Video Installation in Public Space
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Preserving New Media Art: Re-Presenting Experience
Preserving New Media Art: Re-presenting Experience Jean Bridge Sarah Pruyn Visual Arts & Interactive Arts and Science, Theatre Studies, University of Guelph, Brock University Guelph, Canada St. Catharines, Canada [email protected] [email protected] ABSTRACT Keywords There has been considerable effort over the past 10 years to define methods for preservation, documentation and archive of new Art, performance art, relational art, interactive art, new media, art media artworks that are characterized variously as ephemeral, preservation, archive, art documentation, videogame, simulation, performative, immersive, participatory, relational, unstable or representation, experience, interaction, aliveness, virtual, technically obsolete. Much new media cultural heritage, authorship, instrumentality consisting of diverse and hybrid art forms such as installation, performance, intervention, activities and events, are accessible to 1. INTRODUCTION us as information, visual records and other relatively static This investigation has evolved from our interest in finding documents designed to meet the needs of collecting institutions documentation of artwork by artists who produce technologically and archives rather than those of artists, students and researchers mediated installations, performances, interventions, activities and who want a more affectively vital way of experiencing the artist’s events - the nature of which may be variously limited in time or creative intentions. It is therefore imperative to evolve existing duration, performance based, -
How Artists Can Develop Their Artwork, Its Market and Deliver Their Creative Content for Virtual Reality Environments?
http://dx.doi.org/10.14236/ewic/EVA2019.54 How Artists Can Develop Their Artwork, Its Market and Deliver Their Creative Content for Virtual Reality Environments? Maureen Kendal Mehmet Mulla Elaine Thomazi-Freitas Ravensbourne University Dreamstudio.io London Metropolitan University London, UK London, UK London, UK [email protected] [email protected] [email protected] This research investigates how artists, from traditional fine art and applied art backgrounds, can create innovative immersive and virtual art and build upon their tangible skills, through a digital pipeline and tools? Findings indicated opportunities to co-create partnerships, develop transferable design skills; and exhibitions which enable new markets and audiences. Virtual Reality. Immersive technologies. TiltBrush. Visual effects. Spatial audio. 1. INTRODUCTION. experience of VR technology for artists may find a new home in a virtual immersive setting. The project aimed to introduce a variety of eXtended Reality (XR) experiences to PingHub The project aims were to: network of artists and creatives, to prepare the way for an immersive platform for use by artists, gallery 1. Introduce immersive design skills to owners, globally dispersed, to enable greater these fine art artists. interconnectivity for their audiences, patrons and 2. Enable artists to use these tools artists. independently or in collaborative multi-disciplinary partnerships with The PingHub curatorial team led by Peng Seng VR specialists. Ong, investigated immersive technologies, 3. Investigate how the transfer of providers, costs and availability; the chosen artists’ creative content to a VR provider offered hands-on tasters of Virtual Reality platform could promote their work (VR) tools, global partners and an understanding of across PingHub galleries in other usability and psychological measures. -
Toward Guidelines for Practice in the Preservation and Documentation of Technology-Based Installation Art
Fall/Winter 2001 11/27/01 4:02 PM Page 207 TOWARD GUIDELINES FOR PRACTICE IN THE PRESERVATION AND DOCUMENTATION OF TECHNOLOGY-BASED INSTALLATION ART WILLIAM A. REAL ABSTRACT—Unlike most works of art familiar to de praticiens ont de l’expérience pour s’occuper de la conservators,installation art is often less object than préservation des composants physiques éphémères de event, existing initially only for the duration of an beaucoup des installations basées sur les nouveaux exhibition. Nonetheless, institutions and individuals médias, tels que médias électroniques et appareils de acquire works of installation art for their collections, lecture, sans lesquels il n’y a aucun espoir de recréer fully expecting to preserve them into the foreseeable ces oeuvres dans l’avenir. Dans cet article, on décrit future. While there are conventions within the con- les défis inhérents à la préservation de cette forme servation field for examining, describing, and pre- d’art,on détaille l’état actuel des pratiques de conser- serving works of art that exist as objects,there are few vation pour ces oeuvres et on suggère des directives such conventions for works of art such as installations et des normes générales de travail. Cet article est un that exist for a limited time, are dismantled,and may résultat de “TechArchéologie: un colloque sur la be re-created at some indeterminate future time and préservation des installations”commandité par le Bay location.The conservation field has little experience Area Video Coalition (Coalition vidéo de la région de in dealing with the preservation of the ephemeral la baie de San Francisco),qui a eu lieu au musée d’art p hysical components of many technolog y - b a s e d contemporain de San Francisco et a été subvention- installations, such as electronic media and playback né par le Getty Grant Program (programme de bours- equipment, without which there is no hope of re- es Getty). -
Redalyc.Virtual Art -The Aura of the Digital Fortunately, It Is Unknown
Interin E-ISSN: 1980-5276 [email protected] Universidade Tuiuti do Paraná Brasil Schuricht, Susanne Virtual Art -the Aura of the Digital Fortunately, it is unknown where the journey will end. Dr. Oliver Grau, based in Berlin, Germany, interviewed by Susanne Schurich Interin, vol. 1, núm. 1, 2006 Universidade Tuiuti do Paraná Curitiba, Brasil Available in: http://www.redalyc.org/articulo.oa?id=504450754010 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Virtual Art - the Aura of the Digital Fortunately, it is unknown where the journey will end Dr. Oliver Grau, based in Berlin, Germany, interviewed by Susanne Schuricht Dr. Oliver Grau is a media art historian researching and lecturing at the Art History department at Humboldt University, Berlin. He studied art history, economics, archaeology and Italian literature in Hamburg, London and Siena. He has also done field research in the USA and Japan. Since 1988 he has been head of the German Science Foundation’s project on History of the Arts and Media Theory of Virtual Reality, and has led the "immersive art" project since 2001. Besides this, he and his team are developing a database for virtual art which will provide an overview of interactive installations over recent decades. He has published widely in Europe, the USA and Japan. His research focuses on the history of illusion and immersion in media and art, the history of the idea and culture of telepresence and telecommunication, genetic art and artificial intelligence. -
A N N E M a R C H A
www.annemarchand.com A N N E M A R C H A N D Washington, DC Selected Solo Exhibitions 2022 International Museum of Art & Science (IMAS), McAllen, TX, “Anne Marchand” (forthcoming) 2021 Whittemore House, Woman’s National Democratic Club Museum & Gallery, Washington, DC, “Tellus/Caelus: Seeing Earth and Sky, Recent Work by Anne Marchand”, (Curator, Claudia Rousseau) Cross Contemporary Partners, NY “Tellus/Caelus: Seeing Earth and Sky”, (3D Virtual Online Exhibition) 2020 Frostburg State University, MD, “Anne Marchand Recent Abstractions” (Covid interrupt) 2019 Missouri State University, Springfield, MO, “Abstractions: Anne Marchand” Hardin Center for Cultural Arts, Gadsden, AL, “Abstractions by Anne Marchand” Museum of Arts and Sciences, Macon, GA, “Abstractions: Anne Marchand” Morris Museum of Art, Augusta, GA, “Recent Abstractions by Anne Marchand”, (Traveling Exhibition) 2014 Green Chalk Contemporary, Monterey, CA, “Vision of Myth” 2013 Emerge Fine Art, Cary, NC, “Illumination” Evolve Urban Arts Project, Washington, DC, “Anne Marchand at Evolve” 2012 ArtExpo, Pier 92, New York, NY 2011 Montgomery College, Silver Spring, MD, “Of Shining Worlds”, (Curator, Claudia Rousseau) 2010 Vornado/Charles E. Smith, Arlington, VA, “Luminous” 2006 Zenith Gallery, Washington, DC, “Ellipsis” Selected Group Exhibitions 2021 Zenith Gallery, Washington, DC, “Herstory” Latela Curatorial x Artsy, Washington, DC, “Turning Blue, Part DEUX” (Virtual Exhibition) Cross Contemporary Partners, Saugerties, NY, “The Universe Makers”, (3D Virtual Exhibition) 2020 Cross -
BRADFORD ART ASSIGNMENT FINAL EDIT-Merged-Compressed (1
ART ASSIGNMENT OPEN CALL MARK BRADFORD In conjunction with the exhibition Mark Bradford: End Papers, the Modern’s education department is pleased to announce an OPEN CALL for high school and middle school student responses to two key works in the show, Medusa, 2020, and Kingdom Day, 2010. It is highly recommended that each student visits the Modern’s galleries to view the selected works in person. The exhibition is on view through January 10, 2021. This packet is a supplement to the gallery experience and offers background information on the artist and works, as well as ideas to consider and activities to complete for the open call. Admission to the Modern is free for participating students. OPEN CALL submission guidelines can be found at the end of this packet. Mark Bradford (b. 1961 in Los Angeles; lives and works in Los Angeles) is a contemporary artist best known for his large-scale abstract paintings created out of paper. Characterized by its layered formal, material, and conceptual complexity, Bradford’s work explores social and political structures that objectify marginalized communities and the bodies of vulnerable populations. Just as essential to Bradford’s work is a social engagement practice through which he reframes objectifying societal structures by bringing contemporary art and ideas into communities with limited access to museums and cultural institutions. Bradford grew up in his mother’s beauty salon, eventually becoming a hairdresser himself, and was quite familiar with the small papers used to protect hair from overheating during the process for permanent waves. Incorporating them into his art was catalytic for Bradford, merging his abstract painting with materials from his life. -
THE USE of MIXED MEDIA in the PRODUCTION of METAL ART by Mensah, Emmanuel (B.A. Industrial Art, Metals)
THE USE OF MIXED MEDIA IN THE PRODUCTION OF METAL ART By Mensah, Emmanuel (B.A. Industrial Art, Metals) A Thesis submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology In partial fulfillment of the requirements for the degree of MASTER OF ARTS (ART EDUCATION) Faculty of Art, College of Art and Social Sciences March 2011 © 2011, Department of General Art Studies DECLARATION I hereby declare that this submission is my own work toward the M.A Art Education degree and that, to the best of my knowledge, it contains no materials previously published by another person or material which has been accepted for the award of any other degree of the university, except where due acknowledgement has been made in the text. ……………………………….. ……………………………….. ………………………….. Student’s name & ID Signature Date Certified by ……………………………….. ……………………………….. ………………………….. Supervisor’s Name Signature Date Certified by ……………………………….. ……………………………….. ………………………….. Head of Department’s Name Signature Date ii ABSTRACT The focus of this study was to explore and incorporate various artistic and non artistic media into the production of metal art. The researcher was particularly interested in integrating more non metallic materials that are not traditional to the production of metal art in the decoration, finishing and the protective coating of metal art works. Basic hand forming techniques including raising, chasing and repoussé, piercing and soldering were employed in the execution of the works. Other techniques such as painting, dyeing and macramé were also used. Non metallic media that were used in the production of the works included leather, nail polish, acrylic paint, epoxy, formica glue, graphite, eye pencil, lagging, foam, wood, shoe polish, shoe lace, eggshell paper, spray paint, cotton cords and correction fluid. -
4 from New York a Group Exhibition Guest Curated by John Beech
CHARLOTTE JACKSON FINE ART PRESENTS: 4 from New York A Group Exhibition Guest Curated by John Beech February 9 through March 4, 2007 Gallery artist John Beech brings the work of three fellow New York artists, Joyce Kim, Christopher Lesnewski, and Michael Voss to Santa Fe for this exhibition. In keeping with Beech’s own interest in materiality and the de-contextualizing of the everyday, the works of each of these artists, although visually very different, share a concern with the physical properties of materials used in their construction. Works in this exhibition will include painting and sculpture in a variety and blending of techniques from collage and painting to construction and printing. John Beech’s own work defies one particular description because he creates so many different kinds of art objects. From his photographs of dumpsters painted over with acrylics, to his glue paintings which project from the wall, to his rotating sculptures constructed with various types of wheels and rotating hardware, one of the elements present in all of Beech’s work is a proletarian view and use of everyday materials. Most of Beech’s works are made of items that can be picked up in any hardware store. For example, one piece featured in this exhibition is made of a painted fleece blanket attached to a wheel. The works themselves, constructed of familiar materials achieve a dissonance whereby the viewer is forced to see both art and the “ordinary” world in a new way. This sense of the familiar, set slightly askew, is present in the works of the other artists in this exhibition. -
Lesson Plan Alexandra Parra & Marilyn Traeger
Lesson Plan Alexandra Parra & Marilyn Traeger Lesson: Japanese Mixed Media Prints Materials: Create a variety of images using the relief printing photographic image printed on copy paper, ink, process and mixed media. This lesson is helpful in newspaper, variety of 12x18” paper, acrylic teaching students about: the effects of lighting, polymer, oil pastel, paint, Prisma Colors, media of color mixing, thinking creatively, printmaking, choice process, and craftsmanship Equipment: soft pencil, ballpoint pen. TIP- This lesson is most successful when easily linoleum, cutters, stiff brushes, water container recognizable images with large areas of positive Software: Photoshop and negative space are used. Intended Outcome: Students will - Vocabulary: Become acquainted with printmaking and Arts: relief printmaking, negative space, positive printmakers space, detail, shape, edition, signature, date, plate, Learn and practice safe and sequential ink Technology: point of view, crop, image size, printmaking procedures Other Subject: Art History, Japanese printmaking, Create hand painted relief prints that Expressionism demonstrate good craftsmanship Use mixed media to refine image Learn the correct way to sign a print Arts NGSSS: Artists: VA.68.C.1.3 Identify qualities of exemplary Rauschenberg, Hokusai, Rembrandt, Warhol, Goya, artworks that are evident and transferable to the Picasso, Matisse judgment of personal work. VA.68.F1.2 Use non-traditional thinking and various techniques to create two-, three-, and/or four- dimensional artworks. VA.68.O1.3 Combine creative and technical knowledge to produce visually strong works of art. Procedures: 1. Teacher intro on smart board using instructor created printmaker PowerPoint 2. Discuss methods of printmaking with students 3. Demo offset process 4. -
I Want to See How You See. Curatorial Practices of Exhibiting Virtual Reality 2018
Repositorium für die Medienwissenschaft Ina Neddermeyer I Want to See How You See. Curatorial Practices of Exhibiting Virtual Reality 2018 https://doi.org/10.25969/mediarep/12210 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Neddermeyer, Ina: I Want to See How You See. Curatorial Practices of Exhibiting Virtual Reality. In: Luisa Feiersinger, Kathrin Friedrich, Moritz Queisner (Hg.): Image – Action – Space: Situating the Screen in Visual Practice. Berlin: de Gruyter 2018, S. 203–214. DOI: https://doi.org/10.25969/mediarep/12210. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.1515/9783110464979-016 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 Attribution - Non Commercial - No Derivatives 4.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0 Ina Neddermeyer I Want to See How You See Curatorial Practices of Exhibiting Virtual Reality Displaying time-based media art poses major challenges for the process of seeing. Despite their diversity all works in the presentation and reception in exhibitions. Sound over- the following essay can be characterized as VR-HMD thus lays, distraction effects or the missing reset button, which virtual realities consisting of CG Imagery generated in real would make it possible to start an artwork as soon as visitors time and displayed on HMDs. enter the room are everyday problems in curatorial practice. -
From Multimedia to Software Art Installations
Collaborative and Transdisciplinary practices in Cyberart: from Multimedia to Software Art installations Diana Domingues Eliseo Reategui NTAV Lab – Universidade de Caxias do Sul/CNPQ Mestrado em Comunicação e Linguagens – Universidade Tuiuti do Paraná Brazil How to synthesize Leonardo? The efficiency of collaborative practices related to complex systems in Cyberart dissolves the old rupture and the well-known historical divergences between artists and scientists. The main point of convergence is when all disciplines investigate the same issues, all sciences become one unique science. Interactivity, immersion, autonomy and mobile connections in Cyberart require collaborative practices related to Science of Complexity and its emergent proprieties. Speculative software are written to respond for artistic projects and they place art in the three recent realms of “engineering art”, “engineering culture” and “engineering nature”1. These investigation fields respond to the high level of Cyberart’s philosophical, technical, biological, social, ethical and emotional implications of scientific discoveries. A variety of disciplines related to the use of computers and networks in genetics, engineering, biotechnology, cognitive sciences, communication, anthropology, computer science, and other areas require sometimes a scripted software when applied in art practices. Writing software is not new in art practices, it has been done since the beginning of computer art, mainly in the development of formalistic aesthetics. However, artists embrace nowadays the design of adequate software by taking algorithmic information content for searching “rules” to be included in the code. Art works in cyberspace search for forms of communication close to the expansion of life in the post-human culture. The focus is the human factor of technologies or the humanization of technologies in the cross- boundaries with creativity and changes in daily life2. -
2021 Artist/Vendor Map
2021 ARTIST/VENDOR MAP 2021 RESTROOMS ARTIST/VENDOR MAP RESTROOMS KIDS CORNER N O P Q 67 68 69 70 71 S Z 72 73 74 7576 77 78 AA CCBB FARMERS’ MARKET LM R 3RD STREET DD T Y 1 J K 22 21 20 19 83 84 85 86 87 82 2 18 66 U W H 3 17 81 88 4 80 89 95 5 G I 65 96 7 16 V 90 F 8 63 X 91 97 15 98 9 93 10 50 99 AVE. NE KELLY E 11 14 62 55 54 94 NE HOOD AVE. 12 13 49 100 RESTROOM 101 D 23 24 61 56 53 102 48 116 103 31 60 57 52 115 C 32 104 33 47 114 59 58 51 117 105 B 30 46 113 29 112 108 34 118 A 38 111 109 28 39 35 45 119 110 27 40 41 42 44 26 36 120 25 37 121 MEDIC 2ND STREET 36. Macabre Macramé, 71. Sassy Ceramics, Cottage Crafts 3D Mixed Media 3D Mixed Media 72. Mcmillan Gallery LLC, 115. Sandy River Jewelry, Jewelry ARTISTS 37. Ron Sheldon - Copper Impressions, 2D Mixed Media 116. Garden Whimsies by Jackie, Sculpture 1. Fallen Apple Arts, Painting Painting 73. Cedar Dell Designs, 117. Davis Brothers Metal Art, Sculpture 2. Art by Vicki, 3D Mixed Media 38. The Twisted Gem, Cottage Crafts Fiber Wearable 118. Quilted Treasures, 3. DeeDee & Shark, Ceramics/ Pottery 39. Flowers Are Outside Photography, 74. One Little Blackbird, Fiber Decorative 4. Nancy J Smith Photography, Photography Photography 3D Mixed Media 119.