Monday, May 17, 2010
interactive artist #3 Chris O'Shea
Hand from Above
http://www.chrisoshea.org/projects/hand-from-above/
Sunday, May 16, 2010
Physical video artist #4 Edrex Fontanilla
This is the artist that most influenced my geometric design for the physical video
Physical video artist #3 Karl Klomp
Though Karl Klomp does not exactly use an actual object to project his video on he does make some interesting art. His artwork is termed 'glitch' art. He creates his own computer software to cause glitches. Here is a link to his site.
http://www.karlklomp.nl/
http://www.karlklomp.nl/
Thursday, April 1, 2010
Whitney Biennial:Kerry Tribe
One of the few works I viewed at the Whitney Biennial that possessed features that I feel are relevant towards quality art was the work titled H.M, by Kerry Tribe. This work contained a double projection of a single 16mm film which runs 18:30 minutes.
The work H.M revolves around the story of a memory- impaired man who at the age of 27 underwent surgery to lessen his epilepsy; however the surgery resulted in radical and persistent amnesia. He no longer could make lasting memories and had a memory lasting only 20 seconds. Tribe uses two projectors to play a loop of video which displays the same video but spaced 20 seconds apart. This simple separation of video and time is one of the most intriguing and successful parts of her work.
Tribe employs the idea of lapsed memory pertaining to that of “Patient H.M,” by displaying these same videos at a twenty second difference. This creates a very interesting visual aspect to the work due to its narrative, that of an amnesia patient. By having this lapse it allows the viewer to enter the world of “Patient H.M,” creating a type of visual chaos that causes your eyes to wander between the videos taking in the information that both are displaying. Another successful aspect of Tribe’s work is the use of video to only create her work, as a material and as a way or projection, but also to act as a type of symbolism to our memory, since we often relate photography and film to that of recorded history)
Overall, the combination of material, visual and auditory elements used by Kerry Tribe made her work one of the most successful pieces at the Whitney Biennial. Tribe used all aspects of what many sculpture artists should pay attention to, not only a focus on the construction, presentation and the meaning behind the work but also taking these individual elements and making sure they all relate to each other, thus making the piece complete.
The work H.M revolves around the story of a memory- impaired man who at the age of 27 underwent surgery to lessen his epilepsy; however the surgery resulted in radical and persistent amnesia. He no longer could make lasting memories and had a memory lasting only 20 seconds. Tribe uses two projectors to play a loop of video which displays the same video but spaced 20 seconds apart. This simple separation of video and time is one of the most intriguing and successful parts of her work.
Tribe employs the idea of lapsed memory pertaining to that of “Patient H.M,” by displaying these same videos at a twenty second difference. This creates a very interesting visual aspect to the work due to its narrative, that of an amnesia patient. By having this lapse it allows the viewer to enter the world of “Patient H.M,” creating a type of visual chaos that causes your eyes to wander between the videos taking in the information that both are displaying. Another successful aspect of Tribe’s work is the use of video to only create her work, as a material and as a way or projection, but also to act as a type of symbolism to our memory, since we often relate photography and film to that of recorded history)
Overall, the combination of material, visual and auditory elements used by Kerry Tribe made her work one of the most successful pieces at the Whitney Biennial. Tribe used all aspects of what many sculpture artists should pay attention to, not only a focus on the construction, presentation and the meaning behind the work but also taking these individual elements and making sure they all relate to each other, thus making the piece complete.
MOMA:Marina Abramovic
The MOMA is currently holding an exhibition which runs from March 14 to May 31, 2010, titled Marina Abramovic: The Artist is Present. The exhibition contains much of Abramovic’s media related work from her prolific career, including a live performance.
The Balkans Erotic Epic is a four channel video, displayed in color and with sound, which is created by Marina Abramovic. New media in this work is employed through various projections. At the MOMA there were three projections being displayed. The first contained various women in Balkan related attire, revealing their genitals while frolicking in a field with rain poring down on them. The second projection contained a woman, once again in Balkan attire, showcasing and massaging her breast. The final projection displays various nude men from overhead thrusting themselves into a lush green setting. This is one of the few works by Abramovic in which I found it was conceptually, visually and technically effective. Conceptually I thought it was very interesting that she was tying her Serbian origins into Balkan folk culture and its use of the erotic. Visually the three projections were successful in that they not only individually had a narrative but as a collective whole developed meaning. (For me it was about fertility in relation to the human form and our world, most likely relating to agriculture.) What I actually found most interesting about the piece besides the exclusion of Marina Abramovic, was that through research I found out the piece was actually a series of thirteen video projections which are often not shown as a whole. I can’t help but wonder whether this would impede on the success of this piece, in that if it would only add to its success or take away due to a visual overstimulation.
The Artist is Present 2010 is a live performance performed by Marina Abramovic. The new media this performance employed was two lap tops which were connected to two cameras which relayed a live feed to an internet site, four lights with blasts and other attachments and a live cameraman documenting the performance. The actual performance has Abramovic sitting in a chair with a table in front of her and an empty seat across from her. This empty seat is filled with any visitor to the museum who wants to sit directly across from Abramovic and make eye contact with her for the duration of their choice. Overall, I did not find the piece strongly successful conceptually, visually and technically. Conceptually the piece tied into much of her other work in the idea of not only interaction with the viewer but also playing off the idea of discomfort, however it did not have the same symbolic nature that I often associate with her other work. Visually it was interesting to see the live performance, but after a sitting or two it was repetitive and melancholy.
These two pieces, the Balkans Erotic Epic and the live performance, varied in that one was recorded history while the other was a live event. To me, this actually had a drastic effect on the piece. The Balkans Erotic Epic was more successful in that it was no longer raw footage and rather was an edited video which had significant meaning and symbolism, like much of her other recorded work. However, the live performance, though it was significant in that it was in the present and had the interaction aspect which Abramovic is famous for, seemed to lack the symbolic and meaningful nature her other work in the exhibition contained.
Overall, I enjoyed the exhibition (especially after being at the Biennial), I felt it highlighted Abramovic’s work and she did an amazing job in recreating many of her performances for us so that we could experience them. However, I couldn’t help but feel the live performance was purely a type of meet and greet with the artist honoring her for what she had done. Yes, this makes sense in that the exhibition was highlighting her work throughout her lustrous career but it also lacked the quality of much of her previous work.
The Balkans Erotic Epic is a four channel video, displayed in color and with sound, which is created by Marina Abramovic. New media in this work is employed through various projections. At the MOMA there were three projections being displayed. The first contained various women in Balkan related attire, revealing their genitals while frolicking in a field with rain poring down on them. The second projection contained a woman, once again in Balkan attire, showcasing and massaging her breast. The final projection displays various nude men from overhead thrusting themselves into a lush green setting. This is one of the few works by Abramovic in which I found it was conceptually, visually and technically effective. Conceptually I thought it was very interesting that she was tying her Serbian origins into Balkan folk culture and its use of the erotic. Visually the three projections were successful in that they not only individually had a narrative but as a collective whole developed meaning. (For me it was about fertility in relation to the human form and our world, most likely relating to agriculture.) What I actually found most interesting about the piece besides the exclusion of Marina Abramovic, was that through research I found out the piece was actually a series of thirteen video projections which are often not shown as a whole. I can’t help but wonder whether this would impede on the success of this piece, in that if it would only add to its success or take away due to a visual overstimulation.
The Artist is Present 2010 is a live performance performed by Marina Abramovic. The new media this performance employed was two lap tops which were connected to two cameras which relayed a live feed to an internet site, four lights with blasts and other attachments and a live cameraman documenting the performance. The actual performance has Abramovic sitting in a chair with a table in front of her and an empty seat across from her. This empty seat is filled with any visitor to the museum who wants to sit directly across from Abramovic and make eye contact with her for the duration of their choice. Overall, I did not find the piece strongly successful conceptually, visually and technically. Conceptually the piece tied into much of her other work in the idea of not only interaction with the viewer but also playing off the idea of discomfort, however it did not have the same symbolic nature that I often associate with her other work. Visually it was interesting to see the live performance, but after a sitting or two it was repetitive and melancholy.
These two pieces, the Balkans Erotic Epic and the live performance, varied in that one was recorded history while the other was a live event. To me, this actually had a drastic effect on the piece. The Balkans Erotic Epic was more successful in that it was no longer raw footage and rather was an edited video which had significant meaning and symbolism, like much of her other recorded work. However, the live performance, though it was significant in that it was in the present and had the interaction aspect which Abramovic is famous for, seemed to lack the symbolic and meaningful nature her other work in the exhibition contained.
Overall, I enjoyed the exhibition (especially after being at the Biennial), I felt it highlighted Abramovic’s work and she did an amazing job in recreating many of her performances for us so that we could experience them. However, I couldn’t help but feel the live performance was purely a type of meet and greet with the artist honoring her for what she had done. Yes, this makes sense in that the exhibition was highlighting her work throughout her lustrous career but it also lacked the quality of much of her previous work.
Sunday, February 21, 2010
Monday, February 15, 2010
Tuesday, February 2, 2010
Reaction to Jeremy Wade: there is no end to more
I had mixed reactions about Jeremy wade’s production there is no end to more. A big part of my mixed reactions were based on my two experiences, the actual performance and the question and answers after the performance.
My reaction after hearing the Q&A:
My initial response to Wade’s performance, which I wrote down during the actual performance, was “I feel like I am in an uncomfortable moment of tripping while doing coke with a questionable prostitute.” Now, that might make a pretty bleak description of Wade’s show however, my reaction did change. The thing that made me dislike the performance initially was the interpretative dancing. I found that when I closed my eyes and did not have to watch the movements and rather just listen to the free flow text playing in the background I actually enjoyed the experience. After the opening sequence was over I actually began to like the performance. I thought there was an interesting message being presented about world and social issues during sequences such as when the varying voices were discussing topics like government, family, diversity, community and puberty. Besides the meaning of the piece I liked the overall distortion of the piece. I thought Wade did a good job in creating a type of blur between the cuteness factor of kuwaii, which is prominent in Japan, and grotesqueness. He did this through successful variation in text, dance, sound and light display. The last sequence in his performance in which a girl was saying how she was shrinking, was successful as a conclusion. I felt that it related perfectly to the topics which Wade presented in his piece, where as a society we look at these varying topics as a sort of gossip never really confronting or dealing with them rather just discussing them to the point that the relevance they did have is seizes to exist. Though, I walked away from this performance a little skeptical as to what I had just seen, I can appreciate the time and effort it took to create this performance.
My reaction without hearing the Q&A:
What the hell did I just see? I am extremely happy that the two women standing in front of me in line offered to give me a free ticket. I can appreciate artists for the amount of time they put into creating something but at times you just have to question what was actually made. Yes, the sound distortion and lighting variation, as well as the anima sequences were successful but the other visual displays were lacking. I feel that even myself with the rudimentary knowledge I have in multimedia arts could have created some of the sequences Wade created such as when the girls were discussing various social topics. The main quality the performance had was that it was comical, which if it wasn’t for that I feel it would have been some what unbearable. Based off of performances like this I will often question art. What is it we are creating? Have we pushed art too far in hopes of grasping onto something that will retain art to previous movements and glory.
I have a hard time answering the question of whether wade employed new media in his performance because I have very rudimentary knowledge in terms of what is and isn’t considered new media. Overall, I liked the visual displays in the performance in terms of the sound distortion, lighting variation and the anima sequences. I feel that these parts of the performance were done effectively especially in correlation to Wade’s idea of blurring the idea of kuwaii and grotesqueness.
I walked away from this performance realizing I might not want to ever hear an artist give a Q&A. I couldn’t help but wonder if he created the piece and then just hoped the stuff he said during the Q&A would allow the viewers to believe that they had experienced a type of art with some relevant meaning. For future performances, if I have an initial reaction of worthlessness I don’t believe I will stick around for the Q&A because I feel that it only “pushed” me toward a fake understanding of what had just occurred.
My reaction after hearing the Q&A:
My initial response to Wade’s performance, which I wrote down during the actual performance, was “I feel like I am in an uncomfortable moment of tripping while doing coke with a questionable prostitute.” Now, that might make a pretty bleak description of Wade’s show however, my reaction did change. The thing that made me dislike the performance initially was the interpretative dancing. I found that when I closed my eyes and did not have to watch the movements and rather just listen to the free flow text playing in the background I actually enjoyed the experience. After the opening sequence was over I actually began to like the performance. I thought there was an interesting message being presented about world and social issues during sequences such as when the varying voices were discussing topics like government, family, diversity, community and puberty. Besides the meaning of the piece I liked the overall distortion of the piece. I thought Wade did a good job in creating a type of blur between the cuteness factor of kuwaii, which is prominent in Japan, and grotesqueness. He did this through successful variation in text, dance, sound and light display. The last sequence in his performance in which a girl was saying how she was shrinking, was successful as a conclusion. I felt that it related perfectly to the topics which Wade presented in his piece, where as a society we look at these varying topics as a sort of gossip never really confronting or dealing with them rather just discussing them to the point that the relevance they did have is seizes to exist. Though, I walked away from this performance a little skeptical as to what I had just seen, I can appreciate the time and effort it took to create this performance.
My reaction without hearing the Q&A:
What the hell did I just see? I am extremely happy that the two women standing in front of me in line offered to give me a free ticket. I can appreciate artists for the amount of time they put into creating something but at times you just have to question what was actually made. Yes, the sound distortion and lighting variation, as well as the anima sequences were successful but the other visual displays were lacking. I feel that even myself with the rudimentary knowledge I have in multimedia arts could have created some of the sequences Wade created such as when the girls were discussing various social topics. The main quality the performance had was that it was comical, which if it wasn’t for that I feel it would have been some what unbearable. Based off of performances like this I will often question art. What is it we are creating? Have we pushed art too far in hopes of grasping onto something that will retain art to previous movements and glory.
I have a hard time answering the question of whether wade employed new media in his performance because I have very rudimentary knowledge in terms of what is and isn’t considered new media. Overall, I liked the visual displays in the performance in terms of the sound distortion, lighting variation and the anima sequences. I feel that these parts of the performance were done effectively especially in correlation to Wade’s idea of blurring the idea of kuwaii and grotesqueness.
I walked away from this performance realizing I might not want to ever hear an artist give a Q&A. I couldn’t help but wonder if he created the piece and then just hoped the stuff he said during the Q&A would allow the viewers to believe that they had experienced a type of art with some relevant meaning. For future performances, if I have an initial reaction of worthlessness I don’t believe I will stick around for the Q&A because I feel that it only “pushed” me toward a fake understanding of what had just occurred.
Monday, February 1, 2010
10 Key Principles of New Media: Lev Manovich:The Languages of New Media
- By using montage to create a reality that is completely new to the viewer. (pg.xvii, xviii)
- The idea of having a continual process for viewers. Rather, than viewers experiencing different locations, different subjects, etc. through individual pictures, new media can be used to create a universal equality for viewers. (pg.xii)
- The use of new technology to create art. Through the use of new technology new media is not necessarily removing the basic principles of art but rather improving them through a new tool. (pg.xxiii)
- Combining various levels of perspective, space and time from the viewer's eye, as well as the creators. (pg.xxv)
- combining various techniques and "effects." (pg.xxvii)
- Using various techniques and effects to create a work that has artistic language, thus meaning, and just for stylistic purposes. (pg. xxviii)
- An attempt to go "beyond the simple database of the subject, techniques and operations of media and attempts to go beyond "simple human navigation through physical space." (pg.xxx)
- Combining different worlds to create a new reality, alloing them to "clash semantically rather than form a single universe." (pg. xix)
- Merging database and narrative into a new form. (pg.xxviii)
- The continued development of art by combining past artistic elements with new technology.
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