8.

Pauline Bastard

Western




I found this piece on Rhizome and was first drawn to it by its use of the iconic rainbow mouse, that occurs on Mac screens when a process is occurring and the user must wait. The piece was a series of videos in which the rainbow spiral mouse became the character in a narrative as it explores a landscape of a photograph. I was struck by its simple and anti-climatic nature, using an everyday object that you typically would not even consider, and making it into the star of a film.

By forcing me to reconsider such a trivial object, it also reminded me of the Pop Art Movement. Both are concerned with contemplating everyday objects and reinterpreting them in a fine art sense. Additionally considering mass-consumption and commodity, her piece to me seems to be a commentary on media and the film industry, using classic images reminiscent of old Westerns for the setting of her films. I half expected John Wayne to be riding his horse across the landscape in place of the rainbow cursor.

I was unable to find any literature from Pauline to explain her work from her perspective, so I would be interested to see if I am interpreting her piece as she had hoped. But given the simple nature of her website and lack of written information, it makes me think that I am on the right track, or that there is no wrong track, as she is just most concerned with the viewer's questioning of the work and its purpose, in an attempt to reconsider the everyday objects.

Art Event 2.

Mark Iwinski's Open Studio

I was unable to go to Mark's talk explaining his work, so when I entered his open studio at the Artist's House I had a very pure experience encountering his work, free of any preconceived notions. The studio consisted of dissected trees stumps, paper rubbings, prints, and photography. He was using trees to make prints of both the cross-cut tree stump, and the exterior bark through rubbings. I was actually most impressed with some of his photography, particularly ones in which he photographed transparencies of buildings and places that no longer exist, at the site where they once were. The result was an eerie projection of the past onto the present, simultaneously occurring.

While I was unable to speak with him while I was there to get a better understanding of his purpose for using trees for printmaking, my first impression was my concern with presentation. The prints of the cross-section of the tree stumps were visually interesting, but the rubbings of the bark was less than intriguing. I suppose he is mos concerned with the process and idea of his work than the final project, but I couldn't help but be concerned with how these works would be displayed in an exhibit. Without an explanation of the bark rubbungs, I felt they fell short and were more reminiscent of childhood art projects in comparison to what he was trying to convey.

He seemed very concerned with the paper that he was was using for prints, selecting paper made from various trees. This aspect interested me most because trees inhabited every aspect of his printmaking work, from beginning to end. The studio as a whole acted more as a gallery space, than a glimpse into his work process. His work space was limited, covered with the wood stumps, and as a result it seemed nearly impossible for him to create work in it. But nevertheless, it was beneficial to see a rarely seen perspective into an artist's process, especially an artist so different from myself.

Project 3.

My website:



Project 3: Drift

7.

Deep Horizon
ubermorgen.com



Deep Horizon is a series of digital images, created from the oil spill in the Gulf of Mexico that occurred last week. I was immediately attracted to its relevance to the news of today, as this environmental disaster is one of the most severe and devastating of my lifetime. The work itself are considered "digital oil paintings," aerial photographs of the oil spill that have been digitally manipulated to be more reminiscent of an abstract oil painting, than photograph. The artist cleverly refers to these paintings as oil paintings, given the literal use of spilled oil, while instantaneously making a commentary of art's historical narrative, the evolution of digital media, and the return of oil paint.

I am not so much attracted aesthetically to the images created, but more so to the play of words and the digital media's relation to painting. The urgency in which these images were created, just days after the oil spill, speaks volumes and makes these pieces much more relevant and interesting than if they had been created months from now. Despite the significance of the disaster, because it will likely not directly effect myself and others away from the Gulf Coast, it will likely be forgotten soon enough. These images will perhaps make its impact and importance more concrete to those not directly affected. In addition to the awareness of the disaster itself, the artist, perhaps sarcastically, states that it will bring mass-awareness to oil painting as aerial images of the oil are being constantly broad casted to the media.

While the concept is interesting, the artists' statement regarding their piece seems to be lackin sympathy regarding the devastation, and comparing the art created by the oil spill to the "nearly perfect" images of 9/11. The site's other well-known work is a piece called Attack on Democrazy created during the first eight hours after the 9/11 attacks. It is somewhat disturbing that they are capitalizing on such horrific disasters, but nevertheless their works will certainly attract attention and a buzz around them, which for a site so concerned with the media, is probably quite satisfying.

Art Event 1.

SMP Show I and II Opening

Because I intern in the gallery I had the unique perspective of watching these shows as works in progress, as well as coming together for the finished products for the exhibit's opening. The first show was a very cohesive exhibit of 2-D works, displaying the paintings of Montse Ferrer, Mary Gottschalk, and Laine Donavan, and the photography Of Kelton Baumgarner. As a painter myself I was particularly drawn to the paintings. Much different than my own naturalistic portraits, I appreciated Mary's spin on a classic narrative and Montse and Laine's use of color and technique in their abstracted pieces.

The second show was much darker and a more alternative perspective regarding medium and installation. While an interesting perspective, I personally was less interested in their work. I had much anticipation for Claire's performance piece, however was sadly disappointed with the anti-climatic sense. It could have been more dramatic perhaps if she had been sitting or interacting, instead of lackadaisically embroidering her hand. I was touched by the intimacy of her space, but it just seemed to missing a dramatic element that would have made it more engaging.

The exhibition as a whole carried color well across the space, but the lay-out and use of floating walls divided the space in a way in which the first show did not. While I am being very critical, both shows were very inspiring for my own work and SMP next year. Through seeing the process of installing the show, I also have the advantage of knowing how important it is to make presentable work. The second show especially had many issues regarding presentation. With this in mind, I will most definitely consider how I can present my work from the very beginning of my process.

6.

Freedom from Fear and Worry
Rafael Rozendaal




I found this piece on Rhizome, with only the link to the website and no background information. As a result, I experienced it very purely, as the artist probably intended. Ironically, this piece fit perfectly into my life as it is the week before finals, I much needed freedom from fear and worry. The site is somewhat like a colorful, ever-evolving, rorschach test, mesmerizing the viewer into a state of peaceful euphoria.

After leaving the piece as my screensaver for a few days and enjoying its mesmerizing qualities, I searched for more information about the artist, Rafael Rozendaal. He is from the Netherlands, but is of Brazilian descent. An interesting fact about him is that his great grandfather was a former president of Brazil. I also found a new perspective into his work, as his bio on his website briefly and simply describes his work, and that he creates websites as artwork and then sells the domain. The website remains public, but the new owner's name is written in the title bar. Freedom from Fear and Worry did not have a person's name attached to the website, so I am assuming it is still for sale. I wonder for how much...

While the work itself is simple and aesthetically pleasing, I find his process in selling his work the most interesting aspect. He addresses straight-on the issues of consumerism regarding digital media. He in a sense is creating an original piece of work, just as a painter makes an original canvas, despite the fact that it can be viewed simultaneously by millions across the world. He also questions society's obsession with consumption, as who would spend money on something that can be seem for free... I suppose someone with enough money to do so, the desire for extravagance, and the need to attach his name for people to see.

5.

Seven on Seven.

For my latest Artist Entry, I have chosen not a specific digital artist, but more of a digital event. It's called "Seven on Seven" and the premise is to join a leading artist with a "technologist" in teams of two to collaborate and come up with an innovative project that will take place on April 17th. There are little to no limitations, and the projects can be anything from an application, product, or piece of art. It appears to be the first time Rhizome and the New Museum have set out on this endeavor, because I could not find any past projects, but nevertheless I find it to be a very exciting integration of art and technology.

Seven on Seven is the first edition of this potentially annual event, and was said to be recalling "9 Evenings" in which dancers, visual artists and musicians were paired with engineers and scientists to create work. The event is a day long convention with the revealing of the projects and meeting the participants.

The information was rather vague, listing only the artists and technologists that are involved, but I guess that just adds to the anticipation and mystery. As an artist myself I would love to be involved in something like this to broaden my horizons. I think the digital world can be a very intimidating one if you are not experienced, but I think this project is a great opportunity to give these artists confidence in the digital arena by working with technologists, and vice versa.

Project 2.

4.

In lieu of our next project, the vector portrait, I looked for a vector artist to do my next blog entry. After few hours of searching for someone who really inspired my personal work, I chose Arthur Mount.




His work.

While searching through probably fifty different artists, hyperrealism was a reoccuring, impressive theme. However, I for some reason, seemed disconnected from the work. Even though those works were incredibly realistic, pushing the boundaries of vector design, it projected to me this overwhelming since of artificiality. Even when I had to take double take to see if it was a photo or a vector, I felt little connection with the piece except to admire the artist's technical skill.

Arthur Mount's work however, incorporated line and very simplistic elements to achieve a much more effective piece of art- all the while his images are often only made up of 3 or 4 different colored layers. I am most interested in his use of line. Unlike most vector artists I came across, many of his images are made up of primarily lines. He is not trying to trick anyone into believing his portraits, nor show off his technical skill, but instead shows his process and what he thinks the most important characteristics of a person are. In my opinion there is something more artistic about his work because he is making very conscious, artistic choices to leave certain elements out of his work, in order to be left with a very simplistic, yet nevertheless effective portrait.

I hope to translate his use of line into my work. Perhaps it is the drawer/painter inside of me that connects to line, but something about it seems more thoughtful and artistic. While those hyperealistic portraits are very impressive, the absence of the artists hand, to me, only further exploits its artificiality; it is not a photograph, yet does not appear to be handmade either. I plan on layering lines, abstracting my image slightly, while creating a sense of motion within the piece. Furthermore, Mount often uses a single, simple gradient change to achieve a person's entire complexion. I hope to experiment with this technique and challenge myself with its effectiveness.

Project 2: Plan

Project 1.

3.

Aram Bartholl

Google Portrait Series 2007-2009



In Google Portrait Series, Bartholl creates a visual encryption that when read by a smart phone with barcode reader software, links to a search of the person's name in google. He makes the matrix-code (a 2-D barcode) by hand, using ink and stamp, or drawing the squares with pen and marker. The result is a functional, abstract image that can be displayed as a non-representational piece of art. The artist's website.

I think Bartholl is investigating two major elements through this series: the Google phenomenon, and the relationship of the physical, tangible world with the intangible digital space. The first of these elements, Google, has lent way for the new background check of the 21st century. He is making the viewer realize, nothing is private, and no matter who you are are, there is a very good likelihood your information will be found online. He mentions the term 'egosurfing' on his website to expose a new form of self-flattery by searching for yourself on google. A certain sense of importance can be achieved depending on the amount of info and number of websites dedicated to your identity.

The relationship between the physical world and the digital world is precariously conveyed in this series due to the advanced, digital basis, juxtaposed by the incredibly simple means of hand creating the work on paper. I think he is intentionally merging the realities of the virtual and physical worlds to expose the pervasiveness of technology. Furthermore, I think he is intending to show the viewer that this combination is not necessarily harmonious, and there a certain discordance based on the contrasting elements. I think in our mind we manage to keep these realities separate, and when they come together in a piece of art, the viewer is forced to react much differently than if it was just a piece of technology- considering not only the functional aspects of a barcode, but the aesthetics, as well (and vice versa.)

I think this series is very successful based on the simplicity in which he has blended a more advanced technology with a handmade object. Bartholl is intentionally making sure that the viewer is aware the image is handmade, maintaining imperfect lines and edges. Had the images been printed, removing Bartholl's hand as the artist from the work, I think the outcome would be much different. If this was the case, the work would be less likely to be viewed as art, and more likely viewed as a continuance of the barcode technology. This series also successfully personalizes technology, tying specific people to their Google portrait.

2.

1.

Krzysztof Wodiczko and Sung Ho Kim

their work.

I was initially drawn to this link because of my familiarity with Krzysztof Wodiczko's projection work, specifically his Hiroshima Project in which he projected video clips of survivors (focused on their hands) telling their stories over a crater, now filled with water, from the bomb's impact.

The specific work from this link is a Porte-Parole Mouthpiece. It is a mouthpiece that users wear around the fronts of their faces that has a screen showing a pre-recorded mouth speaking a pre-recorded message, while also preventing the user to speak. The artists describe this work as "an instrument for stangers, its function is to empower those who are deprived of power." This, like his Hiroshima Project, is giving a voice to those otherwise unheard in the world. I think that his goal is to project a story that cannot be censored in a society that despite free speech, is incredibly controlled, in order to expose the dark realities of the world otherwise ignored. In Hiroshima Project, his method of projecting the video image against a building supports this because there was really nothing anyone could do to cover the projection. The mouthpiece is similar in that the message is pre-recorded and cannot be stopped, not even by the user wearing the piece, as they cannot speak. As a result, his work is giving a voice to immigrants usually too fearful too let their voice be heard.

I am a huge fan of Wodiczko's work, specifically his choice of medium and setting. By using digital medium in public places the impact of his message is increased ten-fold, by letting/forcing it to be accessible to a much larger audience. Conceptually, I also praise his work for being so moving without being overtly vulgar or dominating. His pieces are much more subtle compared to other "shock and awe" artists, but his message is equally if not more effectively conveyed because it demands the audiences attention by its sheer uniqueness.