Filed under: ART, REVIEWS, WEB/NET/INTERACTIVE | Tags: 2012, 22, and, Anderson, art, cat, draves, gap, gilbert, guggenheim, isabel, Kenji, Laurie, lisa, magazine, on, philip, scott, snibbe, software, sterns, the, uncanny, walcott, williams
By Cat Gilbert
The inaugural LISA 2012 (Leaders in Software and Art) brought together a mix of students, professionals and artists at the Guggenheim this past October to discuss the opportunities and the pitfalls within the realm of software and electronic art. A one day conference that was packed to the gills that founder Isabel Walcott Draves, admitted “next year, we’re going to hold a 2 day conference.” Keynotes were given by Laurie Anderson and Scott Snibbe (creator of Bjork’s Biophila.)
The morning started with an introduction from Draves and the first panel “Collecting New Media Art” which mostly focused on galleries supporting new media artists. While there were interesting and valid variations on what artists sell in this genre, many of the gallery owners admitted collecting and selling new media art is difficult and often molded back into forms of traditional consumer engagement: limited run prints, books, videos etc. They also noted the unique problem of deprecation and works being unviewable once a technology becomes obsolete.
Following was a keynote from Laurie Anderson, whose credentials include NASA’s first (and last) artist-in-residence and well-known musical/artistic innovator. Laurie is an endearing speaker, talented technological artist, and her ability to “break-down” what is sometimes a complex art form is at the heart of why she was keynote at this conference. In speaking about her 2005 World Expo project “Hidden inside Mountains” Laurie zooms through slides, joking about her “hellish” interpretation of the landscape. She also made some mention of her conflict with encouraging young artists at college commencement speeches, in the face of increasingly tough economic conditions for artists.
After Laurie’s speech came the first round of lighting talks. Some of the most interesting insights and projects came from Martin Wittenburg, Philip Stearns, Sophie Kahn, Tristan Perich, Eric Sanner, Claudia Hart, and Jake Barton. Each had a unique perspective on how to utilize technology whether it be through sight, sound, or even emotional response. Some notable pieces include Perich’s well-known compositions using one bit sounds to distort our “reality” of hearing, (see Interval Studies) and Claudia Hart’s avatars plunge into the aspects of the uncanny valley and the idea of “reanimation” and “capture” that is at once both disturbing and fascinating.
Following the first round of lighting talks, the 2nd keynote address was given by Scott Snibbe. Known as the creator of Bjorks’ interactive album Biophila and currently at work on an app for Philip Glass’s music, Snibbe’s speech was interesting not only in the demonstration of the projects themselves, but in his tough questions about distributing new media art. Snibbe concedes that apps pose the problem of being somewhat gimmicky and proposed creating new, smarter, more complete apps, and perhaps less of them. Certainly that coming out of the mouth of someone who has made a career creating apps must be taken with a grain of salt, but for that same reason, taken seriously. Biophilia is the work of someone with a great love and understanding of the inner working of virtual space.
The 2nd panel of the day focused on creative coding tool kits. Moderator Golan Levin begin with a “builder” apropos quote attributed to Abraham Maslow “To a hammer, the whole world looks like a nail…” In general, the discussion focused mostly on displays of what the programs can do as well as the community usage of the programs. The evolution of programs like MAX from Toni Dove to Luke Dubois’ “Hindsight is Always 20/20” is fascinating. Andrew Bell’s commentary on CINDER was also intriguing not only due to the intricacies of the program itself but also due to CINDER being mostly used for advertising purposes. With a palpable sense of duality Bell spoke of the potential but also the limitations to the mass public in comparison to Zach Liberman’s encouragement of something like Open Frameworks being all about community participation.
Following was the 2nd round of lighting talks which typically included more physically manifested ideas. There were notable talks from Kenji Williams, Golan Levin, Mark Shepard as well as Ann Spalter, Karolina Sobecka, Mary Huang, and Kurt Ralskie. The panel was interesting juxtaposition for later questions of how software and media art is producible and profitable within a consumer art world (a question that arose more specifically in the 1st panel “Collecting New Media Art” and most prominently in the last panel “Software Art and Art Establishment.”) Golan Levin, and Huang focused on, among other things, creating clothing and “spare parts” out of 3D printers, while musician Kenji Williams played a brief piece from his (hopefully) Broadway bound work, Bella Gaia, a love letter to the Earth, with a timely focus on the effects of climate change.
The 3rd Panel (Crowdsourced and New Media Art) included Scott Draves (creator of The Electric Sheep), Melissa Mongiat and Mouna Andraos (Daily Tous Les Jours), Jason Eppink (MOTMI) and Fernanda Viegas. Eppink’s projects focused on social trends and engagement from the physical to the screen, including meme based projects and the reanimator lab. Daily Tous Les Jours’ engagement in crowd participation (see swings) through physical manifestation of technology initiated the question, is crowd sourcing for the “crowd” or about the “crowd?” Other main points included, monitoring trolling and software hacks on crowd sourced work, as well as the authenticity of data collected in crowd sourcing. Viegas’ collaborative project with Martin Wittenberg, Wind Map (left) was also seen this last week in lieu of Sandy and displayed effectively how aggregation can be put to use.
“Media Art and the Art Establishment” was the final event of the day and palpably the most anticipated. Panel members included Amanda McDonald Crowley, Christiane Paul, Barbara London, Marius Watz, with painter with critic Ken Johnson as moderator. Discussion focused on s/e artists struggle for acceptance and placement in an community that sometimes lacks resources to provide the proper staff, technology, and in rare cases, understanding of the work itself. Interesting points included, how shows are curated for anthologies and books. There was a larger discussion about documentation of new media shows and panelist, Marius Watz, lobbied for his show (Electra-Oslo, 96′) as a forgotten precursor to many of the larger scale media shows curated today. In contrast to this debate, one main point that unfortunately was not addressed was media art in relation to public accessibility By nature there is some exclusion to those without access to certain tools. That being said, it would be wrong to shame this area of the art world for exclusion, as digital art has really only become viably “popular” within the last decade or so and is still evolving and working towards end goals of inclusion for all, or sometimes inclusion at all. More and more efforts are made for public dissemination within schools and it was good to see LISA offer scholarships to students to attend. It would be amazing to see future conferences offered in conjunction with public interactions and displays with the art. Both things that would raise public awareness of and increase understanding of this art form. As this was the first LISA conference the wealth of successful new media artists, information, and discussion it delivered was truly satisfying. The talent and minds going into creating digital terrains and interactions is every bit as captivating as the strokes of a master painter, or the strikes of a master sculptor. Beyond that, there lie dimensions with media art, that are able to document and rethink the world unlike any other art form and if it is explained to and engages both artist and audience without exclusion, the possibilities for creation are endless.
Filed under: ART | Tags: 22, and, animals, cat, collage, eichhorn, magzine, plants, Stephen, the
Filed under: ART | Tags: 22, art, assemblage, brooklyn, cat, collage, drawing, gilbert, magazine, McCallan-Moore, new, shape, structures, taren, the, UK, york
Filed under: ART, EVENTS, The 22, VOLUME ONE, VOLUME THREE | Tags: 21, 22, and, bedford, book, brooklyn, cat, comic, Fest, festival, flowers, gilbert, j, jennison, john, july, lorimer, magazine, Mini, monsters, Naujokaitis, PETE'S, pranas, the, williamsburg, Zine
Join us Saturday, July 21st as we do a test run with the first print copies of The 22 Magazine at Pete’s Mini Zine Fest!
Joining us will be Volume One contributors, John Jennison, Max Evry (selling work for Pranas J. Naujokaitis) and editor Cat Gilbert selling some of her own work along with the magazine. First person to buy a copy of The 22 gets a FREE mini-painting from Cat Gilbert’s “Flowers and Monsters” series. Show starts at 2pm! Come for the books! Stay for the drinks!
PETE’S CANDY STORE
709 Lorimer St
L Train to Bedford or Lorimer
Filed under: ART, EVENTS, The 22, VOLUME ONE, VOLUME TWO | Tags: 22, aaron, alexander, art, artist, artists, arts, barton, brooklyn, cat, gallery, gilbert, Howard, magazine, new, ny, nyc, painting, park, the, Vaudeville, york
Gallery hours from 3-6pm on Saturday or 2-5pm on Sunday.
Or by appointment (email firstname.lastname@example.org)
All work is for sale and well worth the trip!
26 Bushwick Ave
L TRAIN TO GRAND OR GRAHAM
Filed under: ART | Tags: 22, antwerp, brooklyn, cat, condrad, Cromheecke, drawing, german, germna, gilbert, ink, joesph, magazine, minah, new, ny, nyc, Oswald, painting, the, watercolor, york
So very pleased to see a trailer for Oswald Cromheecke‘s new book Minah. His work continues to be beautiful, disturbing, intimate Conradian forays into the human psyche. Look for a link to buy coming soon on his blog and we’ll of course give a shout when it comes out.
Filed under: ART, CONTESTS | Tags: 22, blatent, brooklyn, cat, gilbert, i, magazine, new, ny, nyc, puda, said, the, vanity, yes, yes pat, york
About this project.
Filed under: THE WEEK/THE WEEKEND | Tags: 22, and geographies, atlas, band, black, brooklyn, byrne, cat, cellist, collaborator, composer, david, eart, Ellen, eras, experiences, far, fullman, geographis, goldston, improvisor, international, internatoiional, leader, lori, magazine, mirah, natacha, near, new, nrivana, ny, nyc, orchestra, power, seattle, sidem player, spectratone, the, verstaile, york
5/10 Tuesday (JM)
Lori Goldston (cello)
Seattle’s most versatile cellist weaves together years of wildly varied experiences and interests as a composer, collaborator, band leader (Black Cat Orchestra, Spectratone International), improvisor, and side player (Nirvana, David Byrne, Natacha Atlas, Mirah, Cat Power, Ellen Fullman, Earth), referencing musics from eras and geographies near and far.
Filed under: ART | Tags: 22, animals, art, australian, birds, brooklyn, cat, cats, dogs, endangered, fish, for, fowl, jenny, kittens, magazine, migration, new, ny, nyc, outback, pope, PRINT’S, sale, snakes, species, the, woodblock, york
Jenny Pope is a full time artist residing in the finger lakes region of New York State. She travels around the country selling her work at art festivals. Her current projects including an ongoing series about Invasive animals, a book about the history of Starlings from the UK to the US, Global Warming Band-aids and a new series titled “Isolation Produces Oddballs” which is a fun way to incorporate any creature that is isolated for any number of reasons.
Her website is www.jpopstudios.com where you can view all of her artwork, contact her directly, and buy art!
Filed under: ART, THE WEEK/THE WEEKEND | Tags: 22, A.E. Souzis, Aida Sehovic, and, and Christina Vassallo, and Mona Vatamanu, art, artist, artists, Biko Koenig, Brian Leo, brooklyn, Carin Kuoni, cat, Catherine McMahon, Chen Tamir, Christopher Robbins, city, continues, Do, Douglas Paulson, Elizabeth Larison, factory, Florin Tudor., flux, gallery, gilbert, Ginger Shulick, Gregory B. Moynahan, Gregory Green, Harvey Loves Harvey, HECTOR CANONGE, island, Joseph DeLappe, Julia Kul, Kristian Kozul, long, magazine, Matthew Sleeth, Morgan Meis, new, Nick Fevelo, Nick Kolakowski, ny, nyc, Oliver Ressler, Pablo Helguera & Colectivo Mishima, Paolo Pedercini, Patrick Dintino, Pauline Julier, performance, Public Studio, queens, Rodney Dickson, Ryan Roa, Sayeh Sarfaraz, so, the, typhoon, Vahap Avsar, Yael Kanarek, Yevgeniy Fiks, york, you
Opening reception: April 1, from 6 pm on
Exhibition dates: Saturday, April 2 through Sunday, May 1
Hours: open weekends, 12 – 6 pm or by appointment (closed Easter Sunday)
Location: Flux Factory, 39-31 29th Street, Long Island City, Queens
Flux Factory is pleased to announce The Typhoon Continues and So Do You, an exhibition of new works through which artists contemplate four specific “artifacts” of war and how their original purposes are transformed through integration into larger society.
Filed under: The 22 | Tags: 22, artist, artists, brooklyn, cat, charcoal, drawing, gilbert, ink, kim, magzine, maker, new, nomi, ny, nyc, paint, the, water, york
VIEW MORE WORK HERE.
Filed under: The 22 | Tags: 1984, 22, artist, artists, brooklyn, cat, charcoal, drawing, gilbert, ink, kim, magzine, new, nomi, ny, nyc, paint, the, york
VIEW MORE WORK HERE.
Filed under: EVENTS, The 22 | Tags: 22, apple, bar, brooklyn, cat, cranky, gilbert, jennison, john, magazine, new, noah, puppet, state, teneleven, the, vision, york
Read about this change HERE.
Filed under: The 22 | Tags: 22, andrew, art, artist, binkley, brooklyn, buddhist, cat, crossings, digital, gilbert, magazine, mon, music, new, ny, online, photography, poetry, publication, scenes, street, taoist, the, twenty, two, underground, writing, york
BY ANDREW BINKLEY
Throughout Andrew Binkley’s work as an artist, he has utilized a variety of media and approaches to uncover and explore our notions of time and patterns of human behavior. In ‘Crossings’, Binkley brings into play the time-based media of photography and video to observe the seen and unseen traces between people on the streets below.
Through the use of an overhead perspective and layering multiple photographs and video of people passing by on their daily routines, ‘Crossings’ works with the themes of intersecting or sharing paths, and integrating or transforming relationships, as well as the unknown or transient connections between people through time.
Filed under: The 22 | Tags: 22, art, artist, brooklyn, cat, charles, disneyland, drawer, dream, gallery, gilbert, ink, kopelson, LES, magazine, marker, mnahattan, new, orchard, painter, printz, sharpie, the, windows, york
I began art-making as a realist. After a creative crisis I began to re-investigate essential qualities of composition. This departure took me on a slow ascent toward my current style in which I attempt to incorporate childhood fascinations and the emotional weight of adulthood to excavate a system of a private language. From simple systems, complexity emerges. Through assigning a structural hierarchy to my line what began to take shape was a technological body of tremendous volume, dynamism and movement.
Filed under: The 22 | Tags: 22, art, artgate, brooklyn, cat, Chelsea, disneyland, district, events, gallery, gate, gilbert, magazine, new, ny, park, shows, sung, tae, the, W27th, york
Filed under: The 22 | Tags: 22, art, artists, ben, blatt, brooklyn, cat, devotion, flowers, FORSYTH STREET, gallery, gilbert, half, hotbox, magazine, manhattan, new, ny, the, underground, york
Blatt’s intricate watercolor paintings focus on enclosures set into abandoned piazzas, rigorously rendered with twisting, virtuosic detail. Outcropping bell jars, fountains, terrariums, monuments, and medallions serve as incubators for lush, botanical worlds in which the artist cultivates a psycho-suggestive bounty. Within these containers, Blatt explores notions of un/natural paradox: overturned, architectural constructions spill water on teeming plant life; leaves unfold to receive crystalline forms; water is both frozen and flowing; veins (or vines?) crawl through stone; mountain ranges plot like ant hills. Life overgrows life in an endless cycle of death and rebirth.
Employing the patient medium of watercolor, Blatt refocuses the idyllic art-historical movements of Rococo, Symbolism, Wunderkammen, and Romanticism through a contemporary lens: shifts in CMYK (a color printing model) suggest digital erratum, psychedelia flutters about, and cracked color fields abut cobblestones harvested from microscopic electron scans.
Entangled deep within this world of copious, visual delight is the fear of floodgates burst wide. Taken, a particularly bucolic scene, offers a pendant dangling amidst radiant autumn vines. Framed beneath a double bust of a woman is the carnivorous flower of death know as rafflesia, which just happens to reek like rotting flesh.
Ben Blatt lives and works in Brooklyn, NY. He received his BFA in 2001 from the Rhode Island School of Design. His work has since been included in group exhibitions at White Columns, Bellwether Gallery, Feigen Contemporary (all New York, NY), and John Michael Kohler Art Center, Sheboygan, WI.
Filed under: The 22 | Tags: 22, andrew, art, artist, binkley, brooklyn, buddhist, cat, gilbert, magazine, monk, music, new, ny, photographer, photography, poetry, taoist, two, underground, writing, york
TEN OX HERDING PICTURES
BY ANDREW BINKLEY
Drawing upon my experience as a Buddhist monk, my work appropriates ancient traditions, whether they be spiritual or artistic traditions, and especially where the two merge.
The ‘Ten Ox Herding Pictures’ is an appropriated piece based on a 12th Century Taoist and Buddhist depiction of the ten steps one takes towards enlightenment. Each piece in the series speaks of a certain stage and level of progression on this path. This search is an age-old quest in which early Taoists depicted one’s nature, or mind, as a wild ox hidden from sight. Once found, this ox would give a formidable struggle before being able to be trained and ridden home and beyond. This guide has been an inspiration and method of teaching for almost a thousand years, as well as sparking a tradition of depicting its example. In keeping with this tradition and resonating from the classic ink paintings of old, I assemble various photographs from different times and places throughout my travels in China, to comprise a single image. This process of addition and subtraction allowed the piece to emerge, reminiscent of my background as a painter and brought about a translation of this ancient work.
The following are brief descriptions on each of the stages.
1. The Search for the Ox
The ox has traditionally been a representation of one’s true-nature or of the mind. In this stage a man is lost, confused, can neither see where he is nor where he’s going. He searches for the ox, yet is caught in a web of his conditioning and in a state of suffering. Yet this is the first stage; recognizing you are caught and seeking a way out.
2. Discovering the Footprints
The man discovers the markings left by the ox. This may come in the form of hearing from others, reading words, experiencing the presence of someone or something, which opens your eyes. It may also come from becoming aware of the traces of the mind and its reactions. But this understanding is still on an intellectual and conceptual level.
3. Perceiving the Ox
This is where one sees the ox directly, no longer through theory, but through direct experience. Through reflection the ox is perceived, and with this realization there is now no turning back, it has penetrated into your entire perception of the world and self. The ox swims freely, an island unto itself.
4. Catching the Ox
Confronting the self can be like dealing with a raging ox. The ox has been trained for so long to follow its desires, going here and there never quite satisfied. It wants greener grass, its restless and can’t stay still. But now one sees things in a new way, yet the mind is used to its old ways of dealing with situations and has its built up ideas of security. So when the ox is caught and its foundation is rocked a tremendous struggle ensues.
5. Taming the Ox
The man has seen the ox manifesting all the time now and realizes the root of all suffering lies with the mind. An ox herder uses a whip to keep the ox from wandering, just as one must use mindfulness to keep the mind from wandering. As a result the ox becomes gentler and follows its master, but we see in the distance there is still an ambiguous road ahead full of high peaks and low valleys veiled in clouds, still we can see home.
6. Riding the Ox Home
Harmony with oneself and all things. Neither resisting nor controlling, the real effort is to have no effort and allow the ox to follow its own nature home. The practice becomes natural, like planting a seed and allowing it to grow. It may take a month to reach home, it may take a lifetime, but this is not his concern; he’s just riding.
7. The Ox Transcended
The ox never belonged to the man; he discovered it and let it go. But we tend to hold on to it and think of it as me and mine, it is just nature.
8. Both Ox and Self Transcended
Letting it all go. Letting go of time, the world, the ox, mind, other, self, all concepts… It is the space where no thing exists. In ‘Riding the Ox Home’ we had the knower and the mind, in ‘The Ox Transcended’ there is the knower, in this stage there is simply knowing.
9. Reaching the Source
One quote from an unknown poet says, “Out of Emptiness appears that which IS. Poised in mystic selflessness, there is no self in anything particular: The 10,000 things arise and pass away.”
10. In the World
This, the final stage, has been interpreted by some to mean that the enlightened person then goes out and saves the world. For myself, I have always felt that enlightenment is being at peace with the world just as it is. Accepting things just as they are with no attachment or desire for this moment to be any other way, is true liberation.
ABOUT ANDREW BINKLEY:
Andrew Binkley is an American artist, born in Omaha, Nebraska, 1979. In 1996 he attended The Kansas City Art Institute with a major in painting under the guidance of Warren Rosser, and after two years left school in order to travel throughout China searching for places to practice Chan (Zen) Buddhism. Living in China for one year and studying the art, language and philosophies of the Far East eventually led him to Thailand where he ordained as a Theravadan Buddhist monk. Andrew went on to stay for two years following the strict practice of the Thai Forest Tradition, living a life of simplicity and meditation.
After leaving the monastic life, Andrew moved to the island of Maui, Hawaii where he designed and built his own home. Since that time Andrew has been dedicating himself to the practice of art, and has just recently moved to Oahu.
Filed under: FILM/VIDEO | Tags: 22, art, baseball game, beef, brooklyn, bun, burns, butcher, cat, chris, dog, eric, factory, fair, films, food, frank, frankfurter, gilbert, gratuitous, hot, ingredients, jeff, ketchup, kosher, krasner, magazine, meat, mustard, my, mystery, new, nutrition, nutritious, oscar, pork, powell, processing, production, productions, products, relish, replacement, smokie, steak, substance, the, tube, tubesteak, weiner, weiners, york
Filed under: FILM/VIDEO | Tags: 22, art, brooklyn, burns, cat, contributors, films, gilbert, gratuitous, jeff, magazine, music, new, productions, the, writers, writing, york