A Divided Self I and A Divided Self II, Douglas Gordon, 1996, tate

I like the way he break the content into different parts and play them on different screens.

Film Noir (Fly), Douglas Gordon, 2008, tate

Looking Down With His Black, Black, Ee, Douglas Gordon, 2008, tate

Douglas Gordon

It is interesting to see the little animals and insects in Douglas Gordon's video.

Gamma, Jane Wilson, Louise Wilson, 1999, tate

I’m Not The Girl Who Misses Much, Pipilotti Rist, 1986, tate

Make-up - Make-down, Sanja Ivekovic, 1978

The artist put on her make-up like she was facing a mirror, so the audience is like standing just behind the mirror, watching she doing the private stuff.

It is really interactive and involve the audience into her work.

This reminds me of use the setting and video as a trigger to make the audience respond to your work, to experiment with different experience and emotions you can have when watching the video. 

Nixon, Nam June Paik, 1965-2002, tate

Image

Play Dead; Real Time (this way, that way, the other way), Douglas Gordon, 2003, tate

So Much I Want to Say, Mona Hatoum, 1983, tate

Temporary Dwellings, Nil Yalter, 1974-7, tate

Temporary Dwellings, Nil Yalter, 1974-7

The archival Board panels record details of the lives of immigrant communities in Istanbul, Paris and New York.

And the screen play the documentary about interviews with the inhabitants of those locations.

This inspires me that I can add other materials to help better explain the video and strengthen the effects. 

Visible World, Peter Fischli, David Weiss, 1997 tate

Julian Rosefeldt. Manifesto, Park Avenue Armory, New York, December 2016–January 2017 © James Ewing Photography, Park Avenue Armory

Untitled, Robert Morris, 1965, reconstructed 1971, tate

The Unfinished Conversation, John Akomfrah, 2012, tate

England, Gilbert & George, 1980, tate

England, Gilbert & George, 1980, tate.jpg

Red Morning Trouble, Gilbert & George, 1977, tate

Red Morning Trouble, Gilbert & George, 1977, tate.jpg

Happy, Gilbert & George, 1980, tate

Gilbert & George

One thing I like Gilbert & George the most is the way they separate the screen into parts and add different ---- but all very strong ----colors into them. You can simply feel the emotions inside and it can even change the way you feel about the environment you are in. I think I should explore more about working on the screen when making videos like separating it or add color or maybe other sort of layers to strengthen the effects. I didn't do well in this part based on the videos I've made.

Gamma, Jane Wilson, Louise Wilson, 1999, tate2

Make-up - Make-down, Sanja Ivekovic, 1978, tate

Make-up - Make-down, Sanja Ivekovic, 1978, tate2

Make-up - Make-down, Sanja Ivekovic, 1978, tate3

Victrola, Nam June Paik, 2005, tate

Video Trans Americas, Juan Downey, 1976, tate

Video Trans Americas, Juan Downey, 1976, tate

I was inspired by this for the way Juan Downey used the whole room as part of his work and let the video interact with the environment. When the audience walk in to watch, they will become part of it.

interactive

Manifesto, Julian Rosefeldt

I really really really love Manifesto for those ideologies used in each chapter.

I always want to use the video as a media to convey information and ideas.

Also, Julian Rosefeldt actually direct a little play in his work. I think this is different from other works. It requires more sense of visualizing your idea and is really challenging but an excellent way for communicating and expression

Changing Light Corridor with Rooms, Brue Nauman, 1971, tate

Changing Light Corridor with Rooms, Brue Nauman, 1971, tate

One of my ideas about how to present my video is to put the screen at the end of the corridor and the audience will stand at the end on the other side of the corridor.

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