the project room chelsea museum ny

http://www.virtualart.at

JOHN F. SIMON, Jr., HD TRAFFIC, 2009

software and HD video

Biography

b. 1963, Louisiana. Lives and works in New York.

HD Traffic to create time-based

MARK NAPIER, PAM STANDING, 2009

custom software, computer, monitor, generative animation. Overall: 42 x 24 x 7″ / 106 x 61 x 18 cm; Screen: 23 x 15 x 4″ / 58 x 38 x 10 cm edition of 3

Biography

b. 1961, United States. Lives and works in New York.

Mark Napier is recognized as one of the first to explore the potential of the Internet as a space for public art. Breaking boundaries of ownership in early web-based works such as Shredder (1998), Riot (1999), and Feed (2001), Napier questioned fixed designs of web navigation, opened content choices to users, and dissolved information into abstract expression. His recent works investigate monumentality, permanence, skin, the body, obsolescence, mythology, and architecture.

Commissioned to create Internet art for the permanent collections of the Solomon R. Guggenheim Museum and the San Francisco Museum of Modern Art, Napier was also part of the 2002 biennial at the Whitney Museum of American Art. Exhibitions of his work include Centre Pompidou, Paris; P.S.1, New York; Walker Art Center, Minneapolis; Ars Electronica, Linz; The iMAL Center, Brussels; Eyebeam; Markel Foundation in Rockefeller Center; Center for Curatorial Studies at Bard College; Princeton Art Museum; la Villette, Paris, W Hotel, Seoul; Lafayette College; and Cleveland State University. He has received grants from Creative Capital, the Greenwall Foundation, and the New York Foundation for the Arts.

About the Work

PAM Standing is a new-media Venus: a body re-formed from fragments scattered across the web. This generative screen-based work is a mashup of hundreds of images of Pamela Anderson downloaded from the Internet. Body parts of the pop-culture diva are joined together to form a virtual marionette that moves puppet-like on the screen. Flesh tones blend with numbers, lines and arrows that reveal the skeletal framework of the figure. In a reversal of Cubism, the female figure is “de-fragmented”, rejoined into one seemingly complete body from it’s media representation. Part reflection and part parody, PAM Standing explores sexuality in a world dominated by digital media and global information networks.

Courtesy: bitforms gallery nyc

Alice’s Adventures in Wonderland TextArc 2001-2010

Alice’s Adventures in Wonderland TextArc 2001-2010

A TextArc is a visual index that draws an entire text, line by line, around the outside of a page; then repeats the text, word by word, just inside. If a word occurs more than once it’s drawn larger, at the centroid of all its occurrences. This lets one see which words are used mostly in one place (they’re pulled toward that place) and which are distributed in a more interesting way. Stars (“distribution glyphs”) next to each word point to every occurrence.

CodeProfiles 2002-2003

CodeProfiles was written August 9-15, 2002 for the CODeDOC exhibition at the Whitney Museum of American Art; commissioned by Christiane Paul whose curatorial agenda for the show became the organizing thesis of the print.

 Once More Around the Sun, 2007-2010

Once more around the sun is a calendar designed to allow easy travel conflict spotting (since you can circle contiguous days with no weekend breaks), and to let people mark the more important events during the year with one or two words. It is printed yearly on newsprint-like (though high-quality) stock, folded, and distributed in packages of three to help people feel comfortable using it as a scratch pad on which to plot their lives; inventing their own visual language as they go.

 Relationships Among Scientific Paradigms

W. Bradford Paley, Dick Klavans, Kevin Boyack

This “map of science” was constructed by sorting roughly 800,000 scientific papers into 776 different scientific paradigms (shown as colored circular nodes), based on how often the papers were cited together by authors of other papers. Links (thin curved lines) were made between the paradigms that shared common papers, then treated as rubber bands; holding similar paradigms closer to one another while a physical simulation forced them all apart. Thus the layout derives directly from the data. Larger paradigm circles contain more papers. The feather boa-like labels list common words unique to each paradigm.

SCOTT DRAVES, GENERATION 243, 2009

Original software, nonrepeating playback of 12GB of 1080p nonlinear video, internet community consisting of 350,000 people and computers

Generation 243

AARON KOBLIN AND CHRIS MILK, THE JOHNNY CASH PROJECT, 2010

music video, collaborative web project

JAMES FROST (Director) and AARON KOBLIN (Director of Technology), HOUSE OF CARDS, 2008

music video, interactive data viewer, source code

The Johnny Cash Project

House of Cards

band Radiohead into a three-dimensional particle-driven data experience. The code and data were launched on Google Code as an open source “music video without video” project. Aaron Koblin was Director of Technology. With Director James Frost and a bunch of other great people, lasers and sensors were used to create a 3D data “music video”. The project was launched as an Open Source project on Google Code. An interactive online viewer (created along with Aaron Meyers) allows for 3D investigation of the data online. Nominations in 2009 include a Grammy for Best Short Form Music Video, UK VMA for Best Rock Video, and British Design Museum Awards.

VICTORIA & ALBERT MUSEUM http://www.vam.ac.uk/microsites/decode/

Digital Art @ Google

Exhibition location:
Google, Inc.
75 Ninth Avenue, 2nd Floor
Guests must RSVP
rsvp@chelseaartmuseum.org  

Google and The Project Room for New Media at Chelsea Art Museum (CAM) in New York are launching an exhibition program, Digital Art @Google NYC, which will engage Googlers with the art world and promote creativity with digital technology. Data Poetics, will open June 11 with works by well-known international digital artists, Scott Draves, R. Luke DuBois, Aaron Koblin, Mark Napier, W. Bradford Paley, Lincoln Schatz, John F. Simon, Jr., Thomson and Craighead, Martin Wattenberg and Fernanda Viegas. The exhibitions and artist talks, which will take place at Google, will be open to guests at times announced on the website. 

Digital Art @Google NYC is curated by Nina Colosi, Curator of The Project Room for New Media at CAM and founder of its public art program, Streaming Museum, which presents exhibitions in cyberspace and public spaces on 7 continents. The programs were inspired by pioneer video artist Nam June Paik who in the 1970s envisioned the Internet, predicting an “information superhighway” as an open and free medium for imagination and exchange of cultures. 

According to Colosi, “A natural synergy exists with Google in this partnership. The Project Room’s program showcases artworks and educational programs in its dramatic two-story black box space at Chelsea Art Museum, which incorporate technology and the Internet in the creative process.” 

Digital Art @Google emphasizes the correlation of Google’s mission in organizing the world’s information and making it accessible, with the ability of artists to reflect and synthesize information in the creation of artwork that expresses the contemporary world. The exhibitions and speaker programs will inspire, entertain, and help envision the world in new ways. 

The exhibition program was initiated at Google by Josh Mittleman, User Interface Software Engineer, and supported by the Google Community Affairs committee at Google New York City. Mittleman described the motivation of the exhibit, “Art is one of many tools that can help to organize and make sense of the world’s information. Digital Art @Google NYC is the first step toward introducing the digital arts community to Google, and to starting a conversation that will lead to a rich, ongoing collaboration.” 

The opening reception will be held on Friday, June 11, 2010 from 6-9 PM. Visitors may attend the opening, view the exhibition, and participate in the artist speaker program taking place at Google, Inc., 75 Ninth Avenue, 2nd floor, by sending an email to RSVP@chelseaartmuseum.org


 HOMSON & CRAIGHEAD, GOOGLE TEA TOWELS, 2002

4 prints, 29″ x 17″ each

Biography

Craighead b. 1971 Scotland, Thomson b. 1969 United Kingdom. Live in London and Kingussie, Scotland.

Jon Thomson and Alison Craighead are fascinated by how global communications networks like the web are transforming the way we all perceive and understand the world around us. They live and work in London and Kingussie in the highlands of Scotland and make artworks for galleries, online and sometimes outdoors. Recent exhibitions include: Artists Space, New York; FACT, Liverpool; Tang Contemporary, Beijing; Dundee Contemporary Arts; and Moderna Museet, Stockholm. They currently have a solo exhibition at the Highland Institute of Contemporary Art (H-I-C-A) in Inverness-shire and are screening their recent video work, ‘Several Interruptions’ on the side of a highrise building in Syracuse, New York as part of the Urban Video Project.

About the Work

A beautifully crafted set of four tea towels sporting a series of authentic search engine results returned to a user when the criteria, “Please Help Me”, “Is Anybody there?”, “Please listen to me” and, “Can you hear me?” were entered into the search field, while using Google in Netscape 4.7 on Mac OS 9.2 or Netscape 6 on Windows 98.

 IMT GALLERY LONDON BOOROUGHS HOMMENAGE with scanner and others

http://www.imagemusictext.com/project-listing/deadfingerstalk

http://www.fvu.co.uk/artists/details/thomson-craighead/