elliot, director of the Sydney Biennale 2010.
This interview was conducted at at Artane Gallery Istanbul in September of this year.
David Elliot 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 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.
“David Elliott is a cultural historian whose main interests concern contemporary art, Russian avant-garde and the visual cultures of central and eastern Europe, Asia and the non-western world from the late nineteenth century. Beginning in the early 1980s, he formulated a series of pioneering exhibitions in one of the first programs to integrate non-western culture with contemporary art. He has published a large number of books, articles and catalogues on these subjects and has curated many exhibitions. He has also written extensively about the present-day role and function of museums and contemporary art.”Vernissage Art TV
This was British artist Banksy’s first official exhibition in New York. A mock pet supply shop, “open for pet supplies / rare breeds / mechanically retrieved meat” as a sign said in front of the shop. Banksy said : “I wanted to make art that questioned our relationship with animals and the ethics and sustainability of factory farming, but it ended up as chicken nuggets singing.”
Shown in October 2008
Video courtesy of Vernissage Art TV.
In the Neue Nationalgalerie Imi Knoebel (student of Joseph Beuys) enters in a dialog with the spectacular Upper Hall of Mies van der Rohe’s New National Gallery. On display are his famous “Raum 19″ (Room 19, 1968/2006), “Batterie” (Battery, 2005), and “Zu Hilfe, zu Hilfe, sonst bin ich verloren” (documenta 8, Kassel, 2987). With Potsdamer Strasse 50 (2009), Imi Knoebel uses the windows of the Mies van der Rohe’s pavilion as canvas and thus creates a translucent enclosure for the works. With Imi Knoebel the Neue Nationalgalerie starts a series of exhibitions that invites artists to create work that refers specifically to the Upper Pavilion.
Part of the commentary is in German.
Sequences of human DNA aligned with about a dozen other mammals, created as an illustration for Seed Magazine. The data is from the Mammalian Genome Project at the Broad Institute. This is real alignment data, based on a more “functional” tool that browses this data.
R . E . W . I . R . E . D 