Category Archives: new media art

Eddie Whelan/Grass Giraffes – Better Alone

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Better Alone

We’ve followed Eddie Whelan’s work from the very beginning and enjoyed it all the
way.
More than enjoyed, actually. Been impressed and moved by the care, thought and skill
with which he approaches everything and particularly by his forging of a very personal,
nuanced and beautiful language from the practice of data-moshing.

He has recently turned his talents to the making of music videos –
and the constraints of the form, both in terms of time and the unity demanded
by serving a soundtrack make for small jewells of lyric visual poetry.

I gather he also plays on this one, and they,Grass Giraffes, have an EP forthcoming in May.
I’ll certainly be investing in a copy.

Peter Scott – Death was the West

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Death was the West
Death was the West (2012, 221MB, 5:19 min)

A restrained, austere, smart and at the same time gripping piece from
Essex, UK, film-maker Peter Scott, still in his final months at art school.
I understand it to be a by product of a work in progress but it
has an integrity and presence entirely of its own.
I look forward to more.

2 from Patrick Lichty

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Explaining Conceptual Art to Bizarro
Explaining Conceptual Art to Bizarro (2012, 89MB, 1:36 min)

Danger Music #17
Danger Music #17 by Dick Higgins (2012, 19MB, 45 secs)

And to celebrate our resurrection (for which heartfelt thanks go to James Morris), two newish pieces from the redoubtable (I write so many of these things a nagging doubt enters my mind as to whether I’ve perhaps called Patrick redoubtable before, once, twice…more? But leave it – redoubtable he is) Patrick Lichty.

Both pieces take place in DC Universe Online, about which I know nothing so I won’t even begin to show myself up by attempting to expand, and both reference recent art history – one Beuys explaining pictures to a dead hare and the other Dick Higgins’s Danger Music.
Both are utterly splendid.

Paul Slocum – Time Lapse Homepage

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tlh_web
Time Lapse Homepage (2003, 18.4 MB, 55 sec.)

‘Paul Slocum‘s Time-Lapse Homepage (2003) signifies through accretion.
This high-definition video is composed of 1,000 computer screenshots
of his homepage. Complete with an upbeat score that could easily be
a corporate jingle to promote a new technology, the stills display the
building, erosion, and occasional complete overhaul of an ever-evolving
Web site. This work provides a layered historical record of something
we tend to see only in discrete units-the appearance of a homepage on
any given day-while attempting to think through Web design in the
language of earlier time-based media.’

‘Want’ by MTAA & RSG

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want
Want (clip) (2008, 74 MB, 2 min.)

‘Want was a new multiple channel algorithmic video installation as part of the exhibition
‘Live’ at the Beall Center for Art & Technology.
The life-sized six-screen video display uses custom software to monitor real time
Internet searches. When the software finds a programmed keyword, it triggers a
video clip of one of several actors/avatars who translates the virtual request to reality.

A soccer mom says,’I want French.’
A rocker dude says, ‘I want Star Trek Enterprise.’
A nondescript middle-aged guy says, ‘I want Little Girl.’
A girl says, ‘I want Forever.’

The six video screens are triggered almost concurrently, causing the voiced requests
to overlap. The result is an audio-visual cacophony of desire; an online echo chamber
of warped reality.‘

By MTAA and RSG.

ASCII Rock – Yoshi Sodeoka

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LedZepplinWholeLottaLove
Whole Lotta Love by Led Zeppelin (2003, 20 MB, 4:14 min.)

vh-unchained
Unchained by Van Halen (2003, 18 MB, 3:21 min.)

Ascii Rock by Yoshi Sodeoka is a brilliant example of the genre of ASCII art, which creates still images and videos entirely out of alphabetic and numeric characters (ASCII stands for American Standard Code for Information Interchange, a common format for text files in computers and on the Internet that represents alphabetic and numeric characters as binary numbers)

Cory Arcangel – Urbandale

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urbandale
Urbandale (2000, 43MB, 7:30 min.)

“Urbandale”, an ASCII/ANSI movie by Cory Arcangel.
“Filmed at Urbandale Plaza in the eastern suburbs of Buffalo N.Y.,
“urbandale” is a study of America’s suburban sprawl stripped to its barest
essentials and void of unnecessary contemporary cultural influence. This
film captures the sly, bland smile strip plazas cast at modern culture.
The film, rendered in text, focuses on the repetitive motion of food
stuffs being cooked in the lobby of a discount department store.”

“Urbandale” is a 2000 commission of New Radio and Performing Arts, Inc
for its Turbulence project.

New Media in the Marketplace – Listen to the Podcast

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emerging_fields_in_Marketplace
New Media in the Marketplace (2011, 37 MB, 52 min)

“Over the years, we’ve found that a number of the artists we support in our Emerging Fields category have questions about how they can better market and exhibit their work. They have questions about pricing and editioning; changing formats; what it is that they are actually selling when they offer a work for sale; what their obligations to representatives and collectors are after a sale; and whether or not they should even participate in an art market that is, in their eyes, more sympathetic and better able to represent works in more conventional or established media.

On November 2, Creative Capital hosted a webinar for grantees to explore some of these issues and answer specific questions from artists working in new media. The panelists were Jason Salavon (2000 Visual Arts), Karolina Sobecka (2009 Emerging Fields), Stephen Vitiello (2006 Emerging Fields) and Marina Zurkow (2001 Visual Arts). Sean Elwood, Creative Capital’s Director of Programs & Initiatives, served as the facilitator.”

LISTEN TO THE PODCAST FROM THIS DISCUSSION

Podcast from The Lab.

Another from Ruth Catlow

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as i looked up
travel images unseen (2011, 156MB, 6:01 min)

‘5 video clips taken on a simple video camera, through a window on a coach to the
plane from Istanbul and arriving in London by train. Selected by and stitched, unseen
by the creator who will never watch the video, ever.’

The gentlest conceptualism & quite, quite lovely too.
There’s something about knowing the premise that leaves one
very open – one could say innoculates one – to its formal consequences –
here a looseness which somehow gently stretches time, makes it grainier
but conversely sharpens our attention, perhaps to make up for the
maker’s own vow of abstention.
One more in the series to come.