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Renzo Martens in discussion with J.J. Charlesworth, Part I - artreview.com
Episode III – Enjoy Poverty is the second in a series of three films by Martens that raise issues regarding contemporary image production. For Episode III Martens travelled for two years with his video camera in the Democratic Republic of Congo, an area marked by humanitarian disaster, questioning why the Western ‘poverty’ industry are benefactors rather than the people in the images. Working with Congolese photographers, he attempts to guide them in earning a living from poverty photography – a project doomed to failure.
Episode III was screened at London’s Wilkinson gallery for several weeks this winter, and during that time Martens spent an evening discussing his work with ArtReview’s J.J. Charlesworth. This is Part I of that discussion.
AMERICANSUBURB X: THEORY: "Michael Fried on Luc Delahaye"
The photograph, framed without margins and behind Plexiglas, is just under four and a half feet high by nearly nine and a half feet wide. Its title is A Lunch at the Belvedere, and it depicts an actual event that took place at the Hotel Belvedere in Davos, Switzerland, during the World Economic Forum of 2004. The lunch was hosted by Pervez Musharraf, president of Pakistan, whose guest of honor was the famous American financier-philanthropist George Soros. The diners, eleven men, sit facing the viewer--though none looks toward the camera--on the far side of a long table that runs the full width of the picture. (To take this in the viewer must begin his or her engagement with the work by standing ten or twelve feet back from it.) One has the impression that the lunch has not properly begun. For the most part the men are talking quietly with one another, and to the left a chic young woman, possibly a waitress, bends over the table as if serving or taking an order. The image is by far most arresting toward its center, where the elegant, dark-haired and mustached Musharraf is shown talking earnestly to Soros, while a third man, to Soros's left, listens in. And what is arresting is precisely the extraordinary accuracy, as it seems to one, of the depiction of an entire range of small-scale, unemphatic, but nevertheless intensely photogenic gestures, expressions, postures, and pieces of behavior: for example, the small-scale gesture--scarcely more than a tensing of the wrist--of Musharraf's partly open left hand as he makes his point; the downward cast of Soros's head and his inscrutable, almost sullen-seeming facial expression as he plays with something on the tablecloth with his left hand; and the diffident demeanor of the third man who sits with both elbows on the table and his hands clasped.
New York is awash in photojournalism -- but is it art? < News | PopMatters
NEW YORK—The panoramic photograph of a bootless soldier, sprawled almost gracefully in death in Afghanistan, might have made readers pause for a moment if it had appeared in a newspaper or magazine. But when “Taliban Soldier” filled a New York City gallery wall—blown up to near life size—it made the art world take note.
Taken with a large-format camera, the monumental 4- by 8-foot print was presented for $15,000 four years ago at the Ricco Maresca Gallery, a Chelsea stop usually favored by folk and fine art collectors. It catapulted the Paris-based photographer Luc Delahaye, who shot the image on assignment for Newsweek, into international prominence. And it signaled a turning point for a small club of international war and “conflict” photojournalists, who now see their images appearing regularly in gallery and museum shows.
Suddenly, the reality of war, famine, poverty and pain has turned into fine art.
“Great collectors are always looking to be delighted by something that they don’t know about, and this excites some of them,” says Bill Hunt, the former Ricco Maresca co-director of photography who introduced Delahaye to gallery crowds.
culiblog » Episode 1, emergency food distribution and the role of the cameras
Episode 1, emergency food distribution and the role of the cameras
March 19, 2006
* This entry refers to food distribution as discussed in yesterday’s entry about the World Food Programme’s computer game, Food Force.
Renzo Martens - Episode 3
Renzo Martens' Episode 3 : Analysis of a Film Process in Three Conversations
Els Roelandt
first published in A Prior Magazine #16,
February 2008
I.
Last summer, during my trip to Kassel for Documenta 12, I spoke with the young Dutch artist, Renzo Martens (b. 1973), who was barely known to me. To be specific, I had already met Martens, at another point in the summer's so-called ‘Grand Tour'. Martens and I had shared a small apartment in Venice with some other colleagues and artists. I saw very little of him. As the only man in the group, he kept conspicuously to himself. He was quiet, ironing his shirts or practicing yoga. He barely spoke and impressed me as one of the most detached individuals I had ever met. Ultimately, thanks to our – coincidentally concurrent – visits to Documenta 12, we only really began a conversation somewhere near Duisburg , on the drive from Kassel back to Brussels .
Frieze Magazine | Archive | Archive | Renzo Martens
The first thing that struck me about Renzo Martens’ new film Episode III – Enjoy Poverty (2008) – confusingly, the second in a trilogy – is the artist’s resemblance to the young Klaus Kinski. The numerous close-ups of his sweaty, troubled face (filmed by the artist himself on a hand-held digital camera) echo those of Kinski in Werner Herzog’s Aguirre, the Wrath of God (1972), Fitzcarraldo (1982) and Cobra Verde (1987). The second thing that struck me, despite its supposed exploration of the exploitation of third world poverty by aid organizations and news agencies, is how the film rehearses themes present in Herzog’s films. Each depicts a European living outside their comfort zone struggling to assert themselves in harsh, unfamiliar terrain, and ultimately realizing the futility of their endeavours. The third thing that struck me, after sitting through 90 minutes of Martens meeting aid agencies, photographers, plantation workers, guerrilla fighters, singing Neil Young songs to himself and attempting to convince the residents of a small village to let him set up a neon sign flashing the message ‘Enjoy Poverty Please’ – was how contradictory the film was.
Renzo Martens in discussion with J.J. Charlesworth, Part II - artreview.com
Episode III – Enjoy Poverty is the second in a series of three films by Martens that raise issues regarding contemporary image production. For Episode III Martens travelled for two years with his video camera in the Democratic Republic of Congo, an area marked by humanitarian disaster, questioning why the Western ‘poverty’ industry are benefactors rather than the people in the images. Working with Congolese photographers, he attempts to guide them in earning a living from poverty photography – a project doomed to failure.
Episode III was screened at London’s Wilkinson gallery for several weeks this winter, and during that time Martens also spent an evening discussing his work with ArtReview’s J.J. Charlesworth. This is the second and final part of that
Alfredo Jaar - The Brooklyn Rail
Alfredo Jaar
by Phong Bui, Dore Ashton, and David Levi Strauss
On the occasion of the artist’s current exhibition The Sound of Silence, which will be on view at Galerie Lelong until May 2nd, Alfredo Jaar paid a visit to the Rail’s Headquarters to discuss some aspects of his life and work with Publisher Phong Bui, Consulting Editors Dore Ashton and David Levi Strauss, and a group of graduate students in the Art Criticism & Writing program at the School of Visual Arts.
Subject benchmark statement for art and design/history of art, architecture and design (2008)
Subject benchmark statement
Art and design
QAA 238 03/08
PDF version
Contents
* Preface
* Joint foreword
* Introduction
* Defining principles
* Nature and extent of art and design
* Subject knowledge and understanding, attributes and skills: typical standard of achievement
* Teaching, learning and assessment
* Benchmark standards: threshold level of achievement
* Appendix A: Consultation groups
* Appendix B: Membership of the review group for the subject benchmark statement for art and design
* Appendix C: Membership of the original benchmarking group for art and design
Preface
Subject benchmark statements provide a means for the academic community to describe the nature and characteristics of programmes in a specific subject or subject area. They also represent general expectations about standards for the award of qualifications at a given level in terms of the attributes and capabilities that those possessing qualifications should have demonstrated.
Alverno College Eight Abilities
Alverno's Eight Abilities
Communication
Make connections that create meaning between yourself and your audience. Learn to speak, read, write and listen effectively, using graphics, electronic media, computers and quantified data.
Analysis
Think clearly and critically. Fuse experience, reason and training into considered judgment.
Problem Solving
Define problems and their causes, and use a range of abilities and resources to reach decisions, make recommendations, or carry out plans.
Valuing
Recognize different value systems while holding strongly to your own ethic. Recognize the moral dimensions of your decisions and accept responsibility for the consequences of your actions.
Social Interaction
Know how to get things done in committees, task forces, team projects and other group efforts. Elicit the views of others and help reach conclusions.
Developing a Global Perspective
Act with an understanding of and respect for the economic, social and biological interdependence of global life.
Effective Citizenship
Be involved and responsible in the community. Act with an informed awareness of contemporary issues and their historical contexts. Develop leadership abilities.
Aesthetic Engagement
Engage with various forms of art and in artistic processes. Take and defend positions regarding the meaning and value of artistic expressions in the contexts from which they emerge.
Alverno College
Alverno College named one of the nation's 10 leading schools for teacher preparation by George Lucas Foundation
Guide to Learning Outcomes
This page is designed to help you write appropriate learning outcomes when developing and revising your modules and programmes, and when devising assessment tasks. It explains:
* what learning outcomes are
*
the learning outcomes process
*
the benefits of using learning outcomes
*
how to use learning outcomes at programme level
*
how to use learning outcomes at module level
*
how to write learning outcomes
*
how to link outcomes to assessment
Enhancement themes - Themes - Constructive alignment
Constructive alignment
Constructive alignment of learning outcomes to assessment methods
The following resources are available:
Overview paper
Professor Mike Osborne, University of Stirling and Workshop Director
Report on the event and areas for future development and enhancement
Professor Mike Osborne
Keynote address: Aligning assessment with long-term learning needs
Professor David Boud, University of Technology, Sydney, Australia
Powerpoint slides | PDF version
Case study 1: Assessment on the TQFE program- a case study of constructive alignment
Dr Iddo Oberski, University of Stirling
Powerpoint slides | PDF version
Draft paper - Word version | PDF version
Keynote address: Developing aligned courses
Sue Drew, Sheffield Hallam University
Powerpoint slides | PDF version
Draft paper - Word version | PDF version
Constructive alignment - Learning and Teaching Theory - Engineering Subject Centre
What is Constructive Alignment?
Constructive Alignment, a term coined by John Biggs (Biggs, 1999) is one of the most influential ideas in higher education. It is the underpinning concept behind the current requirements for programme specification, declarations of Intended Learning Outcomes (ILOs) and assessment criteria, and the use of criterion based assessment.
There are two parts to constructive alignment:
* Students construct meaning from what they do to learn.
* The teacher aligns the planned learning activities with the learning outcomes.
The basic premise of the whole system is that the curriculum is designed so that the learning activities and assessment tasks are aligned with the learning outcomes that are intended in the course. This means that the system is consistent.
Higher Education Academy - Resource details
'Constructive alignment' starts with the notion that the learner constructs his or her own learning through relevant learning activities. The teacher's job is to create a learning environment that supports the learning activities appropriate to achieving the desired learning outcomes. The key is that all components in the teaching system - the curriculum and its intended outcomes, the teaching methods used, the assessment tasks - are aligned to each other. All are tuned to learning activities addressed in the desired learning outcomes. The learner finds it difficult to escape without learning appropriately.
Photography-Now - International Fine Art Photography Index - About us
GalleryBook-Image
About Photography-Now
Fine Art Photography-Now is the internet's premier site dedicated to people seriously interested in contemporary and classical photography.
The aim of Photography-Now is to provide an innovative online structure for artists, galleries and collectors and offer an insight into the current state of fine art photography in a pioneering new way.
We do not market any artwork at all, our sole vision and concept is to bring an emotive dialog between artists, galleries, collectors and visitors - helping them with our innovative online presentations to meet each other.
We accept fine art photographers and galleries who submit appropriate content about fine art photography of high standards.
The goal of Fine Art Photography-Now is to point out outstanding artists with their diversity and give them the opportunity to show their visions to a much bigger and wider audience.
With over 10 Million Visitors viewing more than 60 Million pages since we started in 2004, our website is now renowned among connoisseurs of fine art photography as the place to find information about some of the best photographic work online.
VADS: the online resource for visual arts
VADS is the online resource for visual arts. It has provided services to the academic community for 11 years and has built up a considerable portfolio of visual art collections comprising over 100,000 images that are freely available and copyright cleared for use in teaching, learning and research in the UK.
VADS offers advice and guidance to the visual arts research, teaching and learning communities on all aspects of digital resource management from funding, through delivery and use, to preservation.
VADS provides:
* expert guidance and help for digital projects in art education
* resource development and hosting for art education
* project management and consultancy for art education
* leadership in the innovative use of ICT in education through its research and development activities
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