Monday, April 6, 2009

Wednesday Post (04/08/2009)














Title: World of Awe

Description: A body of works concerned with digital culture, storytelling, and language. The works are based on a traveler in search of lost treasure in a parallel world.

Artist: Yael Kanarek

Location: June 2009 exhibition at Nelly Aman gallery in Tel Aviv

Date: Concieved in 1995, The following 2 images are separate works from 2007.

Link: http://www.worldofawe.net/

Thursday, April 2, 2009

Monday Post (04/06/2009)

Title: Noplace

Description: A video Net Art project on notions of Paradise and Utopia.  Visitors enter the site and enter a sentence about their current desire or future goal.  This is then converted using sound and images from the Internet into a movie.

Artists: Marek Walczak and Martin Wattenberg, with Jonathan Feinberg, Rory Solomon & Johanna Kindvall

Location: Tate Online

Date: September 2008

Monday, March 30, 2009

April Fool's Day Post (04/01/2009)

Title: Synthetic Times - Media Art China 2008

Description: An exhibition of young Chinese artists, curators and organizations. Over 50 installations from thirty countries on display as well as workshops, presentations, and debates.

Artist: Installations by Dutch artists Edwin van der Heide, Marnix de Nijs, Mateusz Herczka and Blendid (collective)

Location: National Art Museum of China, Beijing

Date: June 10, 2008; July 3 2008

Link: http://www.mediartchina.org/

Friday, March 27, 2009

Monday Post (03/30/2009)

Title: The Battle of Algiers

Description: A recomposition of scenes from the original film with the same name. It is a pyramidal structure of self-organized cells which trigger video cells when different camps intersect.

Artists: Marc Lafia and Fang-Yu Lin

Location: Tate Online

Date: March 1, 2006

Link: http://artport.whitney.org/commissions/battleofalgiers/BattleofAlgiers.shtml#

Tuesday, March 24, 2009

Wednesday Post (03/25/2009)

Title: {Software} Structures

Description: Reas created three unique structures which were then implemented as 26 pieces of software. The software structures develop in a vague domain of image and then mature in the more defined structures of natural language.

Artist: Casey Reas (with Robert Hodgin, William Ngan, Jared Tarbell)

Location: Twenty-six pieces of software viewed with Java and Flash (ONLINE)

Date: June 3, 2004

Link: http://artport.whitney.org/commissions/softwarestructures/map.html

(Site where I took the screenshot: http://artport.whitney.org/commissions/softwarestructures/s3_process_10/index.html )

Thursday, March 19, 2009

Monday Post (03/23/2009)

Title: Unprojectable: Projection and Perspective

Description: Using projection and long durations, Tony Conrad mixes the sound of various tools and musical instruments while simultaneously projecting huge silhouettes. Much of Conrad's work involves projection and performance. This commission is no exception to his usual take in Early Minimalism.

Artists: Tony Conrad

Location: Tate Modern's Turbine Hall

Date: July 2008

Link: http://www.tate.org.uk/intermediaart/tony_conrad.shtm

Monday, March 16, 2009

Wednesday Post (03/18/2009)

Title: Test_Lab: Better than Reality

Description: Technology has made several advances ever since the first discoveries of Virtual Reality. Attention has now shifted from virtual reality to a hybrid experience present in Augmented Reality. How are we effected with our latest advances? Are we still pursuing experience out of our grasp? Are we attempting to create reality better or is the new technology we seek "Better than Reality"?

Artists: Marnix de Nijs, Boris Debackere, and Jonas Hielscher

Featuring: CREW (Eric Joris and Vincent Jacobs), Joachim Rotteveel, Marnix de Nijs, Boris Debackere, and Jonas Hielscher

Location: V2_ Ground floor, Eendrachtsstraat 10, Rotterdam

Date: December 11, 2008

Site Link: http://www.v2.nl/

Friday, February 6, 2009

sections X-XV summary (Due 2/9/9)

Walter Benjamin describes a screen actor as having to put his “whole self” before the camera. Actors whom portray themselves and their own work process obscure the transition in literature which took centuries to come about. While in comparison, people who are commonly readers become writers and reply to something in the daily press. Those that respond in “letters to the editor” share their comments and blur the line between author and public.

In shooting a film, it is possible to give a spectator a viewpoint discernable from the actual scene. The environment of the play would be hard to detect as an illusion. The camera equipment and lighting machinery becomes part of the immediate reality, same as a magician is compared to a surgeon. A cameraman follows procedure analogous to a magician. On the other hand, a painter must follow a natural distance from reality like that of a surgeon.

Individual reactions are predetermined by the response of a mass audience. This is the norm seen in films. However, paintings do not give such a collective experience. The paintings shown even in public exhibitions produce a unique reception to its viewer. As such, the public which view a film in a progressive manner will likely respond in a reactionary to surrealism.

The characteristics of film have developed into a means of analysis since the book Psychopathology of Everyday Life. The behavior items previously overlooked are now being further explored. By scrutinizing the close-ups of things, the focusing on hidden objects, the guidance of the film or camera we extend awareness to the necessities in our daily life. The camera gives rise to the unconscious optics as psychoanalysis does for our unconscious impulses.

A task for all art is to create a demand. Those of Dadaism did so by outraging the public and creating a moral shock effect. Film also creates a shock effect to an extent. Reception from film is continually being distracted and the shock effect is only met halfway. So, art is evolving but the public has become an absent-minded examiner.

Tuesday, January 6, 2009

ART4619C - Walter Benjamin

The comparison of a magician to a surgeon and painter to a cameraman was creative and somewhat unexpected.  It helps to reinforce Benjamin's argument about a painter and a cameraman.  Everyone follows a procedure, but a cameraman is able to create his art with a special procedure of similar shots, like a magician.  While the painter must follow a natural distance from reality analogous to the surgeon.

Also, the ancient statue of Venus, was used as an example for authentic yet changeable.  In describing the object gazed upon at different locations, Walter Benjamin says, "Both of them, however, were equally confronted with its uniqueness, that is, its aura."  The two places where the idol was viewed took on its own form in the mind of the viewer.  However, an actor in a film is known as a man that "has to operate with his whole living person, yet forgoing its aura.  For his aura is tied to his presence..." The man changes and reflects the actions of a man he is to portray, but loses the aura which envelops him.

How is it possible for him to lose the aura instead of it changing?  Is it because the actor is taking the role of another person that "the aura that envelops the actor vanishes, and with it the aura of the figure he portrays."?  How is this different than the man being at different locations (the actor's setting) and still being the same person (even though he is acting)?