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Friday, April 29, 2011

Final Writing Assignment


      Pablo Valbuena is a visual artist that works with sculpture / volumetric shapes and projected light. The focus of his work is to alter perception and the way we view things by challenging our traditional perspective. He works with physical objects, light alone, or with both to create a new and interesting dynamic.  In an interview with Valbuena, he states that he works with light as if it were a physical material. Since the invention of the camera, art has taken many shapes and forms, but to work with light as if it were a physical material is completely different.  Light is not something we can put on a canvas and hang in a gallery; it is not something that we can grasp as a physical object.  Therefore, for Valbuena to take this form of energy and create art with it shows that the medium to create art is rapidly expanding and utilizing all aspects of our lives.


The Augmented Sculpture Series located in Medialab-Prado, Madrid:



This series that started in 2007, consists of volumetric shapes that serve as the “static mass”, as Valbuena states, while he uses projected lights on the surfaces to alter the once “static” space and form new shapes.  These series of shapes and structures that he uses range from small sculptures in the corners of the room to large masses of blocks that envelop the viewer.  Most of these pieces are abstract and don’t have any intentional representative shape.  The lights are projected on the surface of these structural shapes, in the corners, or on the edges.  Some of the smaller structures are available to stand in front of and view while the 
larger structures can be viewed from underneath.




Light is how we see and how we construct shapes with our eyes.  Playing with light is essentially playing with our own reality.  Valbuena casts light on simple structural forms to alter how one perceives a preexisting object and the transformative change these structures undergo.  In some cases, the figures appear as though the structures are opening and closing or that they are losing or gaining mass.  In a way, the project is very similar to the visual effects used in the movie Tron and it wouldn’t be surprising to learn that the movie may have influenced this project.  The buildings in the movie Tron are very cubic and formal while light is used to emphasize different areas of the buildings.  In addition, the lighting in the movie is also used to reveal and hide spaces or openings much like Valbuena does in this project.  Valbuena’s Augmented Sculpture Series is very formal, precise, and mathematical.  Conceptually, this can make the viewer wonder what is actually real and what is being altered by the lights themselves.  When one can’t tell reality from fabrication, it makes one think about our own world and how we perceive things.  What is real and what is not real?  If we can’t tell the difference, it changes the way we think and the way we interact with objects or people by altering the very source of our vision.

This notion of using computers to precisely control and regulate exactly how these lights are projected, where they are projected, how big or how small they are, when to move them and when to keep them stagnant, is digital art at its finest.  Humanity is imperfect, therefore the ability for us to grasp this technology of computers and use it to make something perfect, moves beyond what we are capable of without it. Margo Lovejoy states, “They [computers] can generate any kind of imagery or any kind of ‘reality.’” (Lovejoy 152-153) The ability to project these lights flawlessly with a computer in the way that Valbuena has done, essentially alters our reality and confronts what we believe to be real.  This invades not only the world of art but even more aspects of our society.  While Valbuena is more interested in visual appeal of his work, there is an underlying statement that contests the usage of technology and how it affects our world.   Lovejoy comments on this while talking about photography and imagery on the computer, “The computer’s artificial simulations of reality are indistinguishable in appearance from photographs.  The capability to invade images and create authenticity through a seamless process of retouching and editing is a destabilization of the image. It has created a crisis of belief which has political implications.  We can no longer rely on the old system of ‘truth in images’” (Lovejoy 155).  This statement is directed more at photography but has the same application to other uses of other technologies.  The “retouching and destabilization” of the image has now moved on to the video industry and we are surrounded with movies that create these alternate realities and fantasies.  The crisis Lovejoy speaks of is only expanding with the improvement of the computer and will continue to expand in many different areas of our society. 





Judith Fegerl is an artist who works with digital technology such as, lights, electricity, mechanical devices, and more.   Her latest work, SELF, was created just last year in 2010.   This was an installation located in Vienna, Lower Austria.  The work itself is very contemporary and abstract.

“Self” is an art gallery that is, for the most part, completely empty. Throughout the gallery there are places in the walls, floors, ceilings, and structures that have holes in them or have had panels and sections removed.  From these voids throughout the gallery one can see the insides or “organs” of the building.  There are wires, cables, outlets, light racks, and plugs that are exposed and pulled out of place.  All of which are normally concealed and hidden as much as possible, these are now “ripped” out of the wall, hanging from the ceiling, or strewn across the floor.  This piece is focused on the conceptual meaning rather than visual pleasure.  

It represents the art space as “an architectural and energy producing shell for art objects.” It is representative of the human being.  Like the veins of our bodies, these wires are torn out to expose the inner workings of the art space. Like our bodies there is a lot that goes on inside that allow us to function properly, yet we are unaware of its function and complexities. This is a representation of that exact concept.  The art gallery is exposing the inner machine that most viewers are oblivious to and is normally hidden.  The media used to create this work is the gallery itself, which can be quite unorthodox in the sense that the display space is now becoming the art rather than presenting it.  This can be somewhat related to the outburst in female video artist such as Ulrike Rosenbach, that started in the late 20th century. 
The medium had changed and now the artist was becoming the art; women were objectifying their bodies and taking over this new medium to make it their own.  In that same manner, Fergerl is objectifying the art gallery making it something that people actually look at instead of ignoring. 








These two artists create their work in very different ways.  Valbuena’s sculpture series uses projected lights to create an altered reality with an emphasis on visual appeal and transformation as an illusory creation.  In contrast, Fergerl’s project “SELF” is created with a deeper conceptual meaning behind it.  Both of these artists use the accessible technology of our world today.  Valbuena uses it to project lights and Fergerl simply rips the very technology that runs the show out of the walls and ceilings. If one were to see both of these projects Valbuena’s sculpture series would most likely be the more attractive one at first because of the mere fact that we as human-beings are attracted to lights.  This is all based on one’s own opinion of art and what is more appealing to them; however, the majority of people are attracted to works like Valbuena’s.  This is not to say that one piece is better than the other; it is a matter of one’s own opinion.  If one were to look more closely at Fergerl’s work it would show that she has created her work with a conceptual and purposeful meaning behind it.  In the digital world one can recognize that both of these works are based solely by the use of technology in one form or another.  While Valbuena uses it to assist in his creation of art, Fergerl exposes it like it is a work of art itself.  In a sense, Fergerl is glorifying the technology we use by putting it on display for people to see.  This is not typical of an artist to do.  She is exposing the very machine that many people hide so it will not distract from their art being displayed.  Valbuena does the exact opposite of what she has done.  All the lights and projectors used in his artwork are all hidden and out of place so that the focus is on the lighted structures.  This brings to question whether or not technology is really art in itself.  Lovejoy commented on this when Walter Benjamin talked about the camera being destructive to art.  Lovejoy said, “Photography and cinematography created what Benjamin called ‘a shattering of tradition,’ a crisis in representation without fundamentally shifting the Western paradigm of art.  However, digital simulation has finally shattered the paradigm of representation we have been operating under since the Renaissance.  We are now, in many ways, living in a new world” (Lovejoy 4).  Lovejoy is exactly right when it comes to this issue.  We are now living in a world where anything can be art and anyone that has the creativity to make something new can display it as a beautiful piece of work.  Whether it is the technology creating the art or the technology that runs the art, in our digital world pieces like Valbuena’s and Fergerl’s are very intriguing and important to the development of the art world.  

Thursday, April 28, 2011

Barbara London

Barbara London
Barbra London presented a lot of great work and explained a lot about what she does as an art curator at the Museum of Modern Art in New York.  She first talked about the progression of technology and image capturing, going from the Instamatic camera all the way to the cellular phone today.  She then proceeded to discuss the art work and progression of Nam June Paik.  Nam June Paik was one of the first to start working with television sets.  Many of his pieces were interactive so that you could interact and change the modified televisions he would have on display.  One of his great works that London talked about was the television with the candle inside.  What was interesting about this is that it related all the way back to Renaissance art.  Many times this implementation is related to mortality, which is extremely different to include this message in such serious and popular piece of technology.  London then explained how Paik acquired his first video camera and started making music videos.   The video London showed of Paik’s Beatles Electronique was quite interesting.  It seemed to be very loud and unsettling.  However, it is always pleasing to see where such a big industry in today's society started from. 
London’s lecture continued to touch on artist like David Bowie and Captain Beefheart.  Following these artists was the anonymous group called Residents.  This group was significant because they were one of the only groups to control their visuals with a copyright, meaning they could work with anything without needing permission.   A video on one of their works was also played.  After this group London talked about Laurie Anderson and presented one of her Personal Service Announcements. 
While all of this was great information, all these artist and art works were related back to her current display of Looking at Music 3.0 in the Museum of Modern Art.  This display is a full history of recordings, classic records, the development of music and videos, and many of the artists, like Cey Adams, that had a significant influence in this field of art. 
Overall, her presentation was very well done and very informative. London is fortunate enough to meet many of these great, influential artists in her work; she also has the opportunity to talk to them and get to know them personally.  She is very knowledgeable in the art field because she is around this so much and has the opportunity to learn more as she continues this type of work.  

Nevada Museum of Art

Nevada Museum of Art         
Leo Villareal’s work displayed in the Nevada Museum of Art is quite amazing.  The work consisted of many light sculptures placed throughout the gallery.  The sculptures themselves ranged from round shapes covered in fogged plastic to long rectangular panels that covered a wall.  Many of the shapes were somewhat repetitive but the part that made Villareal’s work intriguing was the pattern of lights and how they moved.  Some were extremely slow fading in and out of colors and brightness; others were long florescent looking bulbs that flowed through an endless amount of patterns and colors.  There were also several sculptures that consisted of many round LED lights.  One specifically was called “Diamond Sea.” This piece was a large mirror wall covered in round LED lights.  After sitting at this for quite a long time the patterns always seem to be new and constantly changing.  In addition, the choice of background material can bring to mind that Villareal may have had the intention for his viewers to interact and be a part of his work. 
While the first glance of the work may bring repetitiveness to mind, it is in the use of the computer that makes it fascinating.  Whether or not these are random computer generated patterns, they show that the computer is now creating the art.  For someone to have to program all these patterns in manually would take years of work, but Villareal’s genius use of the computer brings to life some amazing pieces of art.  In addition, these light sculptures also work with and interact with each other to improve the scene.  Light bounces off of one wall and hits another piece that is next to it or vis versa.  Overall, Villareal’s work is definitely worth looking at and really shows the use of technology and art in a very beautiful manner. 

Pete Froslie Lecture

Pete Froslie
On the 29th of March, Pete Froslie discussed many of his art works and current projects that he is working on.  Froslie is a digital artist that started working with electronics.  He first began working with toys and animating them in odd ways.  One of the first projects that he discussed was the etch-a-sketch project.  This consisted of different etch-a-sketch pads automated by machines that turned the knobs.  During this time he enjoyed working with toys and importing them from other countries.  The next project he talked about consisted of toy cows that were hot wired to a decomposing beef heart.  This beef heart was sealed in a jar and as it decomposed it would make the cows moo and kick their legs.  After this he started to focus on floor games and emulating life, specifically toy soldiers. 
However, one of the more important projects that he talked about was his recreation of the character William Booth.  His attempt was to find a way to take this subtle and boring character, and create something that people would actually enjoy and want to participate.  He realized that fandom was the key to moving Booth.  He did this by trying to make Booth “cool”.  Much like role playing games, he created a manual describing how Booth works. From there he continued expanding on the idea creating games and bigger art pieces.  He then started a comic series that is not yet finished.  This comic series appeared to be very modern looking and appealing to younger generations.  The latest part of the project that he has worked on is creating an iPhone app to go and see Booth in the very shop he worked in; somewhat like an augmented reality.  This implementation of  the new technology that is continually advancing is exactly what Froslie needs to start gathering the fan base that this project needs for growth. I asked Mr. Froslie how long he plans to continue this project. His response was that he isn’t exactly sure but that he will continue this as long as he can to try and make it go viral.    

Tuesday, April 26, 2011

Swarm Sketch

This is a disappointing project to contribute in.  The initial goal and idea of the crowd sourcing project is a great one. The previous sketch results were very well done and very interesting. However, lately there has either not been enough people contributing or people aren't even trying to draw the proposed sketch.  It seemed interesting at first but after the second contribution it became more disappointing than exciting.  

The first project I started contributing to was the creation of Bret Hedican

This is a picture of what Bret Hedican actually looks like:

Here are my contributions to the project:

1
Trying to draw the eyebrow/nose line

2
Here I continued my drawing of the nose

3
Trying to draw hair
 This is what the final picture looked like. Obviously not very close to the original like some of the other projects. Although I am happy because my lines were all still at 100% opacity.

The second one I contributed to was the creation of Moussa Koussa.

Here is what Moussa Koussa actually looks like:

Here are my contributions to the project:

1
Adding to the glasses
 2
Adding more to the glasses
 Final Composition:

This one was even more disappointing because a face isn't even recognizable.
Overall this is a fun project to contribute in to see how people interact and add to each others lines.  It goes to show that some people can anticipate what another person is trying to draw.  However, over time I believe this project has lost its spark and is no longer as popular as it was.  In return the compositions are not as good as they could be. 

Saturday, April 9, 2011

Crowdsource Contribution (1): The Johnny Cash Project

I decided to contribute to the Johnny Cash project.
This took me almost an hour and a half to finish.  I had a lot of fun creating it and at the end I felt like being a little abstract with it.

Here is the original frame:

Here is my finished painting:




Fast painting can be seen here:
http://www.thejohnnycashproject.com/#/explore/TopRated/4e00361b52f7b8ef940de59e56549e986ffa53af

Artist Statement:

This collaborative project is quite amazing. The ability to recreate individual frames and put them together as a video is a brilliant idea. Contributing to this was both fun and inspiring because I like digital painting and I am a Johnny Cash fan as well.  Although I am not a great painter I felt that the outcome of this piece was pretty well done. My initial goal was to make this as realistic as possible but the abstract look came afterward.  Being able to watch the actual painting being created in fast motion was just an added benefit.  Not only does this contribute to the project but it will forever be associated and apart of the project.

Crowdsource Proposal: Coast to Coast

My idea for a crowdsource project is something called Coast to Coast. This is a video project that people across America would have to contribute to. This is essentially, a road trip across America.
First, what someone would do to contribute to this project is find a place on the map that needs to be recorded. Then they would record as much as they could of that segment of the freeway they drive on (including scenery and things around them as they drive) and upload their video. The end result of this project would be a full video showing a road trip across America. You would be able to play this at normal speed or fast speed. 
To keep this ongoing I would propose a new path each year to make it across America.


Why do this? I think that everyone has always wanted to see some part of America. This would be like taking the road trip without leaving the house. My idea came to me when I was making my long drive back to Fallon where I live. I was taking a picture out my front window with my phone and then I thought, what if we had a video showing America from coast to coast? It reminded me of Google Maps. The section where you can actually see the roads and travel on them. But to drive across America, would be quite an amazing experience.