So for my art critique ,I used the photo that I took which is a blurred Tesla .With this picture I took the time and speed to create and capture the fast movement of the Tesla which gave the effect of blurriness.

Result #1

So for my art critique ,I used the photo that I took which is a blurred Tesla .With this picture I took the time and speed to create and capture the fast movement of the Tesla which gave the effect of blurriness. When I put a blurred Tesla down the tube in a big hurry, it looked like a light bulb hanging suspended in space. In fact, it looked like the power of an electric car that had been in an accident, almost as if the accident had taken place in the car and the camera had just been frozen in time. When I look at a blurry Tesla, I am not focused on its actual trajectory but rather on its immediate past and the reflection of its past. The blurry Tesla is like a ghost, as if the action of the car has been compressed into a single moment of time and viewed in the same manner as an ephemera photograph. The electric car, as a ghost, seems to have been caught in a state of near and present . . . The Tesla, as a living entity, does not appear to have any memory. It is unreal, transparent, and just plain ordinary.What is interesting about these works is that they also fit into a larger debate about photography in general. At the heart of photography, or at least its great leaders, are the photographers dreams. A good photograph gives a good dream. And, in photography, dreams can become reality. . . . With its vivid, vivid and different light and rich colors, the Tesla looked like an active, animated and life-threatening world. The photograph evoked the dream of a dream, in a sense that this particular dream—this specific dream—could be reality. The photos black and white were like surrealistically vivid colors that seemed to be pulled from the vivid depths of a dream. They seemed to be passing through that muddy dark, muddy landscape of the night sky and the foggy foggy waters of the foggy ocean. They were like a color mistscape that seemed to have been transformed into a dark, gray, almost dark color.It was not until after he had photographed the dream that the photo was analyzed and analyzed again and again.

Result #2

So for my art critique ,I used the photo that I took which is a blurred Tesla .With this picture I took the time and speed to create and capture the fast movement of the Tesla which gave the effect of blurriness.  The image, coupled with the blurred Tesla, was then cut and pasted onto a light-bulb cover in the form of a wheel.  The effect was that the Tesla is continually becoming denser and denser, as one moves along the cover. When the light hits the top of the cover the Tesla takes on a life of its own as a photodocumentation of itself as a race of animals that inhabit an even denser field of life. Although the Tesla is obviously depicted in the same way as the animals on the cover, the animals and the cover are completely distinct and distinct, as if a single category has emerged out of the other. It is as if the complete picture has emerged from the chaos of life, like a single, self-evident truth, but as the light in the background makes the obvious difference: it shows the animals and cover that we have recognized as our own.In fact, the Tesla is everywhere in the photo, it can be seen as a metaphor for every aspect of the human condition: it can be seen as a perfect illustration of the human condition as a race of animals, and its impossible to show them all in one photo. For instance, in a single photograph we can see the animals and cover of the Tesla, but when we look at the full-size photos, they appear as layers on top of each other, as a continuous (if sometimes complex) ensemble. It is as if the Tesla had been removed from the present.The Tesla on the cover, like the animals on the cover, is constantly emerging and disappearing from reality. In one photograph we can see it covered by white paint, like a metaphor for the white out of the white cube, but in the other photos it is more like a ghostly presence. The creatures on the cover are all the same but separate.The only difference between the two images is the time they take to produce them.

Result #3

So for my art critique ,I used the photo that I took which is a blurred Tesla .With this picture I took the time and speed to create and capture the fast movement of the Tesla which gave the effect of blurriness. And not only the movement of the Tesla . But the speeds of the cars . The speed of their acceleration . I hope my work can be of service in the creation of a more picturesque world. The photographs I took in the past were simple and essentially everyday—a warm car parked in a summer time—but the speed at which the car moved has a significant presence in the creation of an interesting photograph. The physics of the Tesla vehicle (not so much the car as the driver) is one of the most complicated in the world. . . . It can accelerate and decelerate from one place to another or vice versa, both at very high or very low speeds, and is constantly in motion. The photographs in this show are not only more complex but they are more effective than the photographs I took before. While the photographs in the past were simply photographs of the car they are more precise in their characterization of its movement and it can be interpreted in a different way depending on the environment in which the photograph was taken. The photos in this show are photographs of the speed of the movement, not necessarily of the car itself but of the speed of its drivers—the drivers of the car, the very real humans who are making the speed of the car possible.This show included two photographs of a speeding train, as well as two other photographs which I thought were more interesting than the first two. The first photograph was a still from a close-up of the engine and the second a close-up of the car behind it. The first photograph shows a dark-green, passenger car, fully loaded with people who have been deliberately overloaded by the speed of the locomotive . . . the second photograph shows a dark-green, passenger car, fully loaded with people who have been deliberately overloaded by the speed of the locomotive . . . I like the power of the second photograph better than the first one.

Result #4

Fantasmosis takes on a new meaning and importance in the study of the universe. I suggest that the universe in this work is a medium of illusion that has the capacity to get absorbed into the mind. It is time to look at the universe with the eyes of a casual observer.

Result #5

So for my art critique ,I used the photo that I took which is a blurred Tesla .With this picture I took the time and speed to create and capture the fast movement of the Tesla which gave the effect of blurriness.  I then photographed the next photo, which shows the same image with some changes made in the white background to make the sky blacken out and give it a bright glare. This work was exhibited at the Whitney Museum and the event was a great success and a valuable educational exercise for me. Also, in this show, the issue of the photography of the car was brought into the light and thus brought to the forefront of the art world. The intention of the camera was to reproduce the motion of the car—not the smoothness of the smoothest surface, but the dynamics and force of the crash—and thereby reveal the incredible character of the crash and the astonishing energy released in the attempt to get out of it. The negative of the Tesla, like the negative of the car, is capable of being transformed into an image, and in this sense the photograph is a negative, capable of being interpreted as a kind of negative image which includes, by virtue of the fact that it is a negative image, the possibility of being transformed into another image by the means of an editing technique.This exhibition in San Francisco contained a number of earlier pictures. One, a crop of the headlights of a parked car, was shown at the N.Y.U. School of Fine Arts in the fall of 1964, and included the time and speed of the impact of the collision and the power that resulted. Another photograph, a print of the tire tracks of a car driven by a man, was shown in the opening of the exhibition. The man who did it, the photographer, was Peter Voulkos. Two of Voulkos prints are on display here: one, a digitally edited photograph of his own head shot taken on his New York streets in 1964, and one, a photo of a visible car as it was involved in a collision with another car. The latter photograph was exhibited at the Whitney Museum in 1966.