Lilly Wei: LES is More

Rebecca

Visiting Artist Response

Lilly Wei is a curator and art critic in New York that has an eye for the strange, grotesque and up-and-coming. A subject matter that many up-and-coming artists focus on, but find they are not able to enter the commercialized Chelsea art market. Lilly Wei has found that these artists, along with galleries located in the Chelsea area, are moving to the Lower East Side to open galleries that offer affordable art and take advantage of the cheap real estate. Because these galleries offer affordable art to the average art lover, the LES (Lower East Side) avoids the commercialism of the Chelsea. Of course, Wei makes clear that this is the case at the moment and will most likely change as its popularity grows. When asked if LES will become like Chelsea, she believes that it will not. She acknowledged that LES will change, as transition was "part of New York life," but that it would find its own niche in the art market.

As for her interest as a curator, Lilly Wei does not stick with one subject matter or media. She prefers to stay eclectic in her interest, avoiding academia school of thought. Currently, though, Wei is focusing on video artist; an art form that she sees as becoming more prominent, and deserving a deeper look at. She encouraged artist not to "be married to a specific subject" and to go outside their comfort zone. A statement that, I personally, agree with. Certain subject matter requires the use of media that one may not normally use, and it helps artists expand their subject matter. Wei, also, stated the importance of artist statements. She showed many examples of what the galleries in LES were showing, and many had what the average person would view as strange or borderline pornographic. However, when she read or explained the contents of the artists' statements on their works, the viewer reads the art in a totally different manner. Artist statements are very important, particularly for artist who are showing in conservative areas in the US and around the world.

The presentation seemed rushed and, for many, a bit boring, but it was very informative. Lilly Wei briefly spoke of and mentioned artists that many of us have never heard of. She, also, encouraged us to visit these galleries in LES. By telling us about the new movement of galleries in New York, it gives us an idea of where we may want to show our works.

Video Project

Rebecca
Video Project

I. Civil Rights Movement
    Interviewing Mr. Wiley about what life was like before and during Civil Rights
II. After the Movement
    Interviewing Mrs. Jewell about life as a child during Civil Rights, and life after
III. Future
    Interviewing college age to forty year olds

So often we associate the Civil Rights Movement with people we read about in History books or learn about in school. However, many of us speak to and look at everyday the very people who directly experienced it; our parents, grandparents, and great-grandparents. We often ignore what's being said or tell them we have no time to listen. And, as we do this, their memories, our history, are slowly being lost.

Self Critique

Rebecca Coleman
Group Project 1

I'm happy with the angles we were able to get in our scenes. The hallway scene is one of my favorites. Timing worked great, and the snatch was unexpectedly smooth. I did have problems with a few cut scenes being to sudden, so I tried to extend them some. I, also, had problems with my flashback not being as smooth as I wanted them. So, one of my group partners suggested that I break up the flashback scene, which, helped with its flow.

The Shining

Stanley Kubrick's The Shining plays a lot with wide shots, angles, and switching to various scenes. Many scenes can be taken from this movie and framed as beautiful, yet eerie, photographs. He seamlessly transitions from the interior to the exterior of the hotel, only disrupting it when the cook returns to check on the family.

Group Coverage Shot 2: Amanda, Brittany, and Rebecca

Group Project 2

Concept: Espionage, part 2. Character A continues to act like she doesn't know Character B is following her.

Logistics: Front of Auditorium doors, hallway, stairwell, hallway near mailroom

Shot 1(Wideshot)
    Character B watches Character A enter and exit scene.
Shot 2(Wideshot)
    Character A walks towards camera while Character B watches her.
Shot 3(Wideshot)
    Character A walks away from camera while Character B watches her
Shot 4(Bustshot)
    Character B's eyes following from camera right to left.
Shot 5(Close Up)
    Character B's face following from camera right to left.
Shot 6(Wideshot)
    Character A walking down hallway from camera. Character B follows after.
Shot 7(Wideshot)
    Character A walking down hallway toward camera. Character B follows.
Shot 8(Low Angle)
    Character A walking up stairs, drops papers. Character B picks it up.
Shot 9(High Angle)
    Character A walks up stairs, drops papers. Character B picks it up, smiling.
Shot 10(Low Angle)
    Character A walks up stairs followed by Character B.
Shot 11(Mediumshot)
    Character B comes through doorway
Shot 12(Mediumshot)
    Character A waits for Character B. Trips Character B.
Shot 11(Mediumshot)
    Character A tripping Character B. Character B falls towards camera.
Shot 12(Wideshot)
    Character B on ground along with file.
Shot 13(Closeup)
    Character A tripping B.
Shot 14(Wideshot)
    Character B on ground. Character A picks up paper.
Shot 15(Wideshot)
    Character A walks off.

Group Coverage Shot: Amanda, Brittany, and Rebecca

Group Project 1

Concept: Espionage. One character tries to steal important papers from another character; only to be pick-pocketed.

Logistic: Library, hallway, and classroom

Shot 1(Wide shot)
    Character A sitting reading paper.
    Character B eases in scene from corner.
Shot 1.2(Close Up)
    Character A reading paper
Shot 2 (Medium Shot or bust Shot)
    Character B peeking around corner.
Shot 3(Insert)
    Important paper on table.
Shot 4(Close up)
    Character B's  smirking.
Shot 5(OTS)
    See Character B over Character A's reading.
Shot 6(Wide shot)
    Character A looks at watch then gets up and walks away.
Shot 6.2(Close Up)
    Character A looking at watch.
Shot 7(Wide shot)
    Character B rushes and grabs paper, looks around, runs off screen.
Shot 7.2(Close Up)
    Character B grabbing paper.
Shot 8(Close Up)
    Character B putting paper in purse.
Shot 9(Bust shot)
    Character B in different area. Searches for paper in purse. Worried look.
Shot 10(Close up)
    Character B realizes something.
Shot 11(2 shot)
    Character B walking to right camera, passing Character A.
Shot 12(2 shot)
    Character A walking to left camera, brushing against Character B, smiling.
Shot 13(Medium shot)
    Character B smacks head and shakes it and leaves room.

Crit-a-Crit

Rebecca
Project 1: Sense of Place

Major suggestions were:
More cut scenes, car scene too long, needs more, "what happens" at the ending.

I agree that the car scene was too long and there needed to be more cut scenes to establish a pattern. I disagree with giving the audience a closed ending since "Sense of Place" is an unresolved situation for me.

After studying the critiques I learned alot can be said in how and what's filmed. And, that I have to pay close attention to how long my scenes are.

Sense of Place from Hoticer on Vimeo.