Archive for the ‘art – others’ Category
From the Wikipedians.
The real name of this photo is "Steinbichler Shearography Honeycomb with CFRP Top Layer Artificial failures that simulate layer- core delaminations Material Top view.jpg"
Social Photography III: An Exhibition of Cell Phone Photographs benefits the Tribeca non-profit gallery carriage trade. The press release explains:
Emphasizing no particular theme beyond how the cell phone camera is most often used, both artists and non-artists were invited to submit images from their phones and email them to carriage trade.The images will be produced as 5" x 7" prints, installed in a grid in the gallery exhibition, and offered for sale to help support upcoming programming at carriage trade.
Images are viewable on flickr. It's amusing that after flickr's recent white-space-eliminating redesign, users such as carriage trade are adding white mattes to the photos in order to separate them visually on the page and give them breathing room. See example above, a photo by B. Wurtz, downloaded from flickr as a 800 x 570 pixel jpeg, more than half of which is white space. We're assuming the prints on view and for sale don't include this surplus acreage. But that's a minor issue. I like what the gallery says about cell phone photos:
As cell phone cameras become more ubiquitous, their function continues to evolve. Encompassing the varied roles of snapshots, visual notes, discrete picture taking, or the immediacy of citizen journalism, the cell phone camera lacks the intentionality of a point-and-shoot, resulting in a more direct recording of the “everyday.” Because of the proximity of cell phone images to the spoken word and text-based communication, the pictures are often a kind of visual shorthand to fill the gaps in between.
In this third installment of Social Photography, the increasing sophistication of cell phone camera technology has led to an interest in it as a medium in its own right, raising questions about whether it will become indistinguishable from a camera or maintain some level of informality and idiosyncrasy by virtue of its hybrid nature and function as a tool for communication.
The question of whether the phone is "indistinguishable from a camera" gets at the more vexing question of how, and at what level, to evaluate its output. Photography had an uphill battle for acceptance as a museum-collectible art, and now the ease and ubiquity of phone-imaging challenges the preciousness of photography. carriage trade kicks cell phonery up a notch by "reifying" it, that is, making it physical, handsome, and collectible. So in a sense the exhibition isn't so much raising a question as answering it. The next step toward museum validation is critical discourse, of which this blog post constitutes a tiny part. A further question is whether a star system can ever emerge in such a diffuse field. Who will give us the Mike Kelley stairwell sign for this practice, if it is a practice?
Addendum: Continuity-wise, see earlier post on carriage trade's 2011 benefit. The issue then was removal of a page of exhibition photos by Facebook. Back then Zuck wasn't the well-known unhip evil he is now widely understood to be, among teens and other discriminating internet users.
hat tips FAUXreal, footbath, unknown mod
Thanks again frankhats - from a page of "Legacy Macintosh Art."
I made these when I was 10 - 15 on a 512K Mac and then a Mac Plus, using MacPaint or Superpaint, and a mouse (and a great deal of magnification).
The shading is enviable.
According to Fredric Jameson, the awesome totality of Los Angeles is impossible to view head on without going mad, so Raymond Chandler's fiction allows us safely to glimpse it from a series of minor, slantwise positions: an image here, a narrative detail there.
Houston Texas, a smaller metropolis, suffers an inability to be seen that is not so much dramatic as indifferent. The residents don't care about it (there is no zoning) and no one else does much either (no movies or movie industry drawing tourists). Like most of America, if not the developing world, it's an aggregation of pavement shat onto the ground to give people a place to work and sleep, a collection of malls connected by freeways, etc.
Enter The Art Guys® and 12 Events, a project harking back to '60s-'70s Fluxus activities, conceptualism, and performance. No one would mistake these slight actions and interventions as magic rituals, but in a sense there is an imposition of sacred geometry on the urban sprawl of a typical American gigantic city, to make visible that which is unseen because it's so damn boring and ordinary.
Thus, for example, February's event:
The Longest Street In Houston [second image from top, above --tm]
Time: beginning at 7:00 a.m. until completed
Date: Tuesday, February 26, 2013
Location: Little York Road, Houston, Texas
Description: - Beginning at the farthest east end of Little York Road at Mesa Drive in Houston and proceeding west past Fry Road,
The Art Guys walked the entire length of Little York Road, the longest street in Houston.*
*The Art Guys concluded their walk where Little York Road ends a few blocks west of Fry Road just past Hemmenway Elementary School at 20400 West Little York Road in Katy, Texas.
The distance is approximately 29.6 miles.
Or September's event:
Intersection [top image, above --tm]
Date: Friday, September 20, 2013
Time: 9:00 a.m. until 5:00 p.m.
Location: the intersection of Westheimer and Hillcroft, Houston, Texas
Description: The Art Guys will repetitively traverse the busiest street intersection in Houston, first in one direction for four hours (clockwise), then in the other direction for four hours
Or this month's:
Time: 5:00 p.m. until 5:00 p.m. (24 hours)
Date: Saturday, November 9 through Sunday, November 10, 2013
Location: Interstate 610 Loop, Houston, Texas, beginning and ending at I-610 (North Loop West) at North Shepherd Drive
Description: - The Art Guys will use a van or bus, utilize drivers, and drive the I-610 loop around Houston for 24 hours - 12 hours in one direction, then 12 hours in the opposite direction. While in transit, The Art Guys will make themselves available to all media to share the experience with as wide an audience as possible.
I have some work in the Digital Art Biennale, titled "The Wrong" (front page / explanation), based in Sao Paolo, which opens today. Invited curators created online pavilions for artists' works. Mine is in a Sara Ludy-organized site called The Chambers Pavilion (site / jump page). Below is her flyer and announcement for the show.
The Chambers Pavilion exhibits 11 new works from artists who were invited to create sound rooms accessible online. The Chambers Pavilion is an online pavilion created for the Digital Art Biennale The Wrong. Chambers opens on 11/1/13
Rene Abythe: http://aryl.ca/
Leah Beeferman: http://leahbeeferman.com/
Mitchell Brown: http://dublab.com/labrat/labrat-cantaloupe/
Robert Lorayn: http://robertlorayn.computersclub.org/
Austin Meredith: http://austinmeredith.com/
Tom Moody: http://www.tommoody.us/
Maryann Norman: http://maryannnorman.computersclub.org/
Alexander Peverett: http://alexanderpeverett.com/
Bunny Rogers: http://meryn.ru/
Chris Shier: http://csh.bz/
Krist Wood: http://kristwood.com/
Curated by Sara Ludy: http://saraludy.com/
modification of art posted by glasspopcorn and ice
dump.fm webcam by ferrihydrite, cropped slightly and "auto-leveled"
image pair posted by Samantha on dump.fm; eggbill posted by footbath
A recap on the method, from Cook:
Originally I started collecting what I thought could be used as avatars on a web project I was fooling around with (mainly following a tutorial for using pubnub messaging). The idea was to give each new user a random avatar with no username. At the time it was a chat site with nothing hooked up (no history, no system for users, messages just got pushed to any open browser, chaotic), and I was liking the anonymous aspect... but I have moved on to a more fleshed out idea and haven't tried to "finish" the weird hack I was playing with.
Images are not optimized, only forced not to exceed certain dimensions with css. The php script lists every image in the directory and spits it onto the page, and I keep adding to it [currently 2468 images, 145mb --tm]... There are a few broken images and duplicates probably, oh well.
A recap on the theory: it's "image aggregating," but more thoughtfully chosen and, at the same time, Dadaist, than the pedestrian, rote lumping-together of subject matter conjured by that term. It may have loose connections to '60s-'70s conceptual art through a kind of systematic thinking but otherwise it's something different we're wrestling with here. And whereas many institutionally-validated "net artists" make work that resembles what you expect internet art to be, Cook's project squares more with what the net actually is -- vulgar, funny, and beyond the scope of any single artist genius coming out of art school.