By switching a typical mousepad with a sheet of paper, I am able to collect an echo of my computer use over the course of a few months. The resulting drawing embodies both a warm earthy tone while also being indicative of the filth one accumulates through prolonged use of technology.
It is my intention to continue making an HTML drawing for every day in 2008 and beyond.
The current exhibition at the Solomon R. Guggenheim Museum, "The Third Mind: American Artists Contemplate Asia, 1860-1989" is in many ways a bold take on the "group show" genre. Not focused on a particular era, style or group of artists, Senior Curator for Asian Art Alexandra Munroe has instead created a sweeping show of over 110 artists around an idea as ethereal and subjective as cultural "contemplation." The show's thesis, that "vanguard artists consistently looked toward 'the East' to forge an independent artistic identity that would define the modern age -- and the modern mind -- through a new understanding of existence, nature, and consciousness" certainly seems timely in this era of rampant globalization, but it simultaneously opens the door to a host of debatable issues around cultural appropriation.
The broad scope and variety of art forms covered under this broad thematic umbrella, from paintings of James McNeill Whistler and Mary Cassatt through multimedia works of Tehching Hsieh and Laurie Anderson, creates a compelling alternate to the usually mono-cultural narrative of Art History. For those of us interested particularly in time-based media, it also provides a compelling context through which to view issues such as duration, notation, communication systems, and networking that are so prevalent in time-based forms.
My work has always started with my regular drawing practice and I still sit with pencil and paper everyday and improvise. There are more ideas in my 10 years of accumulated drawing cards than I can hope to implement in code and sometimes it is enough just to have the idea without struggling to realize it in code. My interest lately is to explore how the screen can be understood in ways other than seeing it as a picture window or a TV for animations. The new cabinets re-contextualize the screen and place it next to other physical materials or take advantage of it’s light emitting qualities to speak about visual art issues.
As screens get thinner, lighter, more flexible and of course higher resolution there will be many more things possible to do with them. I very much look forward to that. I feel like we are just at the doorstep of what technology and art can do together.
Responding to the unease and restlessness of late 1970s Britain, The Fall wrote a song in 1979 declaring the emergence of a "2nd Dark Age." For the two-minute duration of the song, Mark E. Smith rails against the omnipresent political and social inertia of the time, and the lyrics take specific aim at the short sightedness and staleness of hippie politics and spiritualism, which were so ineffective in the face of rising conservatism: "And the commune crapheads sit and whine, While the commons near my birthplace is now a police college"
Fast forward thirty years, and Ben Jones, in his latest exhibition at Deitch, announces another Dark Age, the "New Dark Age." Building off his solo show "Celebrate the New Dark Age" at AMP in Athens, Greece this past Fall, the galleries at Deitch could equally pass as a playground, meditation chamber or rec room. The pervasive feeling that Jones is merely replicating the same stock themes and imagery as if by rote, however, depletes the exhibition of the organic sense of leisure or contemplation often associated with these spaces. In the main room, a gigantic neon Transformer salutes the visitor, Gumby meditates in the center of three televisions, a video projection of the mesmerizing focal point of Space Wars loops incessantly in a far corner, and, in the front room, ladders reminiscent of Chutes and Ladders abound, clownishly oversized neon versions scale the walls or incessantly repeat in eye-popping wallpaper. The ambiance feels much like a commercial window display comprised of motifs from Jones's 1980s childhood.
Indeed, if there is anything "dark" about ...
In 2003, Golan Levin and Zach Lieberman developed a project called Messa di Voce, which translates to "placing the voice." Oddly enough, it took almost six years for the Ars Electronica-awarded project to find a place in North America. Tonight at NYU's Frederick Loewe Theater, master vocalists Joan La Barbara and Jaap Blonk will be on hand to help demonstrate Levin and Lieberman's classic computer vision work. The project responds visually to vocal input, so that sound becomes an instrument for drawing and animation. The vocalist's guttural and glottal improvisations will generate a tension between speech acts and speechless performance that's not to be missed. It's the first of three live concerts presented this week by the Electronic Music Foundation, in a series called "The Human Voice in a New World." Each event highlights the richness and diverse uses to which this earliest of instruments can be put. On the 27th, British vocalist Trevor Wishart will appear at Judson Church with the NY premieres of Vocalise and Globalalia. The seminal works explore, respectively, the potential of the voice "when in a tight corner," and the universality of the human tongue. Globalalia processes the syllables of 26 different languages sampled from international radio and TV broadcasts to formulate a sort of vocal dance. And on the 28th, Berlin-based virtuoso David Moss will premiere the English version of his Voice Box Spectra. The Sydney Morning Herald has described the piece as "somewhere between scatting and scary. Think Jim Carey doing an impression of Ella Fitzgerald while being eaten by the creature from Alien 2." Exploring FTL ("faster than logic") communication, the work combines sound, text, and personal electronics in a grouping of new songs. All in all ...