radio program evaluation

we were set a radio program to complete from our work in the Shadsworth documentary were we had to use our interview and make a completed radio program with the information concealed in our interview of Ian talking and all-so record voice overs off me and Matt introducing our radio program to place in our work. 

me and Matt started off with going through our interview of the Shadsworth documentary and taking the audio out of the footage and adding it to adobe audition, adobe audition is a  digital audio work station from adobe systems featuring both a multi-track, non-destructive mix/edit environment and a destructive-approach waveform editing view. we then scripted our interview of Ian so then we could go through the certain points that would be appropriate in our production as we wernt really interested in all of the interview we mainly wanted to tell the listener what he would be able to do with the use of a Beez card at the leisure centre, we then started by borrowing a voice recorder off Brian then going into the sound proof room and briefing our scripts for our radio program we wanted to make our work funny enjoyable and to an interest which would bested suit our target audience we thought we would aim for the target audience from 16 to 21 we wanted to target a young audience with our work as we thought it was most relevant to people of that age, we purposely aimed for the young target audience, to entertain the viewer and make our radio program fun. we generated a good radio program and it is finished and exported onto the mac monitor that we was on, i personally think that our work was good and to a high standard to inform and also entertain the listener about the program and also so that they can see the funny side to it. we could of made it better if we would of had access to be able to meet Ian again and tell him what was going to on with our radio program and also have Ian being more fun as he was talking more on a serious note then he was having a laugh but apart from that we worked to the best of our ability and completed the work to a high standard and i think that our radio program would entertain and also inform any listener about the beez card scheme.   

class evaluation on confession work

im going to write a group evaluation, evaluating the good points and not so good points on my class.
we were Initially placed in one group were we had to collaborate together as a whole class to produce and film the confession in the college studio. then we got placed into distinctive groups of 3 or 4 were then we had to choose certain confessions and link them all in one short video similar to the work of, Gillian wearing who was an English conceptional artist, we had seen similar footage in her work so we decided to incorporate her style of work were she hid the confessor's face during his confession. 

jess and Jordan had completed there video to a high potential and similar to the work of my group there work was fast passed well edited, there were a good use of effects and good cuts used in-between different, clips to cut from one confessor to the other.

Danny's group, good work, good use of effects with reconstruction, not as fasted passed as Jordan and jess but overall great edit and a good use of effects coming into shots and leaving the frame as other shots come in.

matt's group, matt's groups footage was funny interesting and also entertaining to watch due to the use of effects which they decide to make certain people speak faster and backwards and using the subtitle effects in there footage, to make there production more interesting.

rob's group, interesting to watch as there was more use of music then there actually was confessions but on the other had it was different to the others so he's piece of work was unique to the class as all the others were similar robs group was totally different.

Rosie and Sarah's group, good fast paced got straight to the point and started off with confession and the majority of the class had intros or opening scenes musically or through the use of cut audio just repeating its self, for example different clips saying my confession is, my confession is multiple amounts of time before actually starting the concessions.

James and tom,
 good use of effects as there's was similar to ours dark spooky scary quite hidden faces through the use of effects to mislead the viewer to see weather they are actually telling the truth or not. similar to the work of Gillian wearing again, they worked well with the footage and overall produced some great work.

to conclude this evaluation i think we all worked well in our groups and completed our confessions to a high standard and with a great ability we have gained over the past year during the course.

lecture review

Gillian Wearing born 1963 is an English conceptual artist, and winner of the annual British fine arts award, The Turner Prize, in 1997. On 11 December 2007, Wearing was elected as lifetime member of the Royal Academy of Arts in London. 

Gillian wearing was well known for, sign pictures, she got certain members of the public and asked them to wrtie on a card what they wanted, she asked a police officer, a business man in a suit who was belived to have got out of a prsche and his sign said "im desperate".
 Her first New York solo exhibition since 2003, Gillian Wearing presented a wide range of tremendously engaging recent photo-based portraiture. Most conceptually concise are big black-and-white photographs (2008-10) of the artist lurking nearly invisibly behind hyperrealist masks of famous artists in landmark photos: Andy Warhol showing off his scars; Robert Mapplethorpe clutching a skull-headed cane; Diane Arbus with a camera around her neck. The impersonations are revealed around the eyes, which are cut out so Wearing can stare through, a profoundly eerie effect she has worked with for several years.

It also appears in a nearly hour-long video, Secrets and Lies (2009), which features men and women who answered Wearing's ad asking for subjects willing to confide to her camera. Screened in a small booth, their monologues, ranging from a few minutes to more than 20, are rich with lurid drama, including murder, incest and voluntary (but truly weird) sexual transgression. All wear lifelike but identity-concealing masks, cut out around mouths as well as eyes, so we see their darting glances and, hypnotically, their moving lips, never quite synced with the recorded narratives. The truth of their stories is of course impossible to judge; in any case, the point, as always with Wearing, is to determine whether the interposing layer of art-the masks, the costumes (a red hoodie for an abused child turned reformed homicidal thug; a flowered housecoat for a middle-aged mother turned sex-club swinger)-makes the stories more or less sympathetic, or disturbing, or credible.

Other work dispenses with masks but retains, in various ways, the displacements they offer. A group of seven video loops shown on flat screens, framed like photographs and called Snapshots (2005), presents the seven stages of life, female version. It starts with a young girl with an enormous bow in her hair playing the violin (speakers project her ostensible performance) and proceeds to an awkward adolescent, a sultry young woman, a beatific new mother with an infant in her lap and finally an older woman half-dozing in an upholstered armchair. (An audio recording provides, via headphones, the melancholy monologue of a self-described pensioner, whom we presume-erroneously, as it happens-to be this last video's subject.) The actresses move only enough to heighten the sense of constraint imposed by the frames-and by the conventions in which they're so tightly trapped.

The enormously powerful Bully (2010) is a compact 8-minute video. Nine gifted actors engage in an improvisational exercise about bullying, with one playing the director, who tells the others that they're reenacting an incident from his own life in which he was the victim. At the end, in tears but also terrifyingly enraged, he accuses the actors of letting him down. Sheepishly, they apologize. It is nearly impossible to keep straight the roles of actor and director, victim and perpetrators.

Rounding out the show were a large black-and-white still photograph of a monstrously abundant floral bouquet (People, 2011) and two pint-size, naturalistic bronze monuments, with text plaques, dedicated to unsung heroes, one a 9/11 survivor (Terri, 2011) and the other an undercover police cadet (Gervais, 2010). Their disguise, Wearing seems to say, is their ordinariness.

confesional art

Confessional Art

Confessional art is a form of contemporary art that focuses on an intentional revelation of the private self. Confessional art encourages an intimate analysis of the artist's, artist's subjects’, or spectator's confidential, and often controversial, experiences and emotions. Confessional art emerged in the late 20th century, especially in Great Britain, and is closely associated with autobiographical visual arts and literature. The term confessional art was first defined by Outi Remes in The Role of Confession in Late Twentieth Century British Art , which discusses confessional art as a serious, consistent mode for producing art that mimics, reconsiders, and departs from the traditional modes of confession used in the Roman Catholic tradition, autobiographical literature, and psychoanalysis. In defining confessional art, autobiographical literature provides a helpful comparison. Sidonie Smith and Julia Watson, in Reading Autobiography: A Guide for Interpreting Life Narratives , distinguish between life writing, life narrative, and autobiography.

a video from inside the gillian wearing exhibition.

http://www.youtube.com/watch?v=Eyk3g61jxWY