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The Directors of Thomas Dane Gallery Are Pleased to Announce the Second Exhibition of Italian Photographer, Luisa Lambri
The Directors of Thomas Dane Gallery are pleased to announce the second exhibition of Italian photographer, Luisa Lambri. The exhibition features a selection of photographs from her body of work currently at the Hammer Museum, Los Angeles. The artist has long been captivated by the light of Southern California as well as by its architecture - particularly modernist houses designed by expatriate European architects. The mid-century photographs of these houses by Julius Shulman, describing flawless, pristine spaces have caused her to reflect on what a more personal experience of these spaces might be. Suspended between abstraction and figuration, her images are highly subjective responses to the Modernist ethos as evoked in these buildings. Characteristically, Lambri records the subtleties of their interiors as a means of exploring her own relationship to the space, to memory and to changes in perception over time. Eschewing the heroic, she photographs the less obvious details - apertures, windows, doors ajar, corners. In this exhibition, she has chosen skylights as a device, with hundreds of exposures in different qualities of light. Figures never appear in her work, but the human presence is evoked - "it is the ghost of the human being that is always in the photograph' says Hammer Chief Curator, Douglas Fogle. The images vary in their light and detail, from the very obscure, to the bleached out, effects also achieved through painstakingly adjusting the saturation and tone of each image in post-production. In this respect, Lambri reveals her ongoing interest in the work of light-and-space artists such as Robert Irwin and Larry Bell. -
Screenshots: Desire and Automated Image
ScreenShots: Desire and Automated Image Symposium in Kunsthal Aarhus, March 8th from 10.00-16.00 Programme: 10.00–10.30: Arrival and Coffee 10.30-10.45: Welcome and Introduction by Beate Cegielska, Director of Galleri Image and Magdalena Tyżlik-Carver, curator of the exhibition/symposium and Assistant Professor at Aarhus University, Digital Design department. 10.45-11.30: Panel 1 (Chaired by Magdalena Ty żlik-Carver) Geoff Cox: “Seeing Machines and Social Desire”. Kristoffer Ørum: “It Sings for Us of What We Might Become”. 11.30-12.00: Q&A 12.00-13.15: Lunch Break 13.15-14.00: Panel 2 (Chaired by Søren Pold, AU) Katrina Sluis: “Fully Automated Luxury Photography Now!” Winnie Soon: “Operative Screenshots: Sorting The Photographic Slides With An Algorithm” 14.00-14.20 Q&A 14.20-14.50: Coffee break 14.50-15.25: Michael Mandiberg: “Excessive data, emotional data” +Q&A (Chaired by Lea Laura Michelsen, AU) 15.25-16.00: LaTurbo Avedon: “[layers, composites]” + Q&A (Chaired by Magdalena Tyżlik-Carver) 16.00: End of the Symposium 17.00-19.00: Opening of the exhibition in Galleri Image with the performance Drawing with Sound by Anna Ridler. You can also receive’ a tattoo art work as part of Sarah Shorr's installation of “Saving screens: Temporary Tattoos and other Methods” (*while supplies last). Abstracts: Geoff Cox, “Seeing Machines and Social Desire”: Seeing isn’t simply a case of objective optical projections but implies a point of view, or “Ways of Seeing” (John Berger). Referring to the ongoing project “Ways of Machine Seeing”, the talk will ask how developments in machine vision further unsettle the relations between what we see and know, and then extends this to generalised automation and “desiring machines”. -
Towards Post-Digital Aesthetics
S A J _ 2015 _ 7 _ original scientific article approval date 25 07 2015 UDK BROJEVI: 72.038.53 COBISS.SR-ID 220470284 TOWARDS POST-DIGITAL AESTHETICS A B S T R A C T Over the past decades, digital technology and media had firmly integrated into almost all areas of contemporary culture and society. In this context, the Internet, computers or mobile phones are no longer considered products of new media, but instead are taken for granted. With this background in mind, this paper suggests taking a post-digital perspective on today’s media society. The concept of post-digital refers to an aesthetics that no longer regards digital technology as a revolutionary phenomenon, but instead as a normal aspect of people’s daily life. More precisely, post-digital aesthetics deals with an environment where digital technology became such a commonplace that its existence is frequently no longer acknowledged. Based on the analysis of contemporary artworks and practices inspired by their surroundings, this paper aims to bring those phenomena into consciousness that became unnoticeable in the contemporary digital environment. For this purpose, this investigation goes beyond the formal- aesthetic analysis, but instead focuses on the investigation of the receptive act. Concretely, post-digital aesthetics seeks to describe and analyze the changing modes of perception affected by the increased digitization of one’s surroundings. In the context of this analysis, aesthetics is thus understood not as the goal per se, but rather as the means to enhance the understanding of contemporary digital culture. Anna Daudrich 213 KEY WORDS Friedrich-Alexander-Universität Erlangen-Nürnberg POST-DIGITAL DIGITAL TECHNOLOGY AESTHETICS CHANGED PERCEPTION S A J _ 2015 _ 7 _ INTRODUCTION Over the past decades, digital technology and media had firmly integrated into almost all areas of contemporary culture and society. -
Morning Mirror / Evening Mirror by Laturbo Avedon Launches on the Whitney’S Artport
Screenshot of Morning Mirror / Evening Mirror at sunrise MORNING MIRROR / EVENING MIRROR BY LATURBO AVEDON LAUNCHES ON THE WHITNEY’S ARTPORT NEW YORK, MARCH 4, 2021—The Whitney Museum of American Art today announced the debut of Morning Mirror / Evening Mirror by LaTurbo Avedon on artport, the Whitney’s portal to Internet art and online gallery space for commissions of net art. Morning Mirror / Evening Mirror is a Sunrise/Sunset project—a series of Internet art projects commissioned by the Whitney specifically for whitney.org to mark sunset and sunrise in New York City every day. For this project, LaTurbo Avedon created fourteen videos, which depict digital flythroughs of a 3-D apartment, that play within the frame of a virtual mirror that is overlaid on whitney.org. Seven distinct scenes, for sunrise and sunset, respectively, are shuffled for playback each day, offering glimpses into the apartment inhabited by Avedon's virtual selves. Functioning as both a surface for reflection and a window into a different world, Avedon’s mirror presents whitney.org visitors with a variety of scenes, from nature flourishing across living rooms to green screens and stage lights consuming the home studio. Visitors anywhere on whitney.org during sunset or sunrise will experience Morning Mirror / Evening Mirror. “The experience of virtual existence lies at the core of LaTurbo's practice," said Christiane Paul, adjunct curator of digital art at the Whitney Museum. "This work feels particularly resonant in our current moment of heightened physical seclusion and increased digital engagement. On a daily basis, we see ourselves mirrored in online environments where the private physical spaces in which we lead our often-isolated existence are inserted into the public virtual world.” For the past ten years, LaTurbo Avedon has worked exclusively as an avatar, spending thousands of hours on the creation and exploration of virtual worlds and identities. -
Luisa Lambri Photographs April 8 – 29, 2006 Luhring Augustine Is
FOR IMMEDIATE RELEASE Luisa Lambri Photographs April 8 – 29, 2006 Luhring Augustine is pleased to announce an exhibition of photographs by Italian photographer Luisa Lambri. This will be the first solo exhibition of her work in New York and will feature photographs of iconic buildings by Modernist architects such as Luis Barragan, Walter Gropius and Marcel Breuer. Luisa Lambri's ephemeral photographs stand in clear contrast to the established practice of architectural photography which has traditionally focused attention on the exteriors of the buildings. Her unique approach to the subject is the investigation and documentation of the structures from within, interpreting the atmosphere of the space. She primarily photographs private houses, focusing on the view from the inside to the outside thereby establishing a physical and conceptual position for herself and the viewer. These delicately crafted images oscillate between objective representations of space and Lambri’s perceptions and reactions. The work realizes its full meaning when it is installed in a new space and in so doing establishes a new relationship between the viewer, the object and the space. Lambri utilizes traditional as well as new digital printing techniques to move her photographs beyond pure documentation. Her photographs of Luis Barragan’s house in Mexico City are a study of one window in which the changing position of the shutters dramatically affects the conditions of light. The photographs reference minimalism and abstract painting, evoking moments of transcendence. Similarly, her studies of the diamond shaped windows of Konstantin Melnikov’s house in Moscow, built 1927-29, are investigations of the temporally sublime. -
Selling and Collecting Art in the Network Society
PAU | PAU WAELDER SELLING AND COLLECTING ART IN THE NETWORK SOCIETY NETWORK THE IN ART COLLECTING AND SELLING PhD Dissertation SELLING AND COLLECTING ART IN THE NETWORK SOCIETY Information and Knowledge Society INTERACTIONS Doctoral Programme AMONG Internet Interdisciplinary Institute(IN3) Universitat Oberta de Catalunya (UOC) CONTEMPORARY ART NEW MEDIA AND THE ART MARKET Pau Waelder Thesis Directors Dr. Pau Alsina Dr. Natàlia Cantó Milà PhD Dissertation SELLING AND COLLECTING ART IN THE NETWORK SOCIETY INTERACTIONS AMONG CONTEMPORARY ART, NEW MEDIA, AND THE ART MARKET PhD candidate Pau Waelder Thesis Directors Dr. Pau Alsina Dr. Natàlia Cantó Milà Thesis Committee Dr. Francesc Nuñez Mosteo Dr. Raquel Rennó Information and Knowledge Society Doctoral Programme Internet Interdisciplinary Institute(IN3) Universitat Oberta de Catalunya (UOC) Barcelona, October 19, 2015 To my brother David, who taught me what computers can do. Cover image: Promotional image of the DAD screen displaying the artwork Schwarm (2014) by Andreas Nicolas Fischer. Photo: Emin Sassi. Courtesy of DAD, the Digital Art Device, 2015. Selling and collecting art in the network society. Interactions among contemporary art, new media and the art market by Pau Waelder is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. ACKNOWLEDGEMENTS The present dissertation stems from my professional experience as art critic and curator, Sassoon, Shu-Lea Cheang, Lynn Hershmann-Leeson, Philippe Riss, Magdalena Sawon as well as my research in the context of the Information and Knowledge Society Doctoral and Tamas Banovich, Kelani Nichole, Jereme Mongeon, Thierry Fournier, Nick D’Arcy- Programme at the Internet Interdisciplinary Institute (IN3) – Universitat Oberta de Fox, Clara Boj and Diego Díaz, Varvara Guljajeva and Mar Canet, along with all the artists Catalunya. -
Transfer Download Simulations in Hyperspace June 15, 2018 – May 1, 2019
April 10, 2018 FOR IMMEDIATE RELEASE TRANSFER DOWNLOAD SIMULATIONS IN HYPERSPACE JUNE 15, 2018 – MAY 1, 2019 SANTA FE, NM – Art House is pleased to present TRANSFER Download, a survey of new digital art by an international roster of contemporary artists, selected by New York-based curator Kelani Nichole in collaboration with the Carl & Marilynn Thoma Art Foundation. The exhibition is showcased in an interactive display chamber called a hyperspace, an immersive projection area controlled by visitors who can select from a menu of artworks to view. TRANSFER Download brings together the latest generation of artists who engage with powerful technologies of 3D animation software, gaming engines, and algorithmic simulation. The exhibition opens in concert with the Currents New Media Festival (June 8-24), during which Art House is a participating venue. Artists in the exhibition include AES+F (Moscow); LaTurbo Avedon (The Internet); Claudia Hart (New York/Chicago); Rollin Leonard (Los Angeles); Sabrina Ratte (Montreal); and Theo Triantafyllidis (Los Angeles); Rick Silva and Nicolas Sasson (Pacific Northwest); Carla Gannis (New York); Daniel Temkin (New York); Alex McLeod (Toronto); and Harvey Moon (San Francisco). A full list of artists and works will be released this spring. 1 On Sunday, June 10 at 1pm, curator Kelani Nichole gives a free public talk at SITE Santa Fe as part of the opening weekend of the Currents New Media Festival. Titled “The Networked Avant-garde,” her talk is presented by the Thoma Foundation in partnership with SITE Santa Fe and Currents New Media. Nichole discusses how the internet has changed the way that artists produce and share work, and how experimental galleries and institutions are disrupting the infrastructure of the art world. -
Studio Guenzani Via Eustachi 10 20129 Milano Tel
STUDIO GUENZANI VIA EUSTACHI 10 20129 MILANO TEL. 0229409251 [email protected] LUISA LAMBRI – New Works 16 febbraio - 30 marzo 2013 Inaugurazione: sabato 16 febbraio dalle 13.00 alle 20.00 Il 16 febbraio 2013 lo Studio Guenzani inaugurerà la quinta mostra personale di Luisa Lambri. Per oltre un decennio le fotografie di Luisa Lambri hanno esplorato e decostruito l'architettura modernista attraverso uno sguardo femminile. La sua ricerca si è concentrata quasi esclusivamente sulla relazione tra lo spazio e la luce, gli ambienti e la loro illuminazione, sugli spazi di transizione, di passaggio, e sulla relazione tra interno e esterno. Vediamo porte, corridoi, scale, e finestre di ogni tipo e forma dietro a cui si percepisce una natura non ancora addomesticata. Astrazione, minimalismo, femminismo, il corpo e l'autoritratto, tutto questo contribuisce in modo ugualmente importante alle composizioni dell'artista. Dopo avere esaminato il lavoro di architetti come Rudolph Schindler, Richard Neutra, Frank Lloyd Wright e John Lautner sulla costa occidentale degli Stati Uniti nel corso degli ultimi anni, ed essersi concentrata sulla relazione tra la loro opera e il paesaggio aspro tipico della California, soffuso da luce intensa e con la sua vegetazione dirompente, il lavoro di Luisa Lambri ha preso una nuova, eppure conseguente, direzione. Per la sua serie di fotografie più recenti Lambri ha fotografato le opere di alcuni artisti legati al movimento Light and Space del Sud della California come James Turrell, Robert Irwin, Larry Bell, Peter Alexander, oltre che importanti lavori di Donald Judd, Dan Flavin, e Lucio Fontana. In tutti i casi Lambri ha esplorato le loro opere e installazioni come gli interni, con i loro materiali, i riflessi, le superfici, lo spazio e il vuoto che sembrano creare. -
November 14, 2008 PRESS CONTACTS: Lori Chinn, Curatorial Coordinator 510.430.2164 [email protected] Camila Perez, Publicity Assistant 510.430.2164 [email protected]
FOR IMMEDIATE RELEASE MILLS COLLEGE ART MUSEUM DATE: November 14, 2008 PRESS CONTACTS: Lori Chinn, Curatorial Coordinator 510.430.2164 [email protected] Camila Perez, Publicity Assistant 510.430.2164 [email protected] Painting the Glass House: Artists Revisit Modern Architecture Curated by Jessica Hough and Mónica Ramírez-Montagut January 21-March 22, 2009 Daniel Arsham/The M-House got lost found itself floating on the sea, affecting salination levels in the North Atlantic/2004/Courtesy of Galerie Emmanuel Perrotin, Paris OAKLAND, CA—Sixteen artists reconsider modern architecture and what it represents to a new generation in Painting the Glass House: Artists Revisit Modern Architecture curated by Jessica Hough and Mónica Ramírez-Montagut on view at the Mills College Art Museum from January 21 through March 22, 2009. A public reception will be held on January 21 from 5:30-7:30pm with a walk-through with the curators at 6:00pm. Modern architecture is often identified with buildings by Le Corbusier, Philip Johnson, Mies van der Rohe, and Frank Lloyd Wright, which represent a period driven by developments in technology, engineering, and the introduction of industrial materials such as iron, steel, concrete, and glass. However, architects at this time engaged in a practice that not only incorporated structural innovations, but also encouraged social change. The artists featured in the exhibition are interested not only in the potential of utopian ideas that these buildings represent, but also the sense of a passing idealism and lost opportunity that modern architecture now embodies. Hough comments, “The artists are less interested in the built structures themselves and what it might feel like to be inside one, and more interested in the philosophy and idealism they represent. -
The Innovators Issue Table of Contents
In partnership with 51 Trailblazers, Dreamers, and Pioneers Transforming the Art Industry The Swift, Cruel, Incredible Rise of Amoako Boafo How COVID-19 Forced Auction Houses to Reinvent Themselves The Innovators Issue Table of Contents 4 57 81 Marketplace What Does a Post- Data Dive COVID Auction by Julia Halperin • What sold at the height of the House Look Like? COVID-19 shutdown? by Eileen Kinsella • Which country’s art • 3 top collectors on what they market was hardest hit? buy (and why) The global shutdown threw • What price points proved the live auction business into • The top 10 lots of 2020 (so far) most resilient? disarray, depleting traditional in every major category houses of expected revenue. • Who are today’s most Here’s how they’re evolving to bankable artists? 25 survive. The Innovators List 65 91 At a time of unprecedented How Amoako Art Is an Asset. change, we scoured the globe Boafo Became the Here’s How to to bring you 51 people who are Breakout Star of Make Sure It changing the way the art market Works for You functions—and will play a big a Pandemic Year role in shaping its future. In partnership with the by Nate Freeman ART Resources Team at Morgan Stanley The Ghanaian painter has become the art industry’s • A guide to how the art market newest obsession. Now, he’s relates to financial markets committed to seizing control of his own market. • Morgan Stanley’s ART Resources Team on how to integrate art into your portfolio 2 Editors’ Letter The COVID-19 pandemic has forced the art world to reckon with quite a few -
NET ART 2 Eng 3.Indd
)LUVWSXEOLVKHGLQ&]HFK5HSXEOLFE\3DVWLFKH)LOP]]V2ORPRXFZLWKWKH¿QDQFLDO support of the Ministry of Culture of the Czech Republic. ISBN 978-80-87662-07-6 (1st English edition) ISBN 978-80-87662-06-9 (1st Czech edition) 2nd English edition, print-on-demand ISBN 978-80-87662-24-3 (colour) ISBN 978-80-87662-23-6 (reduced black & white version) Selection © Marie Meixnerová, 2014 Translation © Helena Fikerová, Barbora Greplová, Magda Hrabálková, Marie Meixnerová, 0LFKDHODâWDɣRYi &RYHU5DGLP0ČVtF PAF, z.s. and Link Editions, 2019 The print-on-demand version is printed and distributed by: Lulu.com www.lulu.com ISBN 978-80-87662-24-3 #mm Net Art—Internet Art in the Virtual and Physical Space of Its Presentation Internet art (Net art) is perceived as an important area of contemporary art that has become the subject of scholarly interest. In the course of its more WKDQWZHQW\¿YH\HDUKLVWRU\LWKDVFKDQJHGFRQVLGHUDEO\DQGWKHYDULRXV approaches of theoreticians, critics and authors towards Internet art have DOVRGHYHORSHG7KLVHQVXUHVWKDWDGH¿QLWHDQVZHUWRWKHTXHVWLRQÄ:KDWLV Net art?“ is impossible. Does Net art represent immaterial art that can only be displayed in the online environment? Does its name refer to the medium it uses, such as Video art or /DQGDUW GH¿QLWLRQE\PHGLXP ",VLWWKHDUWRIÄ1HWL]HQV³WKHLQKDELWDQWVRI WKH,QWHUQHW VRFLRFXOWXUDOGH¿QLWLRQ "'RHVLWFRQFHUQWKHFROOHFWLYHSURFHVV DUWZRUNVDQGVRFLDOVFXOSWXUHVPDGHHYHQEHIRUHWKHDGYHQWRIWKH:RUOG :LGH:HE"&DQZHLQFOXGHDWZHHWRUDVWHHOSLSHJDOOHU\LQVWDOODWLRQLQVSLUHG by the Internet under its heading? Is Net art synonymous with Net.art and networked art? Is it an art movement or an art form? Does Net art represent a historical period of contemporary art? This book aims to provide a starting SRLQWLQWKHVHDUFKIRUDQVZHUVWRWKHVHDQGVLPLODUTXHVWLRQVFRQFHUQLQJWKH existence of Internet art. The choice of essays in the anthology #mm Net Art—Internet Art in the Virtual and Physical Space of Its Presentation was based on my professional experience. -
Beautiful Interfaces: the Privacy Paradox 4/14–5/14
REVERSE BEAUTIFUL INTERFACES: THE PRIVACY PARADOX 4/14–5/14 BEAUTIFUL INTERFACES: THE PRIVACY PARADOX is a group show curated by Helena Acosta & Miyö Van Stenis featuring work by Jennifer Lyn Morone, Heather Dewey Hagborg, LaTurbo Avedon, Annie Rose Malamet and Carla Gannis. The exhibited work will live on a wireless network accessible through five routers at the gallery space. The routers have been hacked and are not actually connected to the Internet. Each router has a private network, which visitors must login to through their own devices – cell phones or iPads – to view the artwork. BEAUTIFUL INTERFACES: THE PRIVACY PARADOX explores the dichotomy between the private and the public, creating a platform for distribution of data on an independent and anonymous network. In the era of algorithm prediction all our online actions have a digital trace, which are used by companies and governments to predict our behaviors. The Internet’s purpose is to collect and quantify each action – becoming a medium for surveillance. Everyday online social practices could look like harmless actions through a naive eye, but they contain the potential for unexpected consequences when they are traced and connected to algorithmic surveillance systems. In less than five years facial recognition algorithms will be ubiquitous. For example, Facebook has recently added facial recognition technology to their platform, becoming more deeply integrated into our smartphones. These new applications will facilitate easy reconstruction of any random encounter we have on the street that has been captured by a camera. And even though our increased communication practices on the Social Web result in an increase of personal information online, the ‘Privacy Paradox’* suggests that despite Internet users’ apprehension about privacy, their behaviors do not reflect those concerns.