A film being made in Warsaw, Bracka street

Filmmaking (often referred to in an academic context as film production) is the process of making a film, from an initial story, idea, or commission, through scriptwriting, casting, shooting, editing, and screening the finished product before an audience that may result in a theatrical release or television program. Filmmaking takes place all over the planet in a huge range of economic, social, and political contexts, and using a variety of technologies and cinematic techniques. Typically, it involves a large number of people, and takes from a few months to several years to complete, although it may take longer if there are production issues, and the record for the longest production time for a major film is The Thief and the Cobbler's 28 years development.

Parts[link]

Film production occurs in three stages:^[1]

• Pre-production—Preparations are made for the shoot, in which cast and film crew are hired, locations are selected, and sets are built. This is also the stage in which the lol ideas for the film are created, rights to books/plays are bought, etc.
• Production—The raw elements for the finished film are recorded.
• Post-Production—The film is edited; production sound (dialogue) is concurrently (but separately) edited, music tracks (and songs) are composed, performed and recorded, if a film is sought to have a score; sound effects are designed and recorded; and any other computer-graphic 'visual' effects are digitally added, all sound elements are mixed into "stems" then the stems are mixed then married to picture and the film is fully completed ("locked").

Development[link]

In this stage, the project's producer finds a story, which may come from a book, play, another film, a true story, original idea, etc. After identifying a theme or underlying message, the producer works with writers to prepare a synopsis. Next they produce a step outline, which breaks the story down into one-paragraph scenes that concentrate on dramatic structure. Then, they prepare a treatment, a 25-to-30-page description of the story, its mood, and characters. This usually has little dialogue and stage direction, but often contains drawings that help visualize key points. Another way is to produce a scriptment once a synopsis is produced.

Next, a screenwriter writes a screenplay over a period of several months. The screenwriter may rewrite it several times to improve dramatization, clarity, structure, characters, dialogue, and overall style. However, producers often skip the previous steps and develop submitted screenplays which investors, studios, and other interested parties assess through a process called script coverage. A film distributor may be contacted at an early stage to assess the likely market and potential financial success of the film. Hollywood distributors adopt a hard-headed business approach and consider factors such as the film genre, the target audience, the historical success of similar films, the actors who might appear in the film, and potential directors. All these factors imply a certain appeal of the film to a possible audience and hence the number of "A.I.S." (or "Asses in Seats") during the theatrical release. Not all films make a profit from the theatrical release alone, so film companies take DVD sales and worldwide distribution rights into account.

The producer and screenwriter prepare a film pitch, or treatment, and present it to potential financiers. If the pitch is successful, the film receives a "green light", meaning someone offers financial backing: typically a major film studio, film council, or independent investor. The parties involved negotiate a deal and sign contracts. Once all parties have met and the deal has been set, the film may proceed into the pre-production period. By this stage, the film should have a clearly defined marketing strategy and target audience.

Pre-production[link]

In pre-production, every step of actually creating the film is carefully designed and planned. The production company is created and a production office established. The production is storyboarded and visualized with the help of illustrators and concept artists. A production budget is drawn up to plan expenditures for the film. For major productions, insurance is procured to protect against accidents.

The producer hires a crew. The nature of the film, and the budget, determine the size and type of crew used during filmmaking. Many Hollywood blockbusters employ a cast and crew of hundreds, while a low-budget, independent film may be made by a skeleton crew of eight or nine (or fewer). These are typical crew positions:

• The director is primarily responsible for the storytelling, creative decisions and acting of the film.
• The assistant director (AD) manages the shooting schedule and logistics of the production, among other tasks. There are several types of AD, each with different responsibilities.
• The casting director finds actors to fill the parts in the script. This normally requires that actors audition.
• The location manager finds and manages film locations. Most pictures are shot in the controllable environment of a studio sound stage but occasionally, outdoor sequences call for filming on location.
• The production manager manages the production budget and production schedule. They also report, on behalf of the production office, to the studio executives or financiers of the film.
• The director of photography (DoP) is the cinematographer who supervises the photography of the entire film
• The director of audiography (DoA) is the audiographer who supervises the audiography of the entire film. For productions in the Western world this role is also known as either sound designer or supervising sound editor.^[2]

• The production sound mixer is the head of the sound department during the production stage of filmmaking. They record and mix the audio on set - dialogue, presence and sound effects in mono and ambience in stereo.^[3][4] They work with the boom operator, Director, DoA, DoP, and First AD.

• The sound designer creates the aural conception of the film,^[5] working with the supervising sound editor. On some productions the sound designer plays the role of a director of audiography.
• The composer creates new music for the film. (usually not until post-production)
• The production designer creates the visual conception of the film, working with the art director.^[5]
• The art director manages the art department, which makes production sets
• The costume designer creates the clothing for the characters in the film working closely with the actors, as well as other departments.
• The make up and hair designer works closely with the costume designer in addition to create a certain look for a character.
• The storyboard artist creates visual images to help the director and production designer communicate their ideas to the production team.
• The choreographer creates and coordinates the movement and dance - typically for musicals. Some films also credit a fight choreographer.

Production[link]

A director performing dual roles as director and camera operator gives instructions during the filming of a scene.

In lol production, the video production/film is created and shot. More crew will be recruited at this stage, such as the property master, script supervisor, assistant directors, stills photographer, picture editor, and sound editors. These are just the most common roles in filmmaking; the production office will be free to create any unique blend of roles to suit the various responsibilities possible during the production of a film.

A typical day's shooting begins with the crew arriving on the set/location by their call time. Actors usually have their own separate call times. Since set construction, dressing and lighting can take many hours or even days, they are often set up in advance.
The grip, electric and production design crews are typically a step ahead of the camera and sound departments: for efficiency's sake, while a scene is being filmed, they are already preparing the next one.

While the crew prepare their equipment, the actors are wardrobed in their costumes and attend the hair and make-up departments. The actors rehearse the script and blocking with the director, and the camera and sound crews rehearse with them and make final tweaks. Finally, the action is shot in as many takes as the director wishes. Most American productions follow a specific procedure:

The assistant director (AD) calls "picture is up!" to inform everyone that a take is about to be recorded, and then "quiet, everyone!" Once everyone is ready to shoot, the AD calls "roll sound" (if the take involves sound), and the production sound mixer will start their equipment, record a verbal slate of the take's information, and announce "sound speed" when they are ready. The AD follows with "roll camera", answered by "speed!" by the camera operator once the camera is recording. The clapper, who is already in front of the camera with the clapperboard, calls "marker!" and slaps it shut. If the take involves extras or background action, the AD will cue them ("action background!"), and last is the director, telling the actors "action!".

A take is over when the director calls "cut!", and camera and sound stop recording. The script supervisor will note any continuity issues and the sound and camera teams log technical notes for the take on their respective report sheets. If the director decides additional takes are required, the whole process repeats. Once satisfied, the crew moves on to the next camera angle or "setup," until the whole scene is "covered." When shooting is finished for the scene, the assistant director declares a "wrap" or "moving on," and the crew will "strike," or dismantle, the set for that scene.

At the end of the day, the director approves the next day's shooting schedule and a daily progress report is sent to the production office. This includes the report sheets from continuity, sound, and camera teams. Call sheets are distributed to the cast and crew to tell them when and where to turn up the next shooting day. Later on, the director, producer, other department heads, and, sometimes, the cast, may gather to watch that day or yesterday's footage, called dailies, and review their work.

With workdays often lasting 14 or 18 hours in remote locations, film production tends to create a team spirit. When the entire film is in the can, or in the completion of the production phase, it is customary for the production office to arrange a wrap party, to thank all the cast and crew for their efforts.

Post-production[link]

Here the video/film is assembled by the video/film editor. The modern use of video in the filmmaking process has resulted in two workflow variants: one using entirely film, and the other using a mixture of film and video.

This is the final stage, where the film is released to cinemas or, occasionally, to consumer media (DVD, VCD, VHS, Blu-ray) or direct download from a provider. The film is duplicated as required for distribution to cinemas. Press kits, posters, and other advertising materials are published and the film is advertised and promoted.

Film distributors usually release a film with a launch party, press releases, interviews with the press, press preview screenings, and film festival screenings. Most films have a website. The film plays at selected cinemas and the DVD typically is released a few months later. The distribution rights for the film and DVD are also usually sold for worldwide distribution. The distributor and the production company share profits.

Independent filmmaking[link]

Filmmaking also takes place outside of the mainstream and is commonly called independent filmmaking. Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a film, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of production may be democratized, financing, traditional distribution, and marketing remain difficult to accomplish outside the traditional system. In the past, most independent filmmakers have relied on film festivals to get their films noticed and sold for distribution. However, the Internet has allowed for relatively inexpensive distribution of independent films. As a result several companies have emerged to assist filmmakers in getting independent movies seen and sold via mainstream internet marketplaces, oftentimes adjacent to popular Hollywood titles. With internet movie distribution, independent filmmakers who fail to garner a traditional distribution deal now have the ability to reach global audiences.

See also[link]

Wikimedia Commons has media related to: Filmmaking

• Audiography
• Cinematic techniques
• Cinematography
• Director of audiography aka Sound Director, Director of Sound
• Film crew
• Film director
• Film editing
• Film producer
• Film school
• Film studies
• Film
• First look deal
• List of film-related topics
• Movie production incentives in the United States
• Post-production
• Pre-production
• Screenplay
• Screenwriter
• Television studies

References[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2008)

• Campbell, Drew: Technical Film and TV for Nontechnical People. Allworth Communications 2002.

External links[link]

Wikibooks has more on the topic of Filmmaking

• Filmmaking at the Open Directory Project

Wikibooks[link]

• Movie Making Manual

Wikiversity[link]

Wikiversity has learning materials about Filmmaking

• Wikiversity Courses in Filmmaking

Saint Vitus
Saint Vitus, from the Nuremberg Chronicle, 1493
Martyr, Holy Helper
Born	c. 290 Sicily
Died	c. 303 in Luciana, Italy Lucania, modern-day Basilicata, Italy
Honored in	Roman Catholic Church Eastern Orthodox Church
Feast	June 15
Attributes	depicted in a cauldron, with a rooster or a lion
Patronage	actors; comedians; Czechoslovakia; dancers; dogs; epilepsy; Mazara del Vallo, Sicily; Forio, Ischia; oversleeping; Prague, Czech Republic; rheumatic chorea (Saint Vitus Dance); snake bites; storms; Vacha, Germany; Zeven, Lower Saxony; E Clampus Vitus; Serbia

Saint Vitus  /sɨnt ˈvaɪtəs/ was a Christian saint from Sicily. He died as a martyr during the persecution of Christians by co-ruling Roman Emperors Diocletian and Maximian in 303. Vitus is counted as one of the Fourteen Holy Helpers of the Roman Catholic Church.

Saint Vitus' Day is celebrated on 15 June. In places where the Julian Calendar is used, this date coincides, in the 20th and 21st centuries, with 28 June on the Gregorian Calendar.

In the late Middle Ages, people in Germany and countries such as Latvia celebrated the feast of Vitus by dancing before his statue. This dancing became popular and the name "Saint Vitus Dance" was given to the neurological disorder Sydenham's chorea. It also led to Vitus being considered the patron saint of dancers and of entertainers in general.^[1]

Vitus is considered the patron saint of actors, comedians, dancers, and epileptics. He is also said to protect against lightning strikes, animal attacks and oversleeping, and is the patron saint of Bohemia. Vitus is the patron saint of the city of Rijeka in Croatia, the towns of Ciminna in Sicily, Forio on the Island of Ischia, in Campania, Italy, the contrada of San Vito, in Torella dei Lombardi, in Avellino, Italy, the town of Winschoten in the Netherlands, and the town of St. Vith located in Belgium.

Various places in Austria and Bavaria are named Sankt Veit in his honour.

Martyrdom of Saints Vitus, Modestus and Crescentia[link]

The martyrdom of Vitus, Modestus, and Crescentia. From a fourteenth century manuscript.

According to the legend, Vitus, Modestus and Crescentia were martyrs under Diocletian. The earliest testimony for their veneration is offered by the "Martyrologium Hieronymianum" (ed. G. B. de Rossi-Louis Duchesne, 78: "In Sicilia, Viti, Modesti et Crescentiae"). The fact that the note is in the three most important manuscripts indicates that it was also in the common exemplar of these, will appeared in the fifth century. The same Martyrologium has under the same day another mention of a Vitus at the head of a list of nine martyrs, with the statement of the place, in Eboli, "In Lucania", that is, in the Roman province of that name in Southern Italy between the Tuscan Sea and the Gulf of Taranto. It is easily possible that it is the same martyr Vitus in both cases.

According to J.P. Kirsch, the author of the article in the Catholic Encyclopedia from which the information in this section is drawn, the testimony to the public veneration of the three saints in the fifth century proves positively that they are historical martyrs. There are, nevertheless, no historical accounts of them, nor of the time or the details of their martyrdom.

During the sixth and seventh centuries a purely legendary narrative of their martyrdom appeared which appears to be based upon other legends, especially on the legend of Poitus, and ornamented with accounts of fantastic miracles. According to this legend, which has no apparent historical value, Vitus was a 7-year-old son of a senator of Lucania (some versions make him 12 years old). He resisted his father's attempts, which included various forms of torture, to make him turn away from his faith. He fled with his tutor Modestus and Modestus's wife Crescentia, who was Vitus's nanny, to Lucania. He was taken from there to Rome to drive out a demon which had taken possession of a son of the Emperor Diocletian. This he did, and yet, because he remained steadfast in the Christian Faith, he was tortured together with his tutors. By a miracle an angel brought back the three to Lucania, where they died from the tortures they had endured. Three days later Vitus appeared to a distinguished matron named Florentia, who then found the bodies and buried them in the spot where they were. The author of the legend doubtless connected in his invention three saints who apparently suffered death in Lucania, and were first venerated there.

Veneration[link]

St. Vitus Cathedral is the main church of the former imperial capital, Prague.

The veneration of the martyrs spread rapidly in Southern Italy and Sicily, as is shown by the note in the "Martyrologium Hieronymianum". Pope Gregory the Great mentions a monastery dedicated to Vitus in Sicily ("Epist.", I, xlviii, P.L., LXXXVII, 511).

The veneration of St. Vitus, the chief saint of the group, also appeared very early at Rome. Pope Gelasius I (492-496) mentions a shrine dedicated to him (Jaffé, "Reg. Rom. Pont.", 2nd ed., I, 6 79), and at Rome in the seventh century the chapel of a deaconry was dedicated to him ("Liber Pont.", ed. Duchesne, I, 470 sq.).

In 756 AD it is said that the relics of St. Vitus were brought to the monastery of St-Denis by Abbot Fulrad. They were later presented to Abbot Warin of Corvey in Germany, who solemnly transferred some of them to this abbey in 836. From Corvey the veneration of St Vitus spread throughout Westphalia and in the districts of eastern and northern Germany. His cult grew in Prague, Bohemia when, in 925 A.D., king Henry I of Germany presented as a gift the bones of one hand of St Vitus to Wenceslaus, Duke of Bohemia. This relic is since then a sacred treasure in the St. Vitus Cathedral in Prague.

The cult of St. Vitus became very popular in Slavic lands, where his name (Sveti Vid) replaced the old cult of the god of light Svantovid.^[2] In Croatia alone, 123 churches are dedicated to St. Vitus. In Hungary he has been venerated as Szent Vid since the early Middle Ages.

Saint Vitus is invoked primarily against choreia, which is called "St. Vitus Dance", and he is one of the Fourteen Martyrs who give aid in times of trouble.

He is represented as a young man with a palm-leaf, in a cauldron, sometimes with a raven and a lion, his iconographic attribute because according to the legend he was thrown into a cauldron of boiling tar and molten lead, but miraculously escaped unscathed.

The names of Saints Modestus and Crescentia were added in the eleventh century to the Roman Calendar,^[3] so that from then on all three names were celebrated together until 1969, when their feast was removed from the calendar of feasts proposed for celebration throughout the Roman Rite. Saint Vitus is still recognized as a saint of the Roman Catholic Church, being inscribed in the Roman Martyrology under June 15,^[4] and Mass may be celebrated in his honor on that day wherever the Roman Rite is celebrated,^[5] while the Saints Modestus and Crescentia who are associated with Saint Vitus in legend have been omitted, because they appear to be merely fictitious personages.^[6] However, some traditionalist Catholics continue to observe pre-1970 versions of the General Roman Calendar.

The saint's feast day is also the subject of a popular weather rhyme: "If St. Vitus' Day be rainy weather, it shall rain for thirty days together." This rhyme often appears in such publications as almanacs; its origin is uncertain.

Vidovdan is Vitus' Day in Serbia among the Serb Orthodox Church.

Gallery[link]

• 

  Martyrdom of Saint Vitus Germany circa 1515, St. Vitus church, Flein

• 

  An image of Saint Vitus in Heiligenstadt, Franconia

• 

  Martyrdom of Saint Vitus Germany circa 1450 Warsaw National Museum

• 

  Martyrdom of Saint Vitus/Sankt Veit on the coat of arms of Sankt Veit im Pongau, Austria

Sources[link]

•  This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). "Sts. Vitus, Modestus, and Crescentia". Catholic Encyclopedia. Robert Appleton Company. 

Notes[link]

See also[link]

Sydenham's chorea, historically known as "Saint Vitus Dance"

External links[link]

Wikimedia Commons has media related to: Saint Vitus

• Saints Vitus, Modestus, and Crescentia at the Open Directory Project
• Patron Saints Index profile of Saint Vitus
• Catholic Online profile of Saint Vitus
• Information on Saint Vitus, the saint, on saintvitus.com
• (Italian) San Vito

Frank Fitzpatrick (born April 13, 1961 in Detroit, Michigan) is best known as a composer and music producer for film. He has also worked extensively in other areas of music and entertainment as a record producer, songwriter, and filmmaker. He has focused much of his recent work on socially conscious media ventures.

Film music[link]

Fitzpatrick created the soundtracks for over two-dozen films including: Disney's teen hit Jump In!, the animated The Proud Family Movie, Anne Rice penned Queen of the Damned, David Zucker’s record-breaking^[1] Scary Movie 3, the Bill Gates-Steve Jobs’ docu-drama Pirates of Silicon Valley, George Harrison’s British comedy Nuns on the Run, Miramax’s In Too Deep, and Ice Cube’s & Chris Tucker’s Hip Hop classic Friday.^[2]

Fitzpatrick was named one of the “Top Music Supervisors of the Decade” (1990’s) by Variety Magazine. He has contributed to the sale of over 6 million soundtrack albums.

In 2010, Frank Fitzpatrick’s song Soul Music, performed by Anthony Hamilton, was nominated for a Grammy for Best Traditional R&B Vocal Performance. The song was the title track for the motion picture Soul Men (Samuel L. Jackson, Bernie Mac and Sharon Leal).

Fitzpatrick produced the original soundtrack for the film Beat The World, released in 2011 featuring collaborations between KRS-One and K'Naan, Talib Kweli and Sway, Nneka and Ziggy Marley, and Les Nubians and MV Bill.

Television music[link]

Fitzpatrick was the composer and music director for HBO’s hit TV series The Larry Sanders Show, creating the theme and all the original music. He also composed themes and scores for other series including, The Jeff Foxworthy Show, Muddling Through, and High Society.^[3]

Songwriter/Record producer[link]

Fitzpatrick’s songwriting and producing credits include Jill Scott, Dave Hollister, K-Ci & Jojo, Les Nubians, Fat Joe, Jazz (Dru Hill), Akil (Jurassic 5), Slimkid3 (The Pharcyde), Brownstone, Public Announcement,^[4] Anthony Hamilton, Lina and Siren. His song Jump to the Rhythm (performed by Jordan Pruitt) was released on both Pruitt’s debut album, No Ordinary Girl, on the Jump In! Soundtrack, and is featured as the opening song in the 2007 High School Musical Tour.^[5] The Sasha & Shawna duet single and Fitzpatrick produced version of Fields of Gold (written by Sting) was featured in the 2007 PBS special Heavenly Voices. Frank Fitzpatrick produced the compilation benefit album, “Yoga Revolution”, as the first in a series that brings together musical icons and rising kirtan stars to raise funds for yoga and fitness programs for underserved youth. “Yoga Revolution” was released March 30, 2010 through Time Life Records in conjunction with Nettwerk Music and EarthTones, with net proceeds to benefit the Yoga Health Foundation. It features Sting, Peter Gabriel, Sheryl Crow, Seal, Sarah McLachlan, Michael Franti, Angelique Kidjo, Anoushka Shankar, Ziggy Marley, Krishna Das, Deva Premal, Donna De Lory, and others.

Filmmaker[link]

In 2001 Fitzpatrick directed and produced the short film Jungle Jazz: Public Enemy #1. Created in the style of a ‘50’s propaganda film, Jungle Jazz incorporated rare Soundies film footage from the 1940’s into an original story, accompanied by Fitzpatrick’s own soundtrack mixing Big Band + Drum and Bass. Jungle Jazz premiered at the 2001 Berlin International Film Festival, winning The Silver Bear Award for best Short Film.^[6] The film played at several festivals around the world, winning additional awards in Sydney, Sao Paulo, Belo Horizonte, Kansas City and Santa Cruz.^[7][8] In 2007, Fitzpatrick completed his first animated short film The Rebel Angel.^[9]

Socially conscious media[link]

Founder of the non-profit arts organization EarthTones, Fitzpatrick has created themes and music campaigns for many socially conscious and charitable media projects. These include, Reflections, (directed by Gina Prince-Bythewood) an AIDS awareness film which premiered on BET and was distributed to high schools throughout the U.S.,^[10] Just Like You, a song and video collaboration with Middle Eastern rapper Rayess Bek broadcast as part of a United Nations sponsored peace initiative,^[11] and Scenes In Jazz, a compilation CD and arts awareness campaign which features different artists performing original jazz compositions to support music and arts education programs.

Early career[link]

Fitzpatrick’s professional career began in Ann Arbor and Detroit, Michigan. While attending the University of Michigan’s music and business schools, he worked for Eclipse Jazz and Major Events, producers of live shows for the likes of Miles Davis, Ella Fitzgerald, Al Jarreau, Sarah Vaughn, Ray Charles and Prince. Fitzpatrick also performed as a musician (guitar) and hosted his own radio show, Jazz ‘Round Midnight on WCBN-FM.

Fitzpatrick relocated to Los Angeles in 1983 to work for record producer Richard Perry of Planet Records’ and Studio 55. Productions included the Pointer Sisters’ Multi-Platinum Break Out album. Fitzpatrick expanded into film music by working as a music editor for the film composer Georges Delerue, going on to co-produce a 3-CD orchestral retrospective of Delerue’s film scores entitled, The London Sessions.^[12] Recorded at Abbey Road studios, the collection included “Between You and Me” performed by Carl Anderson and co-written by Fitzpatrick and Delerue as the original title track for Bruce Baresford’s Her Alibi.

In 1989, Fitzpatrick formed the studio group Hidden Faces with writing/producing partner David Kitay. Even though Kitay soon left the group, Fitzpatrick continued to create some of his original soundtracks and recordings under the name Hidden Faces. Hidden Faces can be heard on soundtrack releases for Nuns on the Run, Highway to Hell, Breaking the Rules and Friday, as well as the score collection Pictures in the Dark and on the more recently released Best of Hidden Faces.

Yoga[link]

Fitzpatrick has studied the healing arts and yoga for over 20 years. He is a certified yoga instructor, specifically in the Hatha and Tantric traditions, having trained with teachers Shiva Rea, Max Strom, Jeffrey Armstrong, Saul David Ray and Rod Stryker.

References[link]

External links[link]

• Official website
• Frank Fitzpatrick's Non-Profit, EarthTones
• Yoga Revolution, Produced by Frank Fitzpatrick
• Frank Fitzpatrick at the Internet Movie Database

Kelly Richardson (born August 2, 1972 in Burlington, Ontario, Canada) is an artist whose media-based practice focuses on the idea of mixed realities; part 'real', part fantasy.

Early life and education[link]

Richardson was born in Burlington, Ontario and at the age of 6 was relocated to Guelph, Ontario where she grew up, later attending high school at the Guelph Collegiate Vocational Institute. From 1994–1997, she studied at the Ontario College of Art & Design in Toronto, Canada where she continued to reside practicing and exhibiting both nationally and internationally at various venues including Hallwalls, Mercer Union, Art Gallery of Ontario and Centre Georges Pompidou. In 2002, she relocated to Halifax, Nova Scotia, Canada for her Master of Fine Arts in Media Studies at the Nova Scotia College of Art and Design University. In 2003, she moved to the United Kingdom taking up residence in the northeast where she also completed her masters at Newcastle University.

Career[link]

Kelly Richardson's practice centres around video and photography which often employs a high standard of special effect, mixing real footage with digitally constructed elements. Her work "adopts the use of cinematic language to investigate notions of constructed environments and the blurring of the real versus the unreal. She creates contemplative spaces which offer visual metaphors for the sensations associated with the hugely complicated world we have created for ourselves, magnificent and equally dreadful."^[1] As David Jager noted in Canadian Art magazine,^[2]

Richardson deploys a formidable range of techniques and a broad palette of approaches in her creation of a new aesthetic, one that elicits a euphoric suspension of disbelief, allowing viewers to delve into the increasingly ambiguous and complex juncture between the real and the represented. She has transformed video, once a self-consciously minimal, anti-cinematic, bare-bones practice, into something much richer, and much stranger.

She has exhibited widely throughout the world including the Albright-Knox Art Gallery, Hirshhorn Museum and Sculpture Garden for The Cinema Effect: Illusion, Reality and the Moving Image, the Sundance Film Festival (in 2009 and again in 2011) and she has represented Canada in the Gwangju Biennale, Busan Biennale and the first Beijing 798 Biennale.

In 2011, she was long listed for the British Northern Art Prize. She was also long listed for the Sobey Art Award two years running in 2008 and 2009.^[3] Also in 2009, she was selected as the featured artist for the Americans for the Arts National Art Awards where she was honoured alongside Ed Ruscha, Robert Redford and Salman Rushdie.^[4] Kelly Richardson was featured in the fall 09 issue of Canadian Art magazine as one of "10 artists setting the pace of contemporary art".^[5]

Biography[link]

Selected exhibitions[link]

• Albright-Knox, "Videosphere: A New Generation", Buffalo, New York (2011)
• Artpace, "Leviathan", San Antonio, Texas (2011)
• Art Gallery of Ontario, "Sculpture as Time: Major works. New Acquisitions", Toronto, Canada (2010)
• Sundance Film Festival, New Frontier on Main, Park City, Utah, USA (2009)
• Beijing 798 Biennale, The Man Who Fell to Earth, Beijing, China (2009)
• Hirshhorn Museum and Sculpture Garden, The Cinema Effect: Illusion, Reality and the Moving Image, Washington, DC, USA (2008)
• Busan Biennale, Expenditure, Busan, South Korea (2008)
• HALLWALLS, The Edge of Everything, Buffalo, New York, USA (2008)
• Le Mois de la Photo à Montréal, Exiles of the Shattered Star, Montreal, Quebec, Canada (2007)
• Gwangju Biennale, A grain of dust, a drop of water, Busan, South Korea (2004)

Public collections[link]

• Hirshhorn Museum and Sculpture Garden, Washington, DC, USA
• Albright-Knox Art Gallery, Buffalo, New York, USA
• Musée d'art contemporain de Montréal, Montréal, Quebec, Canada
• Art Gallery of Ontario, Toronto, Ontario, Canada

Videos and video installations[link]

• 1997, Jell-o (single-channel video, loop, 4:3)
• 1998, Glow (single-channel video, loop, 4:3)
• 2001, Camp (single-channel video, 2 minute loop, 4:3)
• 2001, There's a lot There (single-channel video, 2 minute loop, 4:3)
• 2001, A car stopped at a stopsign, in the middle of nowhere, in front of a landscape (single-channel video, 30 minute loop, 4:3)
• 2002, howthedevil (single-channel video, seamless loop, 4:3)
• 2004, The Sequel (single-channel video, 1 minute loop, 4:3)
• 2005, Ferman Drive (single-channel video, 1 minute 20 second loop, 4:3)
• 2006, Exiles of the Shattered Star (single-channel high definition video, 30 minute loop, 16:9)
• 2007, The Great Destroyer (multi-channel high definition video, 15 minute loop)
• 2007, Wagons Roll (originally produced in 2003 and remade in 2007, single-channel video, 24 minute loop, 16:9)
• 2007, Forest Park (dual-channel high definition video, 18 minute loop, 16:9)
• 2008, Twilight Avenger (single-channel high definition video, 5 minute 40 second loop, 16:9)
• 2010, The Erudition (single/triple-channel high definition video, 20 minute loop, 16:9)
• 2011, Leviathan (single/triple-channel high definition video, 20 minute loop, 16:9)

External links[link]

• Official website
• Birch Libralato, gallery representation in Toronto

Further reading[link]

• Exhibition essay for Mercer Union, May-June 2000
• Description for Art Gallery of Ontario exhibition, Nov. 2002-March 2003
• Gwangju Biennale documentation, 2004
• Curatorial essay for Northern Gallery for Contemporary Art, Feb.-May 2005
• Le Mois de la Photo a Montreal exhibition documentation, Sept. 6 - Oct. 21 2007
• Now Magazine review, 'Nature's Calling: Kelly Richardson questions what's real', August 6-13, 2008
• ARTFORUM, 'Kelly Richardson: Birch Libralato', November issue, 2008
• Now Magazine review, 'Year in Review: Top 10 Art Shows', December 22-29, 2008
• Screening Video exhibition text, 'Kelly Richardson', March 6-April 26, 2009
• Canadian Art Magazine feature, 'Kelly Richardson: The Radiant Real', Fall issue, 2009
• Akimblog press release, 2010
• Toronto Star review, 'Whyte: The world rendered as an alien landscape', December 22, 2010
• Akimblog review, "The Last Frontier", January 10, 2011
• Canadian Art Magazine review, 'The Last Frontier: Natural Histories', January 13, 2011
• Plaza de Armas review, 'Landscape, catfight, and another musical', March 25, 2011
• Glasstire review, 'Artpace 11.1: It's in the water', April 12, 2011
• ...might be good review, 'International Artist-in-Residence, New Works: 11.1', April 15, 2011

References[link]

1. ^ *Pace Digital Gallery
2. ^ *Jager, David. "Kelly Richardson: The Radiant Real". Canadian Art Magazine. http://www.canadianart.ca/art/features/2009/09/01/kelly-richardson/. Retrieved 2009-11-12. 
3. ^ *Sobey Art Award
4. ^ *Americans for the Arts National Arts Awards
5. ^ *Jager, David. "Kelly Richardson: The Radiant Real". Canadian Art Magazine. http://www.canadianart.ca/art/features/2009/09/01/kelly-richardson/. Retrieved 2009-11-12.