Articles by admin

Evan Roth is an American artist based in Paris whose practice visualizes and archives culture through unintended uses of technologies. Creating prints, sculptures, videos and websites, his work explores the relationship between misuse and empowerment and the effect that philosophies from hacker communities can have when applied to digital and non-digital systems.

Roth’s work is in the permanent collection of the Museum of Modern Art NYC and has been exhibited at various institutions, including the Centre Pompidou, the Kunsthalle Wien, the Tate and the front page of Youtube. He has received numerous awards, including the Golden Nica from Prix Ars Electronica, Rhizome/The New Museum commissions and the Smithsonian’s Cooper-Hewitt National Design Award.

http://www.evan-roth.com/work/

Sara Ludy’s practice investigates the confluence of the physical and virtual. Her works include websites, animation, video, sculpture, and audio-visual performance. Traversing the online virtual world Second Life, Ludy photographs domestic interiors, landscapes, and other scenes that are iconographically familiar, yet feel otherworldly. Alongside this practice, she three-dimensionally renders architectural forms and sculptures, each one imbued with the mysticism of the digital uncanny: a space between what is known and unknown, within reach but just out of grasp.

Previous exhibitions of Ludy’s work include the Museum of Contemporary Art Chicago, Chicago; Berkeley Art Museum, California; Honor Fraser, Los Angeles; bitforms gallery, New York; Postmasters Gallery, New York; Klaus von Nichtssagend, New York; Interstate Projects, Brooklyn; Eyebeam Center for Art and Technology, New York; Vancouver Art Gallery, Vancouver; Western Front, Vancouver; Kuenstlerhaus Bethanien, Berlin; Carroll Fletcher, London; Espace Verney-Carron, Lyon; and C-Space, Beijing.

Memory Burn
Jul 10, 2013 – Aug 16, 2014

PostPictures
Dec 19, 2013 – Jan 25, 2014

Sara Ludy: Subsurface Hell
February 7, – March 7, 2016

My flipbook project had a lot of meaning to me. I wanted to create my sticky notes to portray a story. Since I feel like art mimics life, (ha ha) I decided to draw out something person and turn my feelings into art. This is really important to me, and frankly I believe this is one of my best projects and creations yet.

Takeshi Murata is an American contemporary artist who creates digital media artworks using video and computer animation techniques.

Murata has developed painterly techniques for processing video using glitches and errors. Conjuring digital turbulence from broken DVD encoding, he carefully tends bad video compression to generate sometimes sinuous, sometimes violent flows of digital distortion. With a powerfully sensual force that is expressed in videos, loops, installations and electronic music, Murata’s synaesthetic experiments in hypnotic perception appear at once seductively organic and totally digital.
Takeshi Murata was born in 1974 in Chicago, IL. He graduated from the Rhode Island School of Design in 1997 with a B.F.A. in Film/Video/Animation. Murata has exhibited at The Museum of Modern Art, New York; Museum of Fine Arts, Houston, Texas; Yerba Buena Center for the Arts, San Francisco, California; Taka Ishii Gallery, Tokyo, Japan; Peres Projects, Los Angeles; Gavin Brown’s Enterprise, New York; Eyebeam, New York; FACT Centre, Liverpool, UK; Contemporary Arts Center, Cincinnati, Ohio; Mattress Factory, Pittsburgh, Pennsylvania; New York Underground Film Festival; Smack Mellon, Brooklyn, Foxy Production, New York, and Deitch Projects, New York, among others.

http://www.eai.org/artistBio.htm?id=10311

Jodie Mack is an experimental animator who received her MFA in film, video, and new media from The School of the Art Institute of Chicago in 2007. Combining the formal techniques and structures of abstract/absolute animation with those of cinematic genres, her handmade films use collage to explore the relationship between graphic cinema and storytelling, the tension between form and meaning. Musical documentary or stroboscopic archive: her films study domestic and recycled materials to illuminate the elements shared between fine-art abstraction and mass-produced graphic design. The works unleash the kinetic energy of overlooked and wasted objects and question the role of decoration in daily life.

Curses (2016, 5m, digital video, color, sound.)

Made entirely by hand from cut marbled paper, this odyssey of remnants re-imagines a dream-sequence love. Video for ROOMMATE: roommatemusic.com

Let Your Light Shine (2013, 3m, 16mm, b/w + color, sound)
A spectacle for prismatic spectacles. Handmade optical polyrhythms and a thousand rainbows explore the grating equation.

Point de Gaze (2012, 5m, 16mm, col., silent.)
Named after a type of Belgian lace, this fabric flicker film investigates intricate illusion and optical arrest.

***Mack’s 16mm films have screened at a variety of venues including the Ann Arbor Film Festival, Edinburgh International Film Festival, Images Festival, Projections at the New York Film Festival, and the Viennale. She has presented solo programs at the 25FPS Festival, Anthology Film Archives, BFI London Film Festival, Harvard Film Archive, National Gallery of Art, REDCAT, International Film Festival Rotterdam, Shenzhen Independent Animation Biennale, and Wexner Center for the Arts among others. Her work has been featured in publications including Artforum, Cinema Scope, The New York Times(YAAAS QUEEN), and Senses of Cinema. Named one of Filmmaker Magazine’s 2014 “25 New Faces to Watch” and one of the Yerba Buena Center for the Arts’ YBCA 100 in 2015, she currently works as an Associate Professor of Animation at Dartmouth College.

Pippilotti Rist focus is video/audio installations because there is room in them for everything (painting, technology, language, music, movement, lousy, flowing pictures, poetry, commotion, premonition of death, sex and friendliness) – like in a compact handbag. Her opinon is: Arts task is to contribute to evolution, to encourage the mind, to guarantee a detached view of social changes, to conjure up positive energies, to create sensuousness, to reconcile reason and instinct, to research possibilities and to destroy clichés and prejudices.

Rist’s works have been exhibited widely at museums and festivals throughout Europe, Japan and the US, including the biennials in Sao Paulo, Venice, Istanbul, the Caribbean and Santa Fe. In 2000 the Public Art fund NY commission Open My Glade, was shown on the screen in Times Square. Pipilotti Rist’s multimedia video works such as, I’m Not The Girl Who Misses Much (1986)‚ Yoghurt on Skin, Velvet on TV (1995)‚ Sip My Ocean (1996), and Remake of the Weekend (1998), blur the boundaries between visual art and popular culture and explore the unfamiliar in the everyday. Her lush, seductive images recruit the idiom of commercial advertising and music videos to create a highly individual artistic language informed by her past in a music band and as a set designer.

End is Over All :

“Looking Through Pixel Forest,” from 2016, a hanging LED installation and media player. Two videos alternate on the walls: “Mercy Garden” and “Worry Will Vanish Horizon,” both from 2014.

Video still from Pipilotti Rist’s “Mercy Garden” (2014), a two-channel video and sound installation.

Jason Salavon is an American contemporary artist. He is noted for his use of computer software of his own design to manipulate and reconfigure preexisting media and data to create new visual works of fine art.

One of his coolest pieces is his All the Ways (The Simpsons) video! He says, “The composition includes algorithmically mixed audio and combines both standard & high definition seasons. Reconsidering a promise to stop making these types of pieces (begun in 1997), the project belongs to a large suite of works (including murals, prints, books & video) reorganizing and manipulating episodes of The Simpsons – as data – in related, but varied ways.  The overall project represents the synthesis and unification of my amalgamation work (Playboys, Homes, etc.) with my color-averaged frame work (Titanic, EAO, etc). By varying parameters, a single software process produces compositions capable of a huge breadth (all the ways) of data representation.  Most importantly, it maps a contiguous space inhabited by these previously distinct styles.”

Something else really cool is his Baroque & Impressionist Painting he made in 2010. (shown below). 

“These two prints sample and reformat color taken from history of Western painting. Impressionist Painting uses Claude Monet’s 100 most expensive paintings¹ to derive (quantize) the 1024-color palette most representative of these paintings in aggregate. This palette is then used to generate the image where line-width is proportional to color frequency and position is based on color saturation.  The aim in ordering-by-saturation² is to introduce depth and a sense of sfumato to a rigidly geometric optical work.  The Baroque Painting work replicates this process using the paintings of Peter Paul Rubens.”

MY FAVE OF ALL HIS WORK IS THIS THOUGH::::

Howdy!

For my selfie project I decided to take 5 pictures of me playing my favorite sport- tennis! I thought this would be cool for the project because it could represent me running around everywhere and hitting the ball! I wanted to get the sunset in because I thought it looked really cool alone with the brightness of the tennis balls and racket! I really loved doing this project because it forced me to think over the net (ha ha ha *knee slap*)

Kelli Connell is a contemporary American photographer. Connell is known for creating portraits, which may appear as self-portraits, similar to the portrait work by Cindy Sherman. She was born in Oklahoma City, Oklahoma in 1974. She received a BFA in photography from University of North Texas (1997) and an MFA in photography from Texas Woman’s University (2003), both in Denton, Texas. Since 2003 solo exhibitions of her work have been held at various exhibits across the country. Kelli Connell became a photographer to explore how photography can raise questions. In her series Double Life, she seeks to question ideas of identity, gender roles, and expectations made by society on the individual. The series, which depicts a woman in a romantic relationship with herself, shows the “couple” having intimate and private moments in their lives. Connell worked with the same model over a series of years to produce the work.

These are some photos from her series Double Life. She uses elements of private relationships she has experienced herself or witnessed in others to inspire these two-person scenes. She then uses Photoshop to stitch multiple medium-format negatives together to create the juxtapositions in the final photographs.

I use photography not as a means to show a truth but as a tool to question our thoughts about ourselves and our relationships with other people.
—Kelli Connell, 2012