Asian Free Film Series begins Tuesday, with a showing of Persepolis (English version) at 5:30pm in Richmond 2008.

This is an award-winning animated film about a young girl’s experience in Iran. Everyone is welcome!

Today we went into the Prelinger Archive to look around and begin learning Final Cut.

Prelinger Archives was founded in 1983 by Rick Prelinger in New York City. Over the next twenty years, it grew into a collection of over 48,000 “ephemeral” (advertising, educational, industrial, and amateur) films. In 2002, the film collection was acquired by the Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division. Prelinger Archives remains in existence, holding approximately 4,000 titles on videotape and a smaller collection of film materials acquired subsequent to the Library of Congress transaction. Its goal remains to collect, preserve, and facilitate access to films of historic significance that haven’t been collected elsewhere. Included are films produced by and for many hundreds of important US corporations, nonprofit organizations, trade associations, community and interest groups, and educational institutions. Getty Images represents the collection for stock footage sale, and some 2,000 key titles are available here. The collection currently contains over 10% of the total production of ephemeral films between 1927 and 1987, and it may be the most complete and varied collection in existence of films from these poorly preserved genres.

Speaking of manipulating existing footage – check out a remake of the trailer for the Shining.

Matt Siber

Matt Siber: Untitled #24, 2004

The Untitled Project is rooted in an underlying interest in the nature of power. With the removal of all traces of text from the photographs, the project explores the manifestation of power between large groups of people in the form of public and semi-public language. The absence of the printed word not only draws attention to the role text plays in the modern landscape but also simultaneously emphasizes alternative forms of communication such as symbols, colors, architecture and corporate branding. In doing this, it serves to point out the growing number of ways in which public voices communicate without using traditional forms of written language.

The reintroduction of the text takes written language out of the context of its intended viewing environment. The composition of the layouts remain true to the composition of their corresponding photographs in order to draw attention to relative size, location and orientation. The isolation of the text from its original graphic design and accompanying logos, photographs and icons helps to further explore the nature of communication in the urban landscape as a combination of visual and literal signifiers.

Joe Nanashe – 1001 Airplanes


1001 Airplanes
6+ hour performance

This performance entailed throwing a 1001 paper airplanes down the three story staircase at the Mason Gross School of the Arts. A gesture simultaneously playful and violent, this performance interrupts the casual spectator’s habitual encounter of the space, and the piles of planes draw attention to the overlooked areas of architecture.

more info

Gary Koepke

Thursday, September 11, 2008
RCVA #2008 – 5:30 pm

Gary Koepke

Gary Koepke’s graphic design and art direction have impacted global audiences since earning his BFA in Art with concentration in graphic design at WMU. Most recently, in January 2000 Modernista! was founded in Boston, MA, USA by creatives Gary Koepke and Lance Jensen. With additional offices in Amsterdam and Detroit, today the agency has nearly 200 employees from more than 15 different countries. M!’s client roster includes Cadillac, (RED), HUMMER, The Bill & Melinda Gates Foundation, Animal Planet, BusinessWeek, TIAA-CREF, Hearts On Fire and Stop Handgun Violence. Modernista! is fiercely independent.

Isabelle Hayeur

Isabelle Hayeur – Jade, 2004 – 107 cm X 160 cm (43″ X 62″)

The images in this series were constructed using photographs of suburban houses and model homes. This body of work is presented as an investigation into contemporary suburbs, but it also paints a portrait of our society.

The suburbs have long offered an alternative to the crowded conditions of the city. They became popular with families because they offered the possibility of owning one’s own home, at an affordable price. The expansion of the suburbs is tied to the emergence of a social class that dreamed of a more prosperous, healthy and secure future. The suburban lifestyle developed in parallel with the American lifestyle built around consumption and individualism. In the 60’s and 70’s, the growth of the suburbs was also related to the fantasy of a “return to nature.” Contemporary suburbs are being built on a more massive scale and faster than in the past. They’re going up on land that is more and more removed from urban centres and their growth has an invasive aspect that tends to marginalize city life and eliminate rural life. Living in the suburbs is no longer simply a lifestyle choice, it is also one of the only choices available.

The problems caused by urban sprawl have been discussed at considerable length. It is a mode of habitation that forces dependence on the automobile and the oil industry. The daily commute into and out of the city is a major source of traffic congestion and pollution. It may be that we now speak less about the new face of our suburban landscapes. The new suburbs are no longer just soulless places – anonymous, standardized and uniform – they have in fact developed their own identities. But these identities are fashioned from whole cloth, like movie sets. Vast tracts of land are now placed in the hands of developers, whose vision is inspired by the strategies of commerce. Developments usually have no connection to the original context of the sites where they are built, they are amalgams of cultural, imaginary and borrowed identities. The housing in these places suffers the same fate and is full of grafted-on symbols and references to histories that have nothing to do with our own. We are witness to the appearance of simulated villages, a style that could be called fake-authentic, a pastiche of vanished ways of life. Picturesque features are fabricated, pseudo-heritage values are invented and the target is clients who like to think they are buying something special with a local flavour. Some people even think that these artificial landscapes are real, leading to confusion between what is really part of our cultural heritage and what is only the market value of substitution. This generates false perceptions of who we are.

It was with these thoughts in mind that I started this project. I photographed different types of dwellings, modest homes as well as more upscale residences. They mainly come from the new housing developments popping up on the periphery of Montreal , and from the facilities of a pre-fab home manufacturer. A computer graphics program was used to alter each house and then re-position it in a new context. Similarities can be drawn between my virtual models and the models found in the catalogues and websites of contractors. The composition and framing are similar and my models also have women’s names (a common practice in this industry.) My locations, however, are much more disturbing and strange, even disconcerting … The goal here is not to shape things in order to attract a clientele, but rather to attract critical attention to this phenomenon. Each of my models is a portrait that develops a different aspect of the relationship between our societies and the land they use. These houses thus model the way we really inhabit the world.


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