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brucesterling · 5 years ago

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Big GIF art show

http://wellnow.wtf/

The Internet – Museums are closed. School is cancelled. The world is shut off and we’re stuck indoors. All the bread has been sold and Twitter has lost its mind. Fox News is killing off its own demographic. While everything is cancelled, why not have a show?

In spite of everything, Silicon Valet is pleased to present Well Now WTF?, an online exhibition curated by Faith Holland, Lorna Mills, and Wade Wallerstein with web design by Kelani Nichole. Featuring over 90 artists with moving image practices, the show will open April 4, 2020 from 5 to 10 pm EST and run indefinitely.

With everything going on, we ask ourselves: Well Now WTF? We have no answer, but we do know how to make GIFs. We can come together and use the creative tools at our disposal to build a space for release outside of anxiety-inducing news cycles and banal social media feeds.

As co-curator Lorna Mills suggests, “Why masturbate alone, when we can all be wankers together?”

Well Now WTF? is as much an art show as a community gathering. Beginning with the opening on April 4 and throughout the exhibition, we will hold online events on the site itself and via Twitch where people can gather and talk as they would normally for a physical exhibition.

The exhibition will also be accompanied by essays by Wade Wallerstein and Seth Watter.

Well Now WTF? will be available online at wellnow.wtf. Join us for the opening party on April 4 via the embedded chatroom.The exhibition will be free and open to the public, with a $5 suggested, pay-what-you-wish entry that gets redistributed to the artists contributing work.

Images from the exhibition are available here. Please credit artists listed in file names when using.

Participating Artists: A Bill Miller, Ad Minoliti, Adrienne Crossman, Alex McLeod, Alice Bucknell, Alma Alloro, Andres Manniste, Anneli Goeller, Anthony Antonellis, Antonio Roberts, Ben Sang, Benjamin Gaulon, Bob Bicknell-Knight, Carla Gannis, Casey Kauffmann, Casey Reas, Cassie McQuater, Chiara Passa, Chris Collins, Cibelle Cavalli Bastos, Claudia Bitran, Claudia Hart, Clusterduck Collective, Daniel Temkin, Devin Kenny & Morgan Green, Don Hanson, Dominic Quagliozzi, Elektra KB, Ellen.Gif, Eltons Kuns, Emilie Gervais, Erica Lapadat-Janzen, Erica Magrey, Erin Gee, Eva Papamargariti, Faith Holland, Guido Segni, Hyo Myoung Kim, Ian Bruner, Jan Robert Leegte, Jenson Leonard, Jeremy Bailey, Jillian McDonald, Kamilia Kard, Kid Xanthrax, LaTurbo Avedon, Laura Gillmore, Laura Hyunjhee Kim, Lauryn Siegel, Libbi Ponce, Lilly Handley, Lorna Mills, LoVid, Mara Oscar Cassiani, Mark Dorf, Mark Klink, Maurice Andresen, Maya Ben David, Molly Erin McCarthy, Molly Soda, Nicolas Sassoon, Nicole Killian, Off Site Project, Olia Svetlanova, Olivia Ross, Pastiche Lumumba, Peter Burr, Petra Cortright, Rafia Santana, Rick Silva, Rita Jiménez, Rosa Menkman, Ryan Kuo, Ryan Trecartin, Santa France, Sara Ludy, Sebastian Schmieg, Shawné Michaelain Holloway, Stacie Ant, Sydney Shavers, Terrell Davis, Theo Triantafyllidis, Tiare Ribeaux, Travess Smalley, Wednesday Kim, Will Pappenheimer, Yidi Tsao, Yoshi Sodeoka, and more to be announced.

About Silicon Valet

Silicon Valet is a virtual parking lot for expanded internet practice, serving as a hub for the global spread of artists working with the internet and digital materials. Silicon Valet also hosts a digital arts residency and an online exhibition program.

Press Contacts

Silicon Valet

[email protected] / @silicon.valet

Faith Holland / Lorna Mills / Wade Wallertsein

[email protected] / [email protected] / [email protected]

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jdpink · 4 years ago

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But a non-N.F.T. digital art work, such as a GIF image backed by a certificate, is unlikely to draw the same price as an N.F.T., because it won’t attract a crowd of aggressive crypto-collectors. Kelani Nichole, the founder of the digital-art gallery TRANSFER, told me that, among the artists in N.F.T. marketplaces, Beeple stands out. His work could at least be considered political satire, which gives it a discernible art-historical lineage. Much of the other work that she’s seen is far less compelling. “It’s this dumb meme or this algorithmic art work that Manfred Mohr did a cooler version of decades ago,” Nichole said. “It’s bragging rights. It’s not about the aesthetics or the objects at all.”

https://www.newyorker.com/tech/annals-of-technology/how-beeple-crashed-the-art-world

#nftart

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lsadprofessionalpractice-blog · 7 years ago

Link

“My collection primarily consists of moving image works in new formats like GIFs, Software pieces and VR, which I am building an online home to exhibit publicly.”

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digitalbodiesperformed · 4 years ago

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vimeo

Balancing Act, 2020, Snow Yunxue Fu, 3D Animated GIF

Balancing Act is a 3D animated GIF work that Artist Snow Yunxue Fu made for the "Well Now WTF Exhibition" curated by the awesome team Faith Holland, Wade Wallerstein, Lorna Mills, installed by Kelani Nichole, and hosted by Silicon Valet.

"Balancing Act" depicts a woman marching forward with her head in an ominous cloud, reflecting how one may feel facing the current international pandemic and societal situations.

The work has been featured and reviewed in The New York Times, Art and Design, May 13th, 2020 issue: nyti.ms/2YUVaKC

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journeytothecenterofmyminduk · 4 years ago

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WADE WALLERSTEIN @habitualtruant Exhibition: Well Now WTF? As a digital curator, going into quarantine I was lucky that none of my planned activities were cancelled. That said, I did co-curate an exhibition alongside Lorna Mills, Faith Holland & exhibition designer Kelani Nichole called Well Now WTF?. The Internet–Museums are closed. School is cancelled. The world is shut off and we’re stuck indoors. All the bread has been sold and Twitter has lost its mind. Fox News is killing off its own demographic. While everything is cancelled, why not have a show? In spite of everything, Silicon Valet opened Well Now WTF?, an online exhibition featuring over 80 artists with moving image practices. With everything going on, we ask ourselves: Well Now WTF? We have no answer, but we do know how to make GIFs. We can come together and use the creative tools at our disposal to build a space for release outside of anxiety-inducing news cycles and banal social media feeds. Well Now WTF? is available online at www.wellnow.wtf. The exhibition is free and open to the public, with a $5 suggested, pay-what-you-wish entry that will be redistributed to the artists contributing work. The exhibition is accompanied by essays by Wade Wallerstein and Seth Barry Watter. Founded in 2019, @silicon.valet is a virtual parking lot for expanded internet practice, serving as a global hub for artists working with the internet and digital materials. In addition to an online exhibition program and near-daily Instagram showcase platform, Silicon Valet offers a virtual residency program offering one artist at a time the opportunity to experiment with algorithmically determined & feed-based display environments. Wade Wallerstein is an anthropologist from the San Francisco Bay Area. His research centers around communication in virtual spaces, new phenomenologies made possible by the digital, and the relationship between digital visual culture and contemporary art. Wallerstein is the founder and Director of Silicon Valet, a virtual parking lot for expanded internet art, where he runs an exhibition platform and digital artist residency program. #wadewallerstein #curatorial #onlineexhibition (en San Francisco, California) https://www.instagram.com/p/CBrFouGl719/?igshid=emg1jmpkpq2i

#wadewallerstein #curatorial #onlineexhibition

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rosa-menkman · 8 years ago

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Hey Berlin && Transmediale family!

I am really pleased to invite you to the performance of DCT:SYPHONING during – transmediale 2017 ever elusive –! The DCTs will start Syphoning straight after Morehshin and Daniel's German #ADDITIVISM Cookbook launch, which will take place on Saturday, February 4th, 6pm and features the recipe to read and write in DCT!

Besides the performance I will part take in two smaller events: The release of the Transmediale Reader on Post-digital Practices, Concepts, and Institutions, which will have launch event on Friday the 3th of February and straight after it the Machine Research publication.

This little collection of works released during Transmediale is rather special; its not just 3 printed papers and one artwork. All of them work in connection and together they form some of the little pieces of this little universe I have been working on for a while now; an ecology of compression complexities... thats all very exciting for me and too abstract and complex for a facebook post, but how exciting to think that even the PAL and the Angel of History get to have a cameo! And then there are blocks and wavelets and vectors connecting the dots...

I have to say I am always a bit confused and slightly worried about what it means to 'perform' VR, so lets see how this experiment progresses. But whatever happens, it will be exciting to finally see this work in its final version, after being a work in progress for about 2 years.

======================================

DCT:SYPHONING. The 1000000th (64th) interval.

Conceived by Rosa Menkman

About the work

A modern translation of the 1884 Edwin Abbott Abbott roman "Flatland", explains some of the algorithms at work in digital image compression.

Inspired by Syphon, an open source software by Tom Butterworth and Anton Marini, in DCT:SYPHONING, an anthropomorphised DCT (Senior) narrates its first SYPHON (data transfer) together with DCT Junior, and their interactions as they translate data from one image compression to a next (aka the “realms of complexity”).

As Senior introduces Junior to the different levels of image plane complexity, they move from the macroblocks (the realm in which they normally resonate), to dither, lines and the more complex realms of wavelets and vectors. Junior does not only react to old compressions technologies, but also the newer, more complex ones which ‘scare' Junior, because of their 'illegibility'.

Every image plane environment is made in a 3D Unity Level, and per level, artefacts from another realm of compression form the textural basis of the chapter.

Background of the work (DCT, 2015):

In 2015 Menkman developed DCT for the exhibition "Design my Privacy" commissioned by MOTI museum, Breda, Netherlands, which won a shared first price in the 2015 Crypto Design Challenge. The work DCT (2015) formed the basis for "DCT:SYPHONING. The 1000000th (64th) interval" (2015-2016).

The basic premise of “DCT” (2015):

The legibility of an encrypted message does not just depend on the complexity of the encryption algorithm, but also on the placement of the data of the message.

Discreet Cosine Transform (DCT) is a mathematical technique, that has been used since 1973, but only became widely implemented in 1992, when the JPEG image compression technology started using it as a core component. In the case of the JPEG compression, a DCT is used to describe a finite set of patterns, called macroblocks, that could be described as the 64 character making up the JPEG image, adding lumo and chroma values (light and color) as ‘intonation’. If an image is compressed correctly, its macroblocks become ‘invisible’, while any incidental trace of the macroblocks is generally ignored as artifact or error.

Keeping this in mind, Menkman developed DCT, a font that can be used on any TTF supporting device. DCT appropriates the algorithmic aesthetics of JPEG macroblocks to mask its 'secret' message as error. The encrypted message, hidden on the surface of the image is only legible by the ones in the know.

Production history of DCT:SYPHONING

DCT:SYPHONING was first commissioned by the Photographers Gallery in London, for the show Power Point Polemics.

This version was on display as a powerpoint presentation .ppt (Jan - Apr 2016).

A 3 channel video installation was conceived for the 2016 Transfer Gallery's show "Transfer Download", first installed at Minnesota Street Project in San Francisco (July - September, 2016)

The final form of DCT:SYPHONING will be in VR, as part of DiMoDA’s Morphe Presence on show right now at RISD, NYC. (jan 6-may14 2017)

DCT:SYPHONING. The 1000000th (64th) interval is dedicated to Nasir Ahmed and Lena JPEG Soderberg.

A Spomenik for Resolutions (that would never be)

A warm thank you go out to Transfer Gallery (Kelani Nichole) and DiMoDA (William Robertson and Alfredo Salazar-Caro)

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claudiahart-influences · 5 years ago

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vimeo

Alice is a machine for thinking: a virtual chamber for repose and contemplation. It mashes 3D animation, motion-captured ballet and music improvised live in the VR world, and then recaptured and placed in the bodies of music avatars who deform to that same music. It feeds-back the virtual and the live, blending them together in a liminal, uncanny mix.

The work consists of 2 parallel representations, coinciding in a single exhibition space. The first is a three-channel high-definition movie projected on three walls. It is a 3D animation rendered anamorphically as a panoramic expanse. The second is a VR surround environment mapped into the same physical space, built out as Vive VR. The dual spaces exist simultaneously though each is a construction of different epoques from the art history of representations: the age of capture and the analog camera and the current digital age. Hart has conceived of this doubling as liminal, a construction made possible through the “queering” of space and likens it to the technology theorist Donna Haraway’s notion of the Cyborg as first described in her 1983 Manifesto, where the writer imagined a Utopian future in which advanced bio-technologies would liberate human culture from the constraints of traditional gender binaries. As liminal, Alice constructs all of VR as a paradigmatic philosopher's hut, an uncanny mix of Wittgenstein and his Tractatus Logico-Philosophicus, and Alice in Wonderland with its inverted logic.

Alice is a 3 channel XR piece, created for exhibition with a Vive VR environment. This excerpted 4-minute version was produced for The Transfer "Download," curated by Kelani Nichole, for a special presentation at Christie’s Rockefeller Plaza in conjunction with their ART + TECH Summit on AI from June 25–28, 2019.

Music by Danielle DeGruttola Choreography and Captured Dancing: Kristina Isabelle Audio Mix by Edmund Campion Editing by Meredith Leich

Alice Unchained was created with the support of the Center for New Music and Audio Technology at UC Berkeley Motion Capture Technical Producer: Stéphane Dalbera Motion Capture Director: Jeremy Meunier Motion Capture Studio Courtesy Of: Game On, Montreal Motion Capture Post Production Courtesy Of: Atopos, Paris, in partnership with the Bachelor in Real-Time-3D Program, HECTIC, Paris

#ClaudiaHart #DanielleDeGrutolla #EdmundCampion #CNMAT #AliceXR #Alice3Channel

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fsx-atlas · 5 years ago

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misc.

1. paom.com

2. centrevox.ca [artists centre]

3. computer-arts-society.com

4. art-gene.co.uk

5. axisweb.org [support, document artists]

6. data editions

7. society for arts and technology [montreal]

8. panther modern [online gallery, la turbo avedon]

1. http://eyeofestival.com

2. http://recodeproject.com

3. http://interactivearchitecture.org

4 Transfer Gallery - Kelani Nichole

5. The Wrong Digital Art Biennale

6. Super Art Modern Museum

7. http://anti-utopias.com/

8. float.gallery

9. NEW INC, the New Museum - tech/arts incubator

10. Spamm - Museum of the Super Modern Arts

11. Vector Festival 2019, Toronto

12. screenslate.com

13. undervolt.co

14. ubu.com

15. http://digitalfolklore.org

16. http://drx.a-blast.org/~drx/dragan/piX0rz.en.html

17. http://www.upitup.com/artists/5

18. New Media Scotland

19. FACT, liverpool

20. newmediacaucus.org

21. uk - digital r&d fund https://www.artscouncil.org.uk/creative-media/digital-rd-fund-arts-2012-15

22. thespace.org

23. sciencegallery.com

24. britishartstudies.ac.uk

25. Lux [Benjamin Cook]

26. exp cinema.org

27. http://www.lespressesdureel.com/EN

28. newbloodart.com

29. IDFA Doc Lab

30. Scottish Arts Council

31. https://animateexperiment.wordpress.com

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puntoyrayafestival · 5 years ago

Video

vimeo

DCT:SYPHONING. The 1000000th (64th) interval. Conceived by Rosa Menkman About the work A modern translation of the 1884 Edwin Abbott Abbott roman "Flatland", explains some of the algorithms at work in digital image compression. Inspired by Syphon, an open source software by Tom Butterworth and Anton Marini, in DCT:SYPHONING, an anthropomorphised DCT (Senior) narrates its first SYPHON (data transfer) together with DCT Junior, and their interactions as they translate data from one image compression to a next (aka the “realms of complexity”). As Senior introduces Junior to the different levels of image plane complexity, they move from the macroblocks (the realm in which they normally resonate), to dither, lines and the more complex realms of wavelets and vectors. Junior does not only react to old compressions technologies, but also the newer, more complex ones which ‘scare' Junior, because of their 'illegibility'. Every image plane environment is made in a 3D Unity Level, and per level, artefacts from another realm of compression form the textural basis of the chapter. Background of the work (DCT, 2015): In 2015 Menkman developed DCT for the exhibition "Design my Privacy" commissioned by MOTI museum, Breda, Netherlands, which won a shared first price in the 2015 Crypto Design Challenge. The work DCT (2015) formed the basis for "DCT:SYPHONING. The 1000000th (64th) interval" (2015-2016). https://ift.tt/2JdvOOK The basic premise of “DCT” (2015): The legibility of an encrypted message does not just depend on the complexity of the encryption algorithm, but also on the placement of the data of the message. Discreet Cosine Transform (DCT) is a mathematical technique, that has been used since 1973, but only became widely implemented in 1992, when the JPEG image compression technology started using it as a core component. In the case of the JPEG compression, a DCT is used to describe a finite set of patterns, called macroblocks, that could be described as the 64 character making up the JPEG image, adding lumo and chroma values (light and color) as ‘intonation’. If an image is compressed correctly, its macroblocks become ‘invisible’, while any incidental trace of the macroblocks is generally ignored as artifact or error. Keeping this in mind, Menkman developed DCT, a font that can be used on any TTF supporting device. DCT appropriates the algorithmic aesthetics of JPEG macroblocks to mask its 'secret' message as error. The encrypted message, hidden on the surface of the image is only legible by the ones in the know. Production of DCT:SYPHONING DCT:SYPHONING was first commissioned by the Photographers Gallery in London, for the show Power Point Polemics. This version was on display as a powerpoint presentation .ppt (Jan - Apr 2016). https://ift.tt/2jQd1v9 A 3 channel video installation was conceived for the 2016 Transfer Gallery's show "Transfer Download", first installed at Minnesota Street Project in San Francisco (July - September, 2016) https://ift.tt/2aE3uV6 The final form of DCT:SYPHONING will be in VR, as part of DiMoDA’s Morphe Presence. https://ift.tt/2jQ4OHe DCT:SYPHONING. The 1000000th (64th) interval is dedicated to Nasir Ahmed and Lena JPEG Soderberg. A Spomenik for Resolutions (that would never be) A warm thank you go out to Transfer Gallery (Kelani Nichole) and DiMoDA (William Robertson and Alfredo Salazar-Caro)

#DCT:SYPHONING. The 64th Interval. one screen. Rosa Menkman

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caveartfair · 6 years ago

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What You Need to Know about Collecting Virtual-Reality Art

Installation view of SMK Fridays: Art in the Making, Statens Museum for Kunst, Copenhagen, 2018. Courtesy of Khora Contemporary.

How does one collect virtual reality? The question can start to sound like a koan—or perhaps the title of an unpublished Philip K. Dick novella. Yet as the possibilities of virtual reality develop, and VR artwork along with them, the art world is forced to wrestle with how to sell and care for such unique creations. While a group of tech-savvy artists, including Rachel Rossin and Jeremy Couillard, is deeply wedded to this type of media, production companies have also sprung up to collaborate with well-known artists—from Marina Abramović to Anish Kapoor—who are often VR novices. Meanwhile, consumer-grade technology, from companies like HTC or Oculus, is putting VR artwork within the reach of more and more viewers. In order to suss out some of the medium’s challenges and rewards for collectors, we spoke to a number of experts from various corners of this burgeoning field. Here are some things to keep in mind before donning your headset—and opening your wallet.

Rethink the art world’s scarcity economy

Transdimensional Serpent, 2016. Jon Rafman Seventeen

One question that comes up often in discussions of VR artworks and the market is how, exactly, such pieces could or should be sold. Let’s say you’re acquiring a Wolfgang Tillmans photograph. The work would be editioned, perhaps with additional artist’s proofs—but the gallery representing the artist would probably not concurrently post a high-resolution file of the image, welcoming anyone to reprint it at their local copy shop. For some working on the cutting-edge of VR art, collecting such material involves letting go of some of the preconceptions we have surrounding unique art objects and their attendant value.

Certain artists have a vested interest in hosting their VR creations online, where anyone can access them. “The natural inclination is: Come into my virtual-reality world. If you have the equipment, here’s the file, come experience this,” said Kelani Nichole, the founder of TRANSFER, a gallery focused on new media that is currently relocating from Brooklyn to Los Angeles. “It’s a piece that’s meant to be seen and distributed. That’s the nature of the thing.”

Code Art Fair, Copenhagen, 2018. Courtesy of Khora Contemporary.

She’s quick to note that this isn’t a universal inclination. Some artists, like Jon Rafman, are working within more traditional gallery networks and models of acquisition. But Nichole believes that the spirit of VR art tends toward “openness and access and not scarcity,” with scarcity, of course, being what drives the art market—the notion that something is unique, and therefore more valuable. A collector eager to engage with VR art might need to leave such notions at the door and get comfortable with the idea that they own a work that is also freely available to others. Daniel Birnbaum, director of the VR production powerhouse Acute Art, mentioned other approaches that could develop in interesting ways. (Acute Art will be moving in a more market-adjacent direction next month, when Birnbaum stages a virtual- and augmented-reality exhibition, “Electric,” as part of Frieze New York.) One thread, he said, might involve concepts arising from the blockchain community regarding partial or collective ownership of works.

In that sense, collecting can start to look more like gracious patronage: an investment in the worth of artistic and technological experimentation for their own sakes. But this isn’t a brand new phenomenon. Virtual-reality art brings up issues that “challenge some of our most persistent models for connoisseurship, ownership, and patronage,” said Megan Newcome, the director of digital strategy at Phillips auction house. “[But] the history of the art market is replete with disruption and triumphs for challenging genres and materials—so the emergence of VR is consistent with other new mediums and periods of cultural change.”

“Obsolescence can be interesting”

Paul McCarthy, C.S.S.C. Coach Stage Stage Coach VR experiment Mary and Eve, 2017. Photo by Alex Stevens. © Paul McCarthy and Khora Contemporary. Courtesy of the artist, Hauser & Wirth, Xavier Hufkens and Khora Contemporary.

No one wants to purchase a device that seems bleeding-edge today, but ends up as laughably archaic as the 8-track cassette within a span of a few months. And yet there are plenty of reasons not to obsess over the specific technology that any one VR artwork employs.

“Maybe things get a little bit obsolete,” Birnbaum surmised. “Obsolescence can be interesting. Something produced in 2015, we can already see that it is old. Is that attractive, is it good? Maybe those technology-specific questions could become part of the conversation.” He brought up the example of classic Bruce Nauman videos from the 1960s or ’70s, which generally have the polish (or lack thereof) of their time, and are shown on era-specific monitors. Sandra Nedvetskaia, a partner at the Danish VR production firm Khora Contemporary, offered a similar sentiment: “Just like with video art pieces from the 1970s or ’80s, earlier works are part of VR art history, and are never really outdated as such.”

Rachel Rossin, Man Mask (VR still), 2017. Courtesy of the artist.

In the case of Nauman, no one would suggest that those iconic works should be remastered, to be shown in crisp high-definition. And yet the artist himself, in recent years, has been revisiting his own tropes for new works, some of which incorporate 3D technology. With VR artworks, issues of obsolescence and conservation might be even more central—and fluid. “The work itself is about the evolution of the technology,” Nichole said. “It’s intrinsically tied to the tech that it’s built upon.…As those things are iterating and changing, the way that the work also evolves is part of that.”

Conservation as a conversation

Anish Kapoor, Into Yourself, Fall (VR still), 2018. Courtesy of Anish Kapoor and Acute Art.

“These artworks obviously require a different type of care and stewardship than more conventional, object-based artworks,” Newcome said. While collectors have protocols in place for owning sculptures, paintings, or photographs, VR can seem like a brave new world. “Talk to the artist,” she counseled. “Ask them what your role, as the collector, would be in maintaining and preserving the work.” There’s also a growing guard of professionals who are mastering the unique challenges of the medium. “Today’s art conservationists,” Newcome added, “look and sound more like technologists and hackers than their predecessors.”

One such specialist is Ben Fino-Radin, the founder of Small Data Industries. “The conservation of a virtual reality–based artwork is a complex proposition that is arguably one of the toughest challenges that has been faced by the field of time-based media conservation,” he said. “One not only faces a relatively complex piece of software, but one that is inextricably tied to a particular piece of hardware which will inevitably degrade, age, and cease to function or become obsolete. What we have found in our work with these hybrid digital/physical artifacts is that an entirely different model of collections care is required. Ordinarily, one might give conservation attention to an artwork every five or so years at best.”

Installation view of Rosa Menkman, “Behind White Shadows,” VR at Transfer, 2017. Courtesy of Transfer.

Fino-Radin suggested that collectors of VR art schedule such works for a check-up every year. “This ensures that rather than being faced with an insurmountable labyrinth of obsolescence five years down the road, and having to hunt down someone who remembers how to deal with the obscure technical issues from years past,” he said, “one can simply attend to the smaller more incremental issues as they crop up on a year-to-year basis—weeding the garden, so to speak.”

Some dealers are also thinking about how existing artworks can keep pace with rapidly evolving technology. Nichole of TRANSFER, for instance, favors what she calls a “living edition”—a VR artwork that may be tweaked or improved by the artist over time, as software and hardware capabilities improve. These changes and updates are made available to initial collectors—so that someone who acquires a piece early is able to enjoy the same experience made available to future collectors of the same artwork.

Don’t always privilege spectacle

Installation view of New Media (Virtual Reality), Khora Contemporary Launch presented by Faurschou Foundation and Fondazione Cini, Venice, 2017. Courtesy of Khora Contemporary.

In Jordan Wolfson’s VR work Real Violence (2017), a shocking highlight of the 2017 Whitney Biennial, viewers became bystanders to a brutal and bloody beating. Khora Contemporary’s collaboration with Paul McCarthy brought the artist’s lurid vision to life in ways that were in-your-face and uncomfortable. VR technology has also been used to replicate the experience of being inside one of Yayoi Kusama’s “Infinity Rooms.” A Polish artist duo named Pussykrew recently debuted a VR work at Postmasters Gallery in New York that promises “supernatural scenery” that “imagine[s] the future post-human landscape.” And Birnbaum described to me a work by Antony Gormley, produced in conjunction with Acute Art, which brings viewers on a rapid trip to the moon in a way that is “overwhelming.”

Anish Kapoor, Into Yourself, Fall (VR still), 2018. Courtesy of Anish Kapoor and Acute Art.

When many art lovers think of virtual reality, their minds may automatically move toward such intensely sensational and emotional experiences. But as the field develops, collectors may want to address other considerations: What can VR accomplish that is unique to this medium? And does that always have to mean flashy, astounding, or visceral interactions? Birnbaum pointed to a work in development that will be unveiled as part of “Electric,” his exhibition at Frieze New York. Undertaken with the mixed-media painter R.H. Quaytman, it’s a VR exploration of Hilma af Klint’s tropes and motifs. “It shows that VR can be used in places where one doesn’t expect it,” he said. “That VR is not only sensational. This will be very subtle—and I hope, not boring. It’s going to be challenging and interesting.”

As a collector, being open to such subtle experiences will ultimately help to enrich the field as a whole. Think of yourself as a film connoisseur with broad and democratic tastes—able to enjoy both the Hollywood blockbuster and the glacial European psychodrama.

You don’t need to be tech-savvy to love VR

Installation view of Claudia Hart, “The Flower Matrix,” Transfer VR Commission at Wallplay in Chelsea, 2018. Courtesy of Transfer.

“Give us a 3-by-3-meter space, and we can install your VR artwork in your home,” said Nedvetskaia of Khora Contemporary. “The challenge is the novelty of the medium itself and the fear of the unknown. Yet a collector familiar with video art, installations, or site-specific artworks can comfortably display VR in their private environment.” (Of course, as with those more traditional formats, it always helps to have access to a consultant who is well-versed in the medium’s intricacies.)

While the software and hardware underpinning a VR artwork might be very complex, Birnbaum noted that enjoying the fruits of that labor is much simpler. As is the case with most artworks, he said, having a rich understanding of the medium’s formal intricacies can only improve the encounter—but it’s not a prerequisite. “I’m not a chef, but I like going out to eat,” he joked. “Do you have to know how the film is produced when you go look at the new James Bond movie? Or do you have to understand what cameras Tarkovsky used when he did Stalker? I don’t think so.” Birnbaum envisions a day when VR will advance so that viewers don’t have to do much more than “buy it, turn it on, and experience it.” Further down the road, he added, subscription-based models akin to Netflix or Spotify might even arise.

Rachel Rossin, Man Mask (VR still), 2017. Courtesy of the artist.

Virtual-reality art is a high-tech medium that can be thoroughly enjoyed by low-tech bystanders (this writer very much included). “When you’re thinking about collecting virtual-reality work, you see it as avant-garde experimentation with a new potential for visual creation, a new artistic tool,” said Nichole. “And you absolutely want to be early in acquiring it, and investing in the studios who are doing that kind of work, despite all the odds.”

“Artists working in VR and other new and emerging technologies continue to gain cultural value and provide energy and excitement to the contemporary art scene,” Newcome said. “But the broader collecting community is always going to be a bit more cautious and risk-averse.…You’re not alone, as a collector, or a human, if you don’t quite know what to think of VR yet. The history of this medium is being written now. But that fact in itself should be exciting to a collector who wants to be engaged in contemporary culture.”

from Artsy News

#Artsy News

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adngold · 6 years ago

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Et si Zardulu nous menait en bateau?

Et si Zardulu nous menait en bateau? Créatrice de canulars visuels sur internet, Zardulu ne communique avec les humains que sur twitter. Personne ne connaît son visage. Même, Kelani Nichole, directrice de la galerie Transfer, qui...

http://bit.ly/2D8Dykk

#Et si Zardulu nous menait en bateau?

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automaticar · 7 years ago

Video

vimeo

Panel: Contexts and Conditions for Independent World-Making (Angela Washko with Ingrid Kopp, Jason Eppink, Jax Deluca, Kelani Nichole, Lauren Goshinski, and Winslow Porter) In this panel, we hear from individuals who are supporting the presentation and development of independent virtual/augmented reality artforms, and discuss the ways in which farsighted curators, gallerists, organizers and producers perceive (and are working to shape) the ecology of indie VR. Featuring the participation of: Angela Washko (Panel Chair; CMU School of Art), and discussants: Ingrid Kopp (Tribeca Film Festival) Jason Eppink (Museum of the Moving Image) Jax Deluca (National Endowment for the Arts) Kelani Nichole (Transfer Gallery) Lauren Goshinski (Co-Director, VIA Festival; co-curator, WEIRD REALITY) Winslow Porter (Independent Producer)

#Vimeo

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nofomoartworld · 8 years ago

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Art F City: Next 50 People to Buy an AFC Goth Benefit Ticket Get a Limited Edition T-Shirt!

When: April 18, 2017, 6:00 PM – 10:00 PM Where: Collapsable Hole, 55 Bethune Street, New York, NY Tickets: $75-$2000

Good news readers! If you’re one of the next 50 people to buy a ticket to the Art F City Goth Benefit, you get a limited edition t-shirt out of the deal. This isn’t any ordinary t-shirt. We worked with designer Phillip Niemeyer to produce this design, which pairs the famous logo of the Bauhaus School of Design—later, appropriated and popularized by the goth band, Bauhaus, with the Art F City Goth Opera logo. Perfectly balanced, this design represents the brave spareness within the best Modernist work, with the courage imbued within goth culture and the art world at large. But act fast. There are only 50 t-shirts and they won’t be available for long.

Whether Bauhaus has been on your playlist since before iTunes existed or you’re a black-lipstick virgin, the April 18th Art F City Goth Benefit is an event for you. The more black you wear, the better your night.

We’re deadly serious. Those who come coupled, and in full goth garb will receive a $50 discount. Show up at the door together, and we’ll hand cuff you for an additional $25. We’re not going so far as to offer neck leashes, but anyone who has had a rib removed for better corset shaping gets in for free.

That’s important because we want the setting to be dark and romantic for Joseph Keckler, who will perform a 20 minute set of some of his greatest goth opera masterpieces. (Get your stage side table ticket for two, for the full date night experience.) It will be a show you won’t forget. While there, artist and Instagram star Sean Fader and crew will take your photo and print it out for you.

Coming to this event should feel good. It means supporting Art F City, one of New York’s most storied online publications—a brave voice in these challenging times, unafraid to take hard positions and lay out what’s at stake. And ultimately it’s this sensibility that’s driving this event. It’s not just that the goth aesthetic has taken over the art world (though it has), but that goth culture, with all its sensitivity, with all its courage, is what’s needed. Surely that’s something to celebrate.

Art F City is a 501c3 and non-profit registered in the State of New York. Your donations are 100 percent tax deductible to the fullest extent of the law.

Benefit Committee

Chair: Marisa Sage. Committee: Robin Cembalest, Meryl Cooper, Nicholas Cueva, Matthew Deleget, Amanda Devereux, Robert Dimin, Purdy Eaton, Carla Gannis, Sarah Landreth, Matthew Leifheit, Elissa Levy, Lisa Levy, Danielle Mysliwiec, Kelani Nichole, Marsha Owett, Paul Skiff, Michelle Vitelle, Jaimie Warren, Jessica Wessel, Helena Willner.

Auction Committee

Co-chairs: Danielle Mysliwiec and Paddy Johnson. Committee: Joshua Abelow, Tim Doud, Marc Handelman, Rod Malin, David McBride, Adrianne Rubenstein, and Jessica Wessel.

Promo image: Jaimie Warren

Graphic Design: Northern Southern

from Art F City http://ift.tt/2oaYezB via IFTTT

#IFTTT #Art F City

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noise-rm · 8 years ago

Video

vimeo

DCT:SYPHONING. The 1000000th interval (The 64th interval). from Rosa Menkman on Vimeo.

7’ min 3 channel video installation.

DCT:SYPHONING. The 1000000th interval. (decimal: The 64th interval.) Conceived by Rosa Menkman

About the work A modern translation of the 1884 Edwin Abbott Abbott roman "Flatland", explains some of the algorithms at work in digital image compression. Inspired by Syphon, an open source software by Tom Butterworth and Anton Marini, in DCT:SYPHONING, an anthropomorphised DCT (Senior) narrates its first SYPHON (data transfer) together with DCT Junior, and their interactions as they translate data from one image compression to a next (aka the “realms of complexity”). As Senior introduces Junior to the different levels of image plane complexity, they move from the macroblocks (the realm in which they normally resonate), to dither, lines and the more complex realms of wavelets and vectors. Junior does not only react to old compressions technologies, but also the newer, more complex ones which ‘scare' Junior, because of their 'illegibility'.

Every image plane environment is made in a 3D Unity Level, and per level, artefacts from another realm of compression form the textural basis of the chapter.

Background of the work (DCT, 2015): In 2015 Menkman developed DCT for the exhibition "Design my Privacy" commissioned by MOTI museum, Breda, Netherlands, which won a shared first price in the 2015 Crypto Design Challenge. The work DCT (2015) formed the basis for "DCT:SYPHONING. The 1000000th (64th) interval" (2015-2016). cryptodesign.org/winners-crypto-design-challenge-2015/

The basic premise of “DCT” (2015): The legibility of an encrypted message does not just depend on the complexity of the encryption algorithm, but also on the placement of the data of the message. Discreet Cosine Transform (DCT) is a mathematical technique, that has been used since 1973, but only became widely implemented in 1992, when the JPEG image compression technology started using it as a core component. In the case of the JPEG compression, a DCT is used to describe a finite set of patterns, called macroblocks, that could be described as the 64 character making up the JPEG image, adding lumo and chroma values (light and color) as ‘intonation’. If an image is compressed correctly, its macroblocks become ‘invisible’, while any incidental trace of the macroblocks is generally ignored as artifact or error. Keeping this in mind, Menkman developed DCT, a font that can be used on any TTF supporting device. DCT appropriates the algorithmic aesthetics of JPEG macroblocks to mask its 'secret' message as error. The encrypted message, hidden on the surface of the image is only legible by the ones in the know.

Production of DCT:SYPHONING DCT:SYPHONING was first commissioned by the Photographers Gallery in London, for the show Power Point Polemics. This version was on display as a powerpoint presentation .ppt (Jan - Apr 2016). thephotographersgallery.org.uk/powerpoint-polemics-2

A 3 channel video installation was conceived for the 2016 Transfer Gallery's show "Transfer Download", first installed at Minnesota Street Project in San Francisco (July - September, 2016) transfergallery.com/transfer-download-minnesota-street-project/

The final form of DCT:SYPHONING will be in VR, as part of DiMoDA’s Morphe Presence. risdmuseum.org/art_design/exhibitions/211_dimoda_2_0_morphe_presence

DCT:SYPHONING. The 1000000th (64th) interval is dedicated to Nasir Ahmed and Lena JPEG Soderberg. A Spomenik for Resolutions (that would never be) A warm thank you go out to Transfer Gallery (Kelani Nichole) and DiMoDA (William Robertson and Alfredo Salazar-Caro)

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