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SM1701. Contemporary and New Media Art

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SM1701. Contemporary and New Media Art SM1701. Contemporary and New Media Art Professor: David (Jhave) Johnston david.jhave.johnston --at-- cityu.edu.hk WEBSITE: http://sweb.cityu.edu.hk/sm1701/2012_FALL/Jhave/ new rules for blogs 1. Everybody on tumblr.com 2. Every student must make a blog specifically for this class SM1701 and this class alone. (only posts for SM1701 go on this blog; if you already have a tumblr account then simply create another blog titled Name SM1701) 3. Profile photo and description must be filled out: profile must include: your name & the name of this course SM1701 must be mentioned. 4. All blogs must have a title (there are many currently called Untitled.) 5. A total of 10 blog posts minimum are expected. 6. The date function must be turned on: so that each post displays the date it was created. Office Hours Dr David (Jhave) Johnston Wed. 5-6pm Office: CMC 7089 In Synergy Lab on 7th Floor Call 3442 5726 (I will let you into area) Oct. 1 & 2nd are holiday. Therefore, tutorial on Oct. 3rd is cancelled. Network of Stoppages Marcel Duchamp Paris, 1914. Oil and pencil on canvas REVIEW Participation (ongoing) 5% Final Project 40% Blog (every (Dec. 6th & week) 25% 13th) Quiz (Oct. 11th) 20% Presentation of Blog (Nov. 1st) 5% TRAJECTORIES 100 80 60 40 20 Arbitrary Arbitrary 0 COMPUTATION MODERNISM PREHISTORY Sense Modalities Themes Science and Art Culture and Technology Computer History Media Archaeology Cubism (1907) Futurism (1909) Dadaism (1916) Constructivism (1919) Surrealism (1920) Postmodernism (1950) Pop Art (1950) Situationalism (1958) Fluxus (1960) Earthworks/Land art (1960) Conceptualism (1969) Expanded Cinema (1970) NEWS JR Last week (Sept 20th 2012), an Inside Out project started on Connaught Road footbridge in Central Hong Kong. 16 large-scale black and white portraits of Hong Kong city dwellers looking up to the city's skyscrapers were pasted JR “Pattern” Exhibition at Galerie Perrotin in Hong Kong, from September 18th to November 10th, 2012 ! JR's first sculptures are presented, and an Inside Out photobooth is open to the public. Check out the pictures on http://www.insideoutproject.net/perrotinhk/ Kan Tai-keung Kan Tai-keung’s Legacy and Beyond Exhibition Hong Kong Central Library (G/F Exhibition Gallery) 15/9/2012 (Sat) 1730-2000; 16-29/9/2012 (Sun - Sat) 0900-2000 LECTURE “Early 20th Century -ists & -isms” Impressionism "Impressionism is a 19th-century art movement that originated with a group of Paris-based artists. Their independent exhibitions brought them to prominence during the 1870s and 1880s, in spite of harsh opposition from the conventional art community in France." Claude Monet Impression, soleil levant (1872) Pointillism guess what its about? Georges Seurat Eiffel Tower (1889) Chuck Close Self Portrait (2006) “Scott Blake is a computer artist who created a Photoshop plug-in called the "Chuck Close Filter," which transformed images into mosaics reminiscent of the famous hand-made mosaics created by Chuck Close, whom Blake calls "the 14th richest living artist." Close objected to the filter, and threatened legal action, so Blake complied; although Blake believes that what he's made is legal under the doctrine of fair use, he can't afford to litigate against a multimillionaire adversary.” http://boingboing.net/2012/07/11/letter-from-to-chuck-close-fro.html Figurative artwork—particularly paintings and sculptures—which are clearly derived from real object sources, and are therefore by definition representational. Picasso Gertrude Stein (1906) Daniel Rozin Wooden Mirror (1999) 830 square pieces of wood, 830 servo motors, control electronics, video camera, computer, wood frame. Size - W 67” x H 80” x D 10” (170cm , 203cm, 25cm). Built in 1999, this is the first mechanical mirror I built. This piece explores the line between digital and physical, using a warm and natural material such as wood to portray the abstract notion of digital pixels. http://www.smoothware.com/danny/woodenmirror.html The Zero Energy Media Wall Simone Giostra & Partners and Arup (2012) Beijing software development by New York-based media artist Jeremy Rotsztain. “…the building performs as a self- sufficient organic system, harvesting solar energy by day and using it to illuminate the screen after dark, mirroring a day’s climatic cycle.” http://www.greenpix.org/project.php Jeremy Rotsztain Obsessions (Flickr pets) (2008) “ I collected pictures of dogs, cats, puppies (clearly, a different species than dogs), kittens, hamsters, and bunnies on Flickr.com and generated new images based on the features and colors of the originals. These high resolution images, which share a likeness to Gustav Klimt's work, are still images taken from animations that were made in C++ using the openFrameworks library.” http://www.mantissa.ca/projects/obsessions.php Gustav Klimt Adele Bloch-Bauer I (1907); Oil and gold on canvas, 138 x 138 Cubism September 1908 --Matisse says Picasso is "making little cubes," referring to his work at L'Estaque. http://www.cubistro.com/cubotimeline.html http://www.cubistro.com/cubotimeline.html http://www.cubistro.com/cubotimeline.html Cubism Picasso Dryad (1908) Cubism Picasso Girl with Mandolin (1910) Cubism Francis Picabia Edtaonisl (1913) EXERCISE: DIY Cubism (Do It Yourself) Every table is a group. Take an object to draw out of your pocket or knapsack. (No cellphones) Draw for 30 seconds the object. Sketch quickly! Don’t think. On signal pass the paper and object to your right. Next person rotates the object by 30 degrees and draws over original drawing. The term collage derives from the French "coller" meaning "glue". Who invented collage? It is George Braque & Pablo Picasso who are generally credited with having started collage. BUT Really they just invented a term for something that had been going on for 2000 years. Techniques of collage were first used at the time of the invention of paper in China, around 200 BC. Constance Sackville-West (1860) Georges Braque 1907 Fauvism 1909 Cubism 1912 Collage 1914 World War I 1915: head injury, temporarily blind 1916 - : prints, painting, return of figure Georges Braque Fruit dish and Glass, papier collé and charcoal on paper (1912) Braque believed that an artist experienced beauty "… in terms of volume, of line, of mass, of weight, and through that beauty [he] interpret[s] [his] subjective impression...” He described "objects shattered into fragments… [as] a way of getting closest to the object… Fragmentation helped me to establish space and movement in space” http://en.wikipedia.org/wiki/Georges_Braque David Rokeby Sorting Daemon (2003) “ "Sorting Daemon" surveys its environment and uses the resulting images as the primary content of the work. In this specific case, the system looks out onto the street, panning, tilting and zooming, looking for moving things that might be people. When it finds what it thinks might be a person, it removes the person's image from the background. The extracted person is then divided up according to areas of David Rokeby Sorting Daemon similar colour. The resulting swatches of colour are then (2003) placed within the arbitrary context of the composite image projected in the KinoWelt Hall at the Institut. On the left side of the composite, flesh-coloured patches are sorted by hue (olive on the left, pink on the right) and size (largest on the bottom and smallest on the top. The right side accumulates all the other coloured patches, sorted by hue horizontally and saturation vertically (with most saturated at the bottom. (Saturation is the intensity of the colour.) The extracted person first appears 'whole' at the bottom of the composite and then slowly separates into coloured regions which each move to their appropriate location in the composite.” http://www.davidrokeby.com/sorting.html Max Ernst, L'Ange du Foyer, (1937) who is this? Martha Graham Letter to the World (1940) “Graham has been sometimes termed the "Picasso of Dance," in that her importance and influence to modern dance can be considered equivalent to what Pablo Picasso was to modern visual arts.[1][2] Her impact has been also compared with the influence Stravinsky had on music, or Frank Lloyd Wright had on architecture.” http://en.wikipedia.org/wiki/Martha_Graham onformative unnamed soundsculpture (2012) http://www.onformative.com/work/unnamed-soundsculpture/ Max Ernst Europe After the Rain (1940-42) "I see no reason for painting anything that can be put into any other form as well-“ Georgia O’Keefe http://www.artchive.com/artchive/O/okeefe.html Imogen Cunningham The Dream (1910) Imogen Cunningham (April 12, 1883 – June 24, 1976) was an American photographer known for her botanical photography, nudes, and industrial landscapes. ANTHRO PO MORPHIC Imogen Cunningham Magnolia Flower (1960s) Paul Strand Wall Street (1915) Karl Blossfeldt Haarfarn (Maidenhair fern) from "Urformen der Kunst"(The original art) (1929) "It is the unique power of the cinema to allow a great many people to dream the same dream together and to present illusion to us as if it were strict reality. It is, in short, an admirable vehicle for poetry." Jean Cocteau, at age 70 http://www.museum-joanneum.at/en/kunsthaus/events_5/into-the-night-jean-cocteau What is this? (Hint we saw it in first lecture…) The conceptual pre-cursor to frame-buffers. The ancestor of video. The birth of film. REPEAT CYCLE: Figurative dissolves…. Cubism Picasso Dryad (1908) Cubism Picasso Girl with Mandolin (1910) Cubism Francis Picabia Edtaonisl (1913) Marcel Duchamp Nude descending a Staircase No.2 (1912) 1912 Duchamp is asked to withdraw his painting, Nude Descending a Staircase, from the Salon des Indépendants in Paris 1913 At the Armory Show of contemporary art, Duchamp's Nude Descending a Staircase is the most controversial exhibit. Transformers Series (2007 -- ) Domestic Total Gross Revenue: Billions. "A cyborg is a cybernetic organism, a hybrid of machine and organism, a creature of social reality as well as a creature of fiction." Donna Haraway, "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century," in Simians, Cyborgs and Women: The Reinvention of Nature (New York; Routledge, 1991), pp.149-181.
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