Listing entries tagged with art

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illumination   04.16.2008, 5:04 PM

Kyle Bean, student at the University of Brighton sent me this nice example of his work. More hybrid books on his site http://kylebean.co.uk

Posted by chris meade at 05:04 PM | Comments (0)
tags: art , book

step inside the books: new york event this friday (3/21)   03.17.2008, 5:31 PM

If you're in the New York area, don't miss this. Friday, March 21, 2008, 7-9pm—New York, NY—125 Maiden Lane, 2nd Floor.

FOR ONE NIGHT ONLY: Step inside three books, drink free beer and wine, and experience the future of the book:

Mark Batty Publisher, Hotel St. George Press, the Institute for the Future of the Book, and the Lower Manhattan Cultural Council’s Workspace Writers Residency program offer a night of multi-media readings that invite attendees to step inside books, celebrating how new media and traditional publishing fuse to create innovative projects that are more than “just books.” On this night, authors Garth Risk Hallberg, Alex Rose, and Alex Itin demonstrate how their stories rely on more than just words.

Hallberg’s illustrated novella, A Field Guide to the North American Family, documents two fictional families through 63 entries accompanied by evocative photographs contributed by some of today’s freshest photographic talents, as culled from the book’s ongoing companion website, afieldguide.com. Read from start to finish or in a “choose your own adventure” style, Hallberg’s attention to narrative detail makes clear why he was included in the 2008 Harcourt Best New American Voices anthology, and why Print called A Field Guide to the North American Family “a modern illuminated manuscript.” Hallberg will project photographs from the book.

The interwoven, post-modern folktales that comprise The Musical Illusionist by Alex Rose muse upon historical arcana, tethered together by music and topography. Drawing on his experience as a director whose films, videos, and animations have appeared on HBO, MTV, Comedy Central, Showtime, and the BBC, Rose conjures, in the words of the Village Voice, “the playful parables of Jorge Luis Borges . . . exotic maps and exquisite prints further suggest a volume passed down from an epoch much more enthralled with mystery than our own.” Rose will read from the title story of his collection, accompanied by a surround-sound score composed by David Little and recorded by the Formalist Quartet.

As an artist-in-residence at Brooklyn’s Institute for the Future of the Book, Alex Itin uses text, original illustrations and animations, and music to encourage readers to reconsider the definition of a book. Take for example Itin’s Orson Whales: Melville’s Moby Dick meets Orson Welles, and Led Zeppelin. Itin’s multi-media books will be screened.

The LMCC is the leading voice for arts and culture in downtown New York City, producing cultural events and promoting the arts through grants, services, advocacy, and cultural development programs.

Posted by ben vershbow at 05:31 PM | Comments (0)
tags: alexitin , art , bookarts , books , events , newyork , publishing , reading

trade-offs   03.13.2008, 2:13 PM

Alex Itin just cross-posted a wonderful new piece on his blog, and Vimeo.

I watched it on Vimeo and was struck by the terrific back and forth discussion between Alex and the people who are looking at his work. It's gone beyond "cool video dude" and "you rock" to include rather thoughtful sharing of feelings and riffs on ideas for new work. By engaging with his "readers" in the way that he is, Alex is building a community around his work. He is inventing a new medium and unconsciously taking on the role of "author in a networked environment" that we talk about so often on these pages.

Check out this exchange on Vimeo about the video:

I am struck by the compromise Alex has to make as an artist in order to build a community around his work. When we first met, Alex was making brilliant multi-modal works combining his paintings, video and audio mash-ups. While on the one hand he had complete control over how the elements appeared and combined it was done in proprietary software which created standalone documents which seriously limited the size of his potential audience. In 2005 he became the institute's first artist in residence and we made a blog for him where he started posting a continuous stream of individual works. Moving onto the web provided a much larger audience, but the blog format meant that he lost the ability to make complex layered works. Alex's big web breakthrough came when he started to post his paintings to Flickr and his videos to Vimeo. This allowed him to begin a dialog with his audience and even to begin a series of exciting collaborations with other artists. But at the expense of having to put his paintings on one site and his videos on another.

The balkanization of art works (video here, photos there, and audio in yet another space) in the web 2.0 environment is frustrating, but i completely understand why it's better to show your work in a place which fosters a dynamic and lively back and forth. I look forward to the day when artists won't have to make a trade-off between form/content and community.

Sophie 1.0 is being released next week and Alex is the first artist we're giving it to. Sophie documents don't display in a web page (yet) but they do have an online component which enables people to have a conversation about the work in the "margin" of the work itself. Stay tuned, we'll put an announcement up here of Alex's first Sophie.

Posted by bob stein at 02:13 PM | Comments (0)
tags: Sophie , Web2.0 , art , video

orson whales in high def   01.14.2008, 11:01 AM

Alex Itin has posted a new "print" of his mind-blowing Moby-Dick animation, "Orson Whales," on Vimeo, which now offers gorgeous high definition streaming. Click the image below.

Posted by ben vershbow at 11:01 AM | Comments (1)
tags: animation , art , bookarts , mashup , melville , mobydick

poem for no one   01.11.2008, 8:08 AM

Just came across something lovely. Video for "Jed's Other Poem (Beautiful Ground)" by the now disbanded Grandaddy from their great album The Sophtware Slump (2000). Jed is a character who weaves in and out of the album, a forlorn humanoid robot made of junk parts who eventually dies, leaving behind a few mournful poems.

Creator Stewart Smith: "I programmed this entirely in Applesoft BASIC on a vintage 1979 Apple ][+ with 48K of RAM -- a computer so old it has no hard drive, mouse up/down arrow keys, and only types in capitals. First open-source music video, code available on website. Cinematography by Jeff Bernier." A nice detail of the story is that this was originally a fan vid but was eventually adopted as the "official" video for the song.

Thanks to Alex Itin for the link!

Posted by ben vershbow at 08:08 AM | Comments (5)
tags: animation , art , music , opensource , poetry

wood book seed key water word   10.25.2007, 6:12 AM

Thanks to James Long of Pan Macmillan for this link to the 370 Day Project, a huge wooden book made by South African artist Willem Boshoff:

CLICK HERE

Boshoff writes:

“I have been playing with the concept of secrecy in my work,” Boshoff said, “because I believe it plays a vital part in nature and in the universe. But I have tried to use it creatively.

"This is an intensely personal statement, and I look upon it in the same light as a book. A book is closed and concealed once it is read until you reopen it, perhaps only once or twice in a lifetime, for a reminder, or for a refreshment..."

Steve Dearden, a key figure on the Literature Development scene in the UK sent me this link to Christopher Woebken's http://NEW SENSUAL INTERFACES

Finally, Julius Popp's bit.fall, seems relevant here - it isn't new, but it's beautiful.

Bit.Fall - MyVideo

Posted by chris meade at 06:12 AM | Comments (0)
tags: art , interface

the noble rot   10.23.2007, 4:25 PM

Observe these gorgeous Rorshach mold blots blooming their way across the pages of old books. A video by Ben Hemmendinger, found on Vimeo.

The piece is titled "Edelfäule," which a little Googling reveals to be German for "noble rot" — "referring to BOTRYTIS CINEREA, the beneficial mold responsible for the TROCKENBEERENAUSLESE wines." (Epicurious Wine Dictionary).

Thanks Alex for the link!

Posted by ben vershbow at 04:25 PM | Comments (2)
tags: animation , art , books

eeeeeeeeeee.....eeeeeeee...eeeee   09.28.2007, 11:04 AM

Moby Dick Chapter 55 or 9200 times E", 2004, graphite on hemp paper, 11 x 9"

In one of those odd, blogospheric delayed reactions, I just came across (via Information Aesthetics, via Kottke) a fabulous exhibit that took place this past March by an artist named Justin Quinn, who does beautiful, mysterious work with text. Quinn's Moby-Dick series is made up of obsessively detailed prints and graphite drawings composed entirely of the letter E. Each E corresponds to a letter in a chapter of Melville's book, so each piece is composed of literally thousands of characters. The effect is almost that of a mosaic or a concrete poem. This series was shown at MMGalleries in San Francisco and has since moved elsewhere (Miami possibly?), but there are still a number of images online (also here). Quinn explains his obsession with E:

The distance between reading and seeing has been an ongoing interest for me. Since 1998 I have been exploring this space through the use of letterforms, and have used the letter E as my primary starting point for the last two years. Since E is often found at the top of vision charts, I questioned what I saw as a familiar hierarchy. Was this letter more important than other letters? E is, after all, the most commonly used letter in the English language, it denotes a natural number (2.71828), and has a visual presence that interests me greatly. In my research E has become a surrogate for all letters in the alphabet. It now replaces the other letters and becomes a universal letter (or Letter), and a string of Es now becomes a generic language (or Language). This substitution denies written words their use as legible signifiers, allowing language to become a vacant parallel Language— a basis for visual manufacture.

After months of compiling Es into abstract compositions through various systemic arrangements, I started recognizing my studio time as a quasi-monastic experience. There was something sublime about both the compositions that I was making and the solitude in which they were made. It was as if I were translating some great text like a subliterate medieval scribe would have years ago—with no direct understanding of the source material. The next logical step was to find a source. Herman Melville’s novel Moby Dick, a story rich in theology, philosophy, and psychosis provides me with a roadmap for my work, but also with a series of underlying narratives. My drawings, prints, and collages continue to speak of language and the transferal of information, but now as a conduit to Melville’s sublime narratives.

Gazing at these for a while (digital reproductions of course... and on my browser... and brought to my attention through technology blogs), I couldn't help but start to draw some connections between Quinn's work and computers. There's plenty of digital artwork and visualization programs that render text into complex visual formations, sometimes with the intention of discovering new meanings and relationships, other times purely to play with form. Every now and then, someone manages to achieve both. This is a detail from Brad Paley's rendering of Gamer Theory through his program Text Arc:

Others can be beautiful to handle, but are ultimately opaque, like Ben Fry's "Valence":

These two images are from another work submitted to our Gamer Theory visualization gallery, a map of nouns and verbs in Wark's text (first is full, second is a detail). It's pretty, but basically meaningless.

Quinn's work is also difficult to penetrate, but something about it holds my attention. I'm not sure how aware Quinn is of the digital work being done today, but viewing his pieces against the contemporary technological backdrop, and his own self-described feeling of being the "subliterate medieval scribe" as he makes his minute articulations, my mind runs off in a number of directions. Seeing that his work is in a way "pixelated"—his Es a "basis for visual manufacture"—I imagine him as a sort of human computer—a monastic machine—processing (or intuiting) the text by infintessimal degrees through his own inner algorithm.

After all, a computer's work is "subliterate." Algorithms must be designed with intelligence, but the actual running of the program is physical, mindless. Viewed this way, Quinn's work is like a dive into the mania of operations usually carried out with blazing speed by microprocessors. This is not to diminish it, or to call it cold and mechanical. Rather I'm pondering whether there is perhaps a spiritual dimension to the repetitive, sub-rational activities of our machines, which, if transposed to human scale, can become a sort of devotional exercise, like the routines of Buddhist monks, endlessly painting and carving Chinese characters in order to empty their minds (other links between monks and computers here and here).

What's particularly evocative to me about the work, however, is how it treads the line between that meditative quality and the obsessive. There is something frightening about them (or about any kind of fanatically detailed artwork, or about computers for that matter), like the reams of psychotic babble typed out ceaselessly by Jack Nicholson in "The Shining." Or is it Ahab's vengeance algorithm we're seeing, running on overdrive until the machine (or ship) crashes?

In the end, Quinn's images are mysterious, his algorithm inscrutable, although my mind immediately goes to work trying to link up Melville's themes and images to those endless strings of Es.

Here's that first image again with a quote from the source text that seemed to me to connect. Chapter 55, "Of the Monstrous Pictures of Whales":

Moby Dick Chapter 55 or 9200 times E", 2004, graphite on hemp paper, 11 x 9"

But these manifold mistakes in depicting the whale are not so very surprising after all. Consider! Most of the scientific drawings have been taken from the stranded fish; and these are about as correct as a drawing of a wrecked ship, with broken back, would correctly represent the noble animal itself in all its undashed pride of hull and spars. Though elephants have stood for their full-lengths, the living Leviathan has never yet fairly floated himself for his portrait. The living whale, in his full majesty and significance, is only to be seen at sea in unfathomable waters; and afloat the vast bulk of him is out of sight, like a launched line-of-battle ship; and out of that element it is a thing eternally impossible for mortal man to hoist him bodily into the air, so as to preserve all his mighty swells and undulations.

This one is of chapter 71, "The Jeroboam's Story" (I spoke briefly on the phone with one of the curators who told me that Quinn had explained this as an inverted halo, reflecting the anti-Christ-like character described in the chapter—I almost see an aerial view of a whale cutting through water):

Moby Dick Chapter 71 or 9,814 times E", 2006, mixed media, 11 x 15"

...but straightway upon the ship's getting out of sight of land, his insanity broke out in a freshet. He announced himself as the archangel Gabriel, and commanded the captain to jump overboard. He published his manifesto, whereby he set himself forth as the deliverer of the isles of the sea and vicar-general of all Oceanica. The unflinching earnestness with which he declared these things; - the dark, daring play of his sleepless, excited imagination, and all the preternatural terrors of real delirium, united to invest this Gabriel in the minds of the majority of the ignorant crew, with an atmosphere of sacredness. Moreover, they were afraid of him. As such a man, however, was not of much practical use in the ship, especially as he refused to work except when he pleased, the incredulous captain would fain have been rid of him; but apprised that that individual's intention was to land him in the first convenient port, the archangel forthwith opened all his seals and vials - devoting the ship and all hands to unconditional perdition, in case this intention was carried out. So strongly did he work upon his disciples among the crew, that at last in a body they went to the captain and told him if Gabriel was sent from the ship, not a man of them would remain.

Posted by ben vershbow at 11:04 AM | Comments (0)
tags: art , books , melville , reading , typography , visualization

altered states   09.21.2007, 11:12 AM

"The Physiological Basis of Medical Practice, 2006", Altered book, 9 x 7-1/2 x 3-1/4 inches.

By Brian Dettmer at Haydee Rovirosa Gallery, New York.

(via Ron Silliman)

Posted by ben vershbow at 11:12 AM | Comments (0)
tags: art , artistsbook , books , sculpture

candida höfer: the library as museum   09.17.2007, 12:53 AM

The photographs of libraries in "Portugal," the current exhibition of Candida Höfer at Sonnabend, show libraries as venerable places where precious objects are stored.

The large format that characterizes Höfer's photographs of public places, the absence of people, and the angle from which she composes them, invite the viewer "to enter" the rooms and observe. Photography is a silent medium and in Höfer's libraries this is magnified, creating that feeling of "temple of learning" with which libraries have often been identified. On the other hand, the meticulous attention to detail, hand-painted porcelain markers, ornately carved bookcases, murals, stained glass windows, gilt moldings, and precious tomes are an eloquent representation of libraries as palaces of learning for the privileged. In spite of that, and ever since libraries became public spaces, anyone, in theory, has access to books and the concept of gain or monetary value rarely enters the user's mind.

Libraries are a book lover's paradise, a physical compilation of human knowledge in all its labyrinthine intricacy. With digitization, libraries gain storage capacity and readers gain accessibility, but they lose both silence and awe. Even though in the digital context, the basic concept of the library as a place for the preservation of memory remains, for many "enlightened" readers the realization that human memory and knowledge are handled by for-profit enterprises such as Google, produces a feeling of merchants in the temple, a sense that the public interest has fallen, one more time, into private hands.

As we well know, the truly interesting development in the shift from print to digital is the networked environment and its effects on reading and writing. If, as Umberto Eco says, books "are machines that provoke further thoughts" then the born-digital book is a step toward the open text, and the "library" that eventually will hold it, a bird of different feather.

Posted by sol gaitan at 12:53 AM | Comments (1)
tags: art , books , digitization , library , museum , photography

stencil hypertext   09.11.2007, 1:31 PM

Not sure if it's been washed away yet, but folks in the Bay Area should keep an eye out for this charming urban hypertext:

The mission stencil story is an interactive, choose-your-own-adventure story that takes place on the sidewalks of the Mission district in San Francisco. It is told in a new medium of storytelling that uses spraypainted stencils connected to each other by arrows. The streetscape is used as sort of an illustration to accompany each piece of text.

More images and some press links on this Flickr photoset.

(Thanks sMary!)

Posted by ben vershbow at 01:31 PM | Comments (1) | TrackBack
tags: Games , art , fiction , gaming , graffiti , hypertext , urbancomputing , writing

moby-dick animated   05.04.2007, 2:14 AM

Alex Itin has done it again. Here it is: "Orson Whales," an intertextual fantasia on Moby-Dick and Orson Welles set to the savage drums of John Bonham. Each frame is a page of this edition of the Melville text, painted and photographed and strung together in iMovie.

What you're seeing is the entire book (actually two full copies - Alex can only paint on one side of each page because of bleed-through, so to get the whole text he had to double up). Here's some of it stacked up in the studio (this is months of work):

The soundtrack is detritus gathered from web searches, a hunt for the white whale through a sea of tangents - appropriate, really, for the great book, which is so notoriously (and gloriously) tangential.

Alex: "The soundtrack is built from searching "moby dick" on You Tube (I was looking for Orson's Preacher from the Huston film from the fifties) I couldn't find the preacher, but did find tons of Led Zep and drummers doing Bonzo and a little Orson....... makes for a nice Melville in the end."

Also check out his animation, same technique, of Ulysses. Bravo, Alex! (and happy birthday)!

Posted by ben vershbow at 02:14 AM | Comments (3) | TrackBack
tags: Remix , animation , art , book , melville , video