Sunday, February 5, 2017

Identity - Human Condition - James Nares

By Kathryn Fiorita


James Nares is a British artist who currently lives and works in New York City. Nares makes many kinds of art work, but he is best known as a contemporary painter. The paintings that he is best known for, are paintings that are made with a single stroke of the paint brush. Nares also makes short films and videos that focuses on a wide variety of different concepts; such as movement, repetition and rhythm. Nares is more known for this paintings and films than his photography.


Nares made a photographic series called Portraits. This is his first body of video work since he made Streets, a film that is footage of people on the streets of Manhattan from a moving car using ultra high speed film. When viewed, the people seem to be moving in slow motion.


This Portraits is Nares’ second series of moving images. He changed his role from street photographer to portraits photographer capturing moving images. This work is displayed on a screen within a frame. The films are displayed on close to life size monitors, projecting hundreds of frames per second. and The length of the films are between three and twenty minutes long. This is unclear, are you discussing one or two films?Portraits is not a traditional photo series because Nares filmed several hundred frames per second. Each video is at least eleven to twenty-three minutes long. Because he wants the viewers to connect with his feelings, the effect of this video is, a recording of every movement, thought, and emotion that the model is doing. experiencing.
embed the link to each film in the title on the film
This link is to a video that show one film from the PORTRAIT series.




https://www.youtube.com/watch?v=Q43G7wc4n0w

1 comment:

  1. This is your research report, how does it compare with the lecture? What are your conclusions about the two? Were you enlightened at the lecture? Neither has pictures.
    How has Nares work informed your own, process, imagery, his sense of time.

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