In LiFE, installation Metamorphosis impact # 2 turns slowly, lurking in the semi-darkness, dizzying. Strange transplant suspended loving object and stimulates analogies concretion pixelated, vessel weightless iceberg embedded, lost meteorite, volcano spilled … Cryptic, this body sculpture – a skull?
Invites the public to explore her intimacy when trying experience, the visitor discovers a golden crater, a sealed cell with a diffuse-bass throb. As if the Brothers had Chapuisat captured in this tiny space telluric energy treasure, and all the original light, timeless. – Eva Prouteau (translated from original)
Keith Sonnier‘s post-minimalist, neon sculptures on view now at the Pace Gallery until February 22. Linda Yablonsky writes via nytimes.com:
When the sculptor Keith Sonnier arrived in the late 1960s, he was identified with other young radicals like Richard Serra, Eva Hesse, Bruce Nauman and Lynda Benglis as “Post-Minimalist,” a catchall term that immediately wrote them into history books. The label was meant to distinguish them from their slightly older, Minimalist contemporaries, including Sol Lewitt, Carl Andre, Donald Judd and Dan Flavin, all of whom used inflexible materials for impersonal, geometric objects manufactured by others.
“Elysian Plain + Early Works,” a buoyant show of his wall-mounted neon works (some new, some vintage) at the Pace Gallery in Chelsea, maps his trajectory from the ephemeral to the durable, a path elevated by the artist’s suggestive wit.
The ARK by ANTIJV’s Romain Tardy and Squeaky Lobster, a site specific installation for Proyecta Oaxaca at the Ethnobotanical garden of Oaxaca, Mexico:
The Ark is a site specific installation, commissioned by and presented during Proyecta Oaxaca, festival de diseño y artes digitales.
The Ark is built around the cacti that line the Aljibe, at the heart of the Ethnobotanical Garden of Oaxaca.
Adopting a poetic approach, The Ark gives voice to the garden’s plants, participants in the work, the beating heart of the space and an unpredictable choir.
Telling their story, revealing their fantasised and fantastical character, The Ark is the mise-en-abîme of the trail. A three part audio-visual installation, it unfolds like a movie set in space, in which the wandering spectator plays the role of the camera.
Nino Sarabutra has filled the gallery floor with more than 100,000 miniature porcelain skulls and invites you to walk on them. Entering the gallery, every step you take you will be treading on the skulls, unavoidably. In truth, each step we take brings us one step closer to our own demise, yet we never know which will be our last.
Nino asked a range of people to help create the skulls – friends, family, neighbors, students, workers etc. While making them, they were asked to contemplate their life and think about what they will leave behind.
Kianga Ellis Projects is pleased to present the first solo exhibition for Pop Culture Pirate, Elisa Kreisinger. Framed! The attack on fair use and digital artists on the Internet features Kreisinger’s videos Picasso Baby, I’m Feeling 22; Mad Men: Set Me Free (with Marc Faletti) and Mad Med: Don Loves Roger alongside her new Fair Use(r) series of paintings.
Provoked by her experience battling YouTube’s Content ID system, Framed! is a defiant gesture by Kreisinger to reassert her creative autonomy within a sympathetic art context. As conceptual artworks, the Fair Use(r) paintings point to how private agreements between copyright holders and hosting platforms undermine the safe guards for fair use built into the law and cripple creators’ rights to distribute digital art works online. The material physical presence of the paintings emphasizes the unique challenges facing artists working in the digital realm and presenting work on the Internet as compared to artists working in traditional media, such as oil on canvas, and presenting work in brick and mortar galleries.
Each of the paintings on view at the gallery, 1:18 Iconic TV, 0:01 Canal Plus, and 1:50 Lionsgate, depict the exact frame of the artist’s videos that triggered a potential copyright violation notice on YouTube. Once identified and flagged by YouTube, the work’s fate is in the hands of the claimants who are empowered to block, track or place ads over the artist’s original fair use art works.
Kreisinger recently examined fair use and artists’ rights online as an artist-in-residence at Eyebeam Art & Technology Center in partnership with Public Knowledge, the Washington, D.C.- based consumer rights organization involved in intellectual property law, choice in the digital marketplace, and an open Internet. She is a featured artist at the Eyebeam 2014 Annual Showcase from January 16 – February 1, 2014 on view at Eyebeam’s headquarters at 540 W. 21st Street, NY, NY 10011….
Penique productions EL CAUSTRO from Cut Out Fest at Museo de la Ciudad Querétaro, México, November 2011:
Penique productions travelled to México as guest of the Cut Out Fest animation festival in order to carry out an intervention in the city of Querétaro where the festival is held. The project took place at the Museo de la Ciudad, located in the former Convent of San José de Gracia, and consisted of completely covering the building’s cloister.
The light transformed the piece depending on the time of day. In strong sunlight, the installation was deep blue inside and the architecture that enveloped it was tinted a shade of sky blue. At night, the warm artificial light used in the gallery around the inflatable piece and the spot light installed in the central fountain outlined the volumes in darker shade of blue.
These incredibly beautiful light paintings are interesting in another way too. Via Core 77.
If rappers’ boastful lyrics are any indication, hip-hop can take you places. A disciple himself, Tahir Hemphill—the ever-diligent artist behind the previously funded Kickstarter campaign “The Hip-Hop Word Count”—has visualized a dozen rappers’ global treks via flight path-esque photographs tracking their lyrics.
Inspired by Pablo Picasso’s light paintings, Maximum Distance. Minimum Displacement. takes one data point from “Hip-Hop Word Count” (more on that below) and puts it on the map. Hemphill has pulled out geographic mentions from his vault of crazy detailed research and created long-exposure visuals to better illustrate the globetrotting itineraries of these superstars (and perhaps to see if Pitbull is worthy of his terrible self-appointed title, “Mr. Worldwide”). By scaling geographic distances between destinations on a globe and assigning them coordinates, a robotic arm plots a specific point for each song’s city mention using a light pen.
The result is a temporary light painting tracking the hypothetical journey made throughout the rapper’s music. The robotic artist responsible for the paintings fades into the background of the photos, but you can see its work-induced blur if you look closely.
The Atlantic has a fascinating piece up about the origins of ASCII art.
ASCII art is as much a part of the Internet as emoticons, cats, or lol.
We’re talking about pictures made from text: letters, numbers, and special characters like # * and \ …
Though it is still around today, ASCII art reached the zenith of its popularity before the web. It was the visual language of BBSs, Telnet, and many other pre-WWW networks. In a wholly text-based world, these works proliferated. For the brief moment that modems were the preferred mode of access to other computers, they were useful. And their sketchy aesthetic seemed right for mediums that were provisional and changing rapidly.
So, I’ve always thought of them as native creatures of that time, serving a need for pictures when there wasn’t bandwidth to transmit them.
But that’s not the case.
The history of ASCII art goes deeper, and much of it is told only in Geocities blog postings, abandoned websites, Google Books, and scattered PDFs across the web.
This post traces a fascinating and mostly lost strand of that history: The way thousands and thousands of people made typewriter art, from amateurs to avant gardists.
What they created is, in some cases, strikingly similar to the ASCII art of the BBS days, but how they thought about what they were doing depended on the times in which they worked.
Perhaps the one constant? This kind of text art has been snickered at and marginalized since the 1890s.
But as fewer and fewer typewriters clack away, striking ink to paper, and text continues to cede ground to the hypervisual web, a patina seems to be growing on the art form.
“We always knew there was scientific magic contained within the humble pickle,” says Sam Bompas, one half of the experimental culinary duo, Bompas & Parr. “Everyone is pickling right now, and we were interested in pushing it to the extreme. We knew the time had come to create the world’s first gherkin chandelier.” Directed by David Lane of the London-based food journal The Gourmand and co-directed by Jeremy Valender of Pundersons Gardens, the luminous show-and-tell film unpacks the science behind the steampunk-esque contraption, boasting over 60 pickles in explosive, electrical sequence. “The sodium chloride or salt contained within gherkins reacts to an electric current, lighting up, fizzing and crackling while forming a burnt vinegary smell,” says Bompas, whose previous projects with partner Harry Parr include inventing such creations as glow-in-the-dark jelly, scratch-and-sniff cinema and a boating lake filled with gin. “It’s mind-bogglingly dangerous. If you’re near it when it is turned on you will certainly be electrocuted.”
If you are in Brooklyn this week, check out the opening raception for this curated show of artist “kits” at the Open Source Gallery. Thanks to artist Tom Burtonwood (included in show, see his video at bottom) for the tip.
On View: February 8th -March 5th
Opening Reception: February 8th, 7-9pm
The curatorial initiative Fuse Works, which exhibits and promotes artists multiples, presents a new group of editions with the emphasis on artists “kits”. Requiring participation rather than simple observation, most of the works in this show must be cut, pasted, cultivated, filled in, filled out or otherwise completed by the collector. Some are useful objects in a very literal sense, while some propose use as philosophical objects – to be employed as a part of one’s cognitive tool kit. Of course kits have art historical precedence, from Duchamp’s Box in a Valise to Fluxus boxes and Flux-kits. But the impulse to create work that is used and/or completed by the viewer speaks to the aspiration of contemporary art to embody forms of communication beyond the passively visual. At the same time, the creation of artworks that come to life as they are manipulated and altered by those other-than-the-artist undermines the tendencies toward rarification and commodity entrenched in today’s art.
Some Assembly Required includes: Tom Burtonwood, Celeste Fichter, Chuck Jones, Christina Kelly, Mariano Chavez, Piers Watson, Glen Einbinder, John Marriott, Peter Feigenbaum, Gary Kachadourian, Cadence Giersbach, Sara Bouchard and James Leonard.
Fourteen years after its premiere, Futurama has finally come to to an end – again. After four seasons of neglect on the FOX network, the brilliant animated sci-fi comedy was cancelled in 2003, then rode a wave of fan goodwill to resurrection in a series of DVD movies and two seasons on Comedy Central before its series finale in September. The beloved series will live on in an extensive network of Wikis, subreddits, and memes, but according to physicist and math enthusiast Simon Singh in his latest book, The Simpsons and Their Mathematical Secret, the show’s most impressive legacy is its celebration of mathematics.
Longtime readers know how deep the numerical references go on Futurama. The highly educated writing team features no less than three former Simpsons writers with Ph.Ds – Ken Keeler, Jeff Westbrook, and Bill Odenkirk – who packed episodes with math and science content far more freely than they did on that other animated series. Two months after the show’s finale, WIRED spoke to Singh and Futurama executive producer and head writer David X. Cohen about Futurama’s legacy, mathematical and otherwise….
David Benjamin’s “Hy-Fi” selected as the winning project for MoMA PS1′s annual Young Architects Program. His temporary installation is set to open in late June, via fastcodesign:
Benjamin’s bio-design concept will consist of two kinds of brick: some made out of live organic material, and some reflective bricks. For the organic bricks, chopped up corn husks are recycled to combine with mycelium, a kind of mushroom root material. The mixture is then packed into a mold. The reflective bricks, placed at the top of the tubular structure, bounce light off a daylight mirror film coating onto the organic material below, helping them self-assemble into a brick shape and solidify. The shape of the structure pushes hot air out the top, drawing in cool air below.
The outdoor installation, required by the contest rules to provide outdoor seating, shade and water, will, at the end of the summer, be disassembled with no waste. The organic bricks will be composted, and the reflective bricks returned to 3M, the company that makes the mirror film, for further research.
Kevin Fallon’s profile of Nathan Sawaya in the Daily Beast chronicles the famed lego artist’s transition from corporate lawyer to a mini-brick laying specialist with an eye for re-imagining iconic paintings:
While still working at his law firm, Sawaya would post his finished Lego sculptures on a website, brickartist.com. Soon, he was getting commissions to create custom pieces. Then requests started pouring in from all over the world. One day his website crashed because it was getting so many hits, he says, “so I left the law firm to play with toys full time.”
It wasn’t an easy transition. His colleagues and his family thought he was out of his mind. Quit corporate law to play Lego … can you blame them? Other reactions ran the gamut. “Some of my colleagues were jealous because I was following my passion,” Sawaya says. “Others were just confused.” But even after making the decision, it wasn’t all child’s play (heh) to go from the lifestyle of a lawyer making six figures to the lifestyle of an artist, unsure of whether he can pay rent each month.
“In 2007, I got my first solo show,” Sawaya remembers. “At the time I thought it was going to be my last solo show.”