humans, dressed as cats, re-performing their favorite LOLcats
LOLremix – humans, dressed as cats, re-performing their favorite LOLcats. (In my class at UWM…)
Original inspiration credit goes to:
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art and tech
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Artist talk in Chicago
Reminder: I’m giving an Artist Talk tomorrow in Chicago, at Columbia College. 6PM, Lecture Hall, Room 150, 916 S. Wabash, 1st Floor. Please come! Perhaps drinks and food afterwards?..
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Passing Between on Rhizome
On Nathaniel Stern & Jessica Meuninck-Ganger’s “Passing Between” at AOP Gallery
by Christo Doherty
“This past month, Johannesburg’s AOP Gallery, a space devoted to works on paper, hosted the exhibition “Passing Between†which showcased the collaborative output between digital artist Nathaniel Stern and printmaker Jessica Meuninck-Ganger. At the outset, Stern and Meuninck-Ganger approached the collaboration as a chance to learn each other’s techniques. But they quickly chose to focus on their own strengths in a process they call [Distill Life]. For Stern, the move toward printmaking comes from a long interest in the technique. In recent work, he has engaged with an expanded form of digital print making, using a hacked portable scanner to produce densely patterned sequences of natural images, in a project called Compressionism. For “Passing Between,†Stern concentrated on using digital photo frames as a medium for displaying loops of video obtained through live filming, and sampled machinima taken from Second Life. Meuninck-Ganger responded to the framed video loops with an encyclopedic range of printmaking techniques from wood block to mono print, silkscreen, etching, and photogravure. In some cases, she printed or [drew] directly on the screens of the digital photo frames; in other cases, the prints were layered over the screens creating a delicate conjunction between the fibers of the paper medium and the illumination of the underlying video. In The Gallerist, a prominent New York art dealer is portrayed anxiously perched on a [raft] in [the] middle of a lithograph while below the surface of the paper machinima sharks circle him endlessly.”
“The effect is both magical and subtle. Jessica’s images often capture a static moment from the subject matter of the video in etching or ink. The pleasure offered by the composite images comes from the interplay between the stasis of the printed image and the temporal flow of the video, producing witty and sometimes fascinating results. In the diptych [Twin City] the 2009 tornado is represented with an animated twister from Second Life. Jessica’s lithograph shows a flying pig coming to rest momentarily in alignment with its outline before whirling back to the beginning of the looped tornado. In general, the artist’s subject matter is deliberately low-key and it presents samples from their lives as artists and young parents in Milwaukee and Johannesburg exploring moments of fun, awkwardness and good humor. However, the rich range of techniques and visual allusions layered over the works also references an entire history of contemporary art and print making, ranging from Hokusai to Velazquez.”
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Zach Lieberman: Making the invisible visible @ UWM THIS WEDNESDAY, 7PM
Organized by yours truly (Nathaniel, Upgrade! Milwaukee), and sponsored by UWM Visual Art Department
Artists Now!
Department of Visual Art
Guest Lecture Series
Wednesday, March 3, 2010 at 7:00pm
Arts Center Lecture Hall (ACL 120) on the UWM campus
2400 E. Kenwood Blvd.
Free and Open to the Public
In this talk Lieberman will present his interactive works and collaborations, focusing on the artistic process as research. He will show works such as Manual Input Sessions, in which an old school overhead projector is transformed into a magical audio visual performance device, and Lights On, a performance of sound and light commissioned for the 2009 opening of the new Ars Electronica center in Linz. He will also talk about openFrameworks, a C++ toolkit for creative coding which is being used by developers worldwide to make compelling interactive installations and performances.
Zach Lieberman flier
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UPDATED – Arrested Time: Nathaniel Stern with Jessica Meuninck-Ganger at Greylock Arts, Adams MA
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Arrested Time
moved a day later due to snow
An exhibition of works combining contemporary technologies with
traditional drawing and printmaking methods
Nathaniel Stern with Jessica Meuninck-Ganger
Greylock Arts, 93 Summer St, Adams MA
Curated by Jo-Anne Green
27 February 2010 – 3 April 2010
Opening reception Saturday, February 27th 2010, 5:30 – 8:30 pm
About the Works
Nathaniel Stern’s Given Time simultaneously activates and performs two permanently logged-in Second Life avatars, each forever and only seen by and through the other. They hover in mid-air, almost completely still, gazing into one another’s interface. Viewers encounter this networked partnership as a diptych of large-scale (8 feet tall) and facing video projections in a real world gallery, both exhibiting a live view of one avatar, as perceived by the other. To create a visceral aesthetic, these custom-designed and life-sized “bodies†are hand-drawn in subtly animated graphite and charcoal. The audience is invited to physically walk between them; they’re able to hear and see them breathing, witness their hair blowing in the wind, pick up faint sounds such as rushing water or birds crying out from the surrounding simulated environment. Here, an intimate exchange between dual, virtual bodies is transformed into a public meditation on human relationships, bodily mortality, and time’s inevitable flow.
In Distill Life, Stern and Meuninck-Ganger approach both old and new media as form. They permanently mount translucent prints and drawings directly on top of video screens, creating moving images on paper. They incorporate technologies and aesthetics from traditional printmaking – including woodblock, silk screen, etching, lithography, photogravure etc – with the technologies and aesthetics of contemporary digital, video and networked art, to explore images as multidimensional. Their juxtaposition of anachronistic and disparate methods, materials and content – print and video, paper and electronics, real and virtual – enables novel approaches to understanding each. The artists work with subject matter ranging from historical portraiture to current events, from artificial landscapes to socially awkward moments.
With Arrested Time, Green curates an exhibition of Stern’s solo and collaborative work that explores the juxtaposition of old and new media, and illuminates the possibilities and limitations of both. The works hover between stasis and motion, texture and light, line and pixel, past and present, paper and screen, surface and depth, one artist and another.
http://nathanielstern.com
http://jessicameuninck.com
http://greylockarts.net
Greylock Arts, 93 Summer St, Adams MA 01220
Admission is free and open to the public
Saturdays, 12:00 – 4:00 p.m
Otherwise by appointment
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Profundity and plasticity for the greedy
Profundity and plasticity for the greedy
This article by Chris Roper appeared in both the online and print editions of the Mail & Guardian. Also see their online video feature.
“… The work is funny, pretty and accessible, but it’s also complicated, surprising, exceedingly well crafted and rewards a long-term relationship. That’s your cue to rush out and buy a piece, take it home and plug it in.â€
“I’d better take a stab at describing the pieces in the gallery, although it would be easier all round if you checked out the video of the work on www.mg.co.za/stern. Basically, it’s a new-media mash-up. Paraphrasing the artists’ own description: they mount translucent prints and drawings on top of video screens, creating moving pictures on paper.â€
“That doesn’t do justice to, for example, the mesmerising, joyful experience of watching insubstantial sharks endlessly circling The Gallerist. He’s depicted kneeling on some driftwood in the middle of the ocean while sketchy vultures hover ominously. And there’s a perfect beauty to The Great Oak, the central image of which is a drawing of a sturdy tree, already complicated by the digital echo of itself, counterpointed by ghostly figures leaping at its base.â€
…
“So when you wander around the show at the misnamed Art on Paper, or if you’re lucky enough to have one of these works on your wall, you can choose. Do you just want to enjoy the playful nature of a piece such as Twin City — whoah! Here comes the flying cow again! — or do you want to meditate on the nature of the loop, which ‘without origin or telos … interweaves the work’s time with the spectator’s as rhythm rather than succession’?â€
“I know, you’re a 21st-century art lover, so you want it all — profundity and plasticity, facile conversation piece and deep worth. Greedy. But with this work, you can have it all and, in true hypertextual style, leap from moment to moment, constantly recreating desire and satisfaction, in much the same way as the looped video constantly re-enacts the pleasure of watching.â€