Pixel Visions and such : |ˈpiksəl| |ˈvi zh ən|

1. How is Sadie Benning's work related to general trends and characteristics in Riot Grrl subculture? How is Riot Grrl subculture similar to and different from punk subculture?

Although Bennings stylistic choices and raw content was slimier to Riot Grrrl subculture, her recognition by institutional film studies groups was completely in direct opposition on the stand point of this subculture. Riot Grrl was apposed to any mainstream support what so ever. Althought it seem somewhat out of Bennings control to predict the reception of her film, this is what split them apart.

2. Why does Milliken refer to Benning's work as visual essays? What are the advantages of viewing the work in relation to this genre? What is meant by "radical feminist essayistic" form?

Benning uses the techniques of found tav and film footage, scrawled messages magazines cut outs and samples of pop music to make a scrap book of personal experience in her films. Thes visual and audible queues give us an insight into her experience just as other diary films do, just in a different way. Benning deals with issues of gender sexually, homosexually, and age from a young (16 years old) female point of view.


Keller and Ward, "Matthew Barney and the Paradox of the Neo-Avant-Garde Blockbuster"

3. What has changed in the gallery art world that allows Barney to describe his work as “sculpture”? In other words, how has the definition of sculpture changed since the 1960s, and why?

The used of crossing media and technology has allowed the term sculpture to become "baggier" or less concrete. It now includes video, performance pieces, and architecture. Each conform to the concerns of sculpture such as the emphasis of geometric forms, but medium wise they are unrelated.

4. Tricky but important question: Why was minimalist sculpture seen as a reaction against the “modernist hymns to the purity and specificity of aesthetic experience”? In other words: Why do they say that minimalist sculpture is post-modernist?

Minimalist sculpture just as in Fluxus films left the audience will little to keep their interest. This allows them to make relationships with the minute details of the art and their specific retaliationship with the "object",whatever it may be.

5. Describe the role of the body in the works of Vito Acconci and Chris Burden. You may wish to consult the following links to supplement the descriptions in the readings:

These artist use the human body as their canvas and their subject's performance or reactions as the medium.

Walley, "Modes of Film Practice in the Avant-Garde"

6. What is meant by “mode of film practice”? Give two well known examples of non-experimental modes of film practice. Why does Walley argue that the concept of the mode of film practice can help distinguish between the experimental film and gallery art worlds?

Films is the same mode of film practice "refer to the cluster of historically bound institutions, practices and concepts that form a context within which cinematic mead are used." What all that means is films made similarly that deal with the same concerns. Walley says there is more behind this definition. Distribution, exhibition and reception play a role in the mode of film production as well. Hollywood and Independent cinema are the most prominent modes of film production in the US as of now. Bigger Hollywood studios work with Independent producers to fund smaller projects. Walley explains that some Avant garde film fit in galleries because of techniques used by the filmmakers match those of the artists in the gallery. Similar exploration of different art forms allow films to make their way into galleries.

7. What are some of the key differences between the experimental and gallery art worlds in terms of production and distribution?

Experimental films are defined by the their "division of labour." In most accepts the filmmaker controls everything. He calls it an "collaborative effort. On the other hand artist film are more so collaborative. The difference in exhibition is simply Avant garde filmmakers make little money while art house filmmakers capitalize more so as painters and sculptors do. As is avant garde filmmakers rarely sell actually prints of their film, but artist filmmakers budget the sales of their film just as any painter of book makers or sculptor or print maker would.