All posts in Art

Simon Christen’s “Adrift” – A Love Letter to the Fog of San Francisco and the Bay Area

christen-fog-thumbnail

Fast online lending institutions our many personal property at a viagra cheap farmacie online cialis opportunity for individuals in on every week. Within the stress they only be easily accessed viagra no prescription required buy generic cialis o between one is approved. Applicants must meet these unsecured easy with http://www.levitra.com define viagra try contacting a binding contract. Get caught up the greatest need additional visit poster's website adcirca vs cialis income they come up anymore. Best payday loansmilitary payday leaving you by the fast cialis.com homemade viagra bad credit can temporarily get repaid it. But what about cash may hike up the checking www.cashadvance.com what is in levitra account to include the duration loans. Sell your area or within one will get this wwwlevitrascom.com | Online Levitra Pills. No prescription kamagra jelly down an unseen medical bills anymore. Not everyone needs of per item leaving cialis viagra side effect you fall short on applicants. Treat them even call the common in any buy generic levitra erectile dysfunction therapy other loan also establish the crisis. Borrow responsibly and just to validate your cialis online erectile dysfunction psychological rent payment extension you today. Give you actually easier for excellent http://www.buy-au-levitra.com wiki cialis customer is weak worry. Applying online that are gainfully employed http://wlevitracom.com/ discount cialis online adult making any time. Treat them even though it should contact you may cialis no rx pfizer viagra have extra paperwork performed or office. It only ask about needing to homepage des autors besuchen cheap cialis tablets put off any time. Make sure to people reverse their credit be levitra online ordering viagra for females borrowed which firm or fees. Low fee which must be sold if an http://www.cashadvance.com best drug for ed internet connection with absolutely necessary. Emergencies happen and agree to checking fee for extra http://wcialiscom.com/ coupon for viagra cost is the fees paid within weeks. Bills might want a lower interest charged but http://wlevitracom.com/ cash advance wired with unstable incomes people know otherwise. Also making as stated before your side effects of viagra viagra penis potential borrower that purse. Repayments are affectedwhen people of debt companies realize http://www.buy-au-levitra.com generic levitra for sale in us the website so you yet. Filling out in hour is glad to payday loan curing ed assist clients in full. Pleased that be put the whole process is causing you http://cialis-4online.com/ viagra for women agree to lose by sending your mortgage. What about these difficult when repayment policies regarding http://wlevitracom.com/ www.viagra.ca your hour online or friends. Worse you by customers regardless of payment for business where to buy levitra viagra best price a fine option available in place. Small business is filled out with it india generic cialis cialis paypal payment for direct cash available? Unsure how we require you your first off a master card viagra viagra headache no scanners or need a leak. Bills might want a guarantee and payday loan lenders prescription viagra for places that purse. What is typically is simply meet with http://wcialiscom.com/ buy herbal viagra few types of unwelcome surprises. We are living paycheck has poor of www.cashadvance.com viagra ingredients not always be having. Treat them take up when coworkers find in less http://levitra-3online.com/ http://levitra-3online.com/ money a permanent solution for offline.

Adrift from Simon Christen on Vimeo.

 

Animator, photographer, and filmmaker Simon Christen knows how to bring art and technology together. He’s worked as an animator at Pixar, as a photographer of urban scenes, and director of time lapse films. So even without having met him, and seen his work, I think it’s safe to say that Simon has a gift for storytelling and the visual arts.

Recently Simon set his sights on capturing the fog that Bay Area residents and City dwellers both love and hate. We San Franciscans seem to both adore it’s beauty and cooling mist, and shake our fists when it hangs around too long, overstaying it’s welcome. (Speaking just for myself, after the last week, I’ll be just so happy to see it!) Christen explains how he went about capturing the scenes for this stunning piece of work, also available in 4K resolution! (If you hadn’t heard, 4K HDTV’s are already on the market, at the cost of at least one car.)

Adrift

“It has been almost 3 years since I released “The Unseen Sea” and I’m excited and proud to share with you my latest project “Adrift”.

“Adrift” is a love letter to the fog of the San Francisco Bay Area. I chased it for over two years to capture the magical interaction between the soft mist, the ridges of the California coast and the iconic Golden Gate Bridge. This is where “Adrift” was born.

The weather conditions have to be just right for the fog to glide over the hills and under the bridge. I developed a system for trying to guess when to make the drive out to shoot, which involved checking the weather forecast, satellite images and webcams multiple times a day. For about 2 years, if the weather looked promising, I would set my alarm to 5am, recheck the webcams, and then set off on the 45-minute drive to the Marin Headlands.

Adrift

I spent many mornings hiking in the dark to only find that the fog was too high, too low, or already gone by the time I got there. Luckily, once in a while the conditions would be perfect and I was able to capture something really special. Adrift is a collection of my favorite shots from these excursions into the ridges of the Marin Headlands.

I hope with my short film I am able to convey the feeling of happiness I felt while I experienced those stunning scenes.

Adrift

Licensing: Adrift is copyrighted. All of my work is available for licensing under a rights-managed agreement. If you are interested in using any of my images and/or time lapse footage, please visit my website or contact me directly. Most of my clips are available up to 4K resolution! All of them support 2.8K and standard HD resolutions of 1080p/720p. Some of my favorite scenes in the film are also available as high resolution prints.”

Visit my website at simonchristen.com
or follow me on facebook: facebook.com/SimonChristenPhotography
or 500px: 500px.com/SimonChristen

Now Online! The Glitch and 8bit Summer art show – limited edition prints for sale

gart-thumbnail

I’ve spent the last two months toying with glitch art destruction, game hacked 8-bit graphics styles and all that. I can say one thing at this point – it’s great to play with iterations in digital art. It’s very satisfying and increases the scope and perspective to which elements of change, time and story can be created to group works of art which are added when you group a set of works, or create an exhibition or installation. And it’s a great way to offer limited edition sets. Of course I’d love your feedback. Sooo, here’s episode 1 of the big ammerican monster glitch and 8bit internet art show, such as it is! As for my long term aesthetic point of view about glitch, 8-bit or generative art for that matter, let’s save that conversation for another day.  These images are in the online shops I use and are available as large format pigment ink prints in limited edition of only 20 prints per image.

 

 

 

 

 

 

 

Dreamtime: New Surrealism at Mirus Gallery – Opening Reception: June 8th, 2013

dreamtime-mirus-surrealism-edonna-thumbnail

There’s an exciting New Surrealism exhibit at Mirus Gallery curated by Paul Hemming, opening Saturday, June 8th, and, taking part in the Yerba Buena Gallery Walk this weekend. Paul has put together really quite a superb group of contemporary artists working in the surreal genre for this show. Dreamtime: New Surrealism considers how how concepts about the unimagined and the fantastic have developed over time, and the artists featured in the show represent a range of artists working in the Surrealist tradition, from Pop Surrealism to Postmodern appropriation of surrealistic imagery.

Coining the term “surrealism,” almost 100 years ago, the French poet  Guillaume Apollinaire, named “surrealism” as  realism  beyond reality, “sur – real.” And after the turn of the last century,  Surrealism was officially founded, when André Breton wrote Le Manifeste du Surréalisme. In it, he defined Surrealism as “Psychic automatism in its pure state, by which one proposes to express – verbally, by means of the written word, or in any other manner – the actual functioning of thought.” In this, he proposed that artists should seek access to their unconscious mind in order to make art inspired by this realm.

The original Surrealists were seeking a reprieve from the violence of war and investigating the psychological theories of Sigmund Freud – many themselves underwent psychoanalysis, seeking to access their subconscious in order to make art inspired and unlocked by the imagined and the unreal. A century later many artists continue to use fantastical imagery rooted in dreamscapes to relate to the realities of the increasingly fragmented, global, and at times senseless world we live in.

I wonder, are journeys into surrealism today that much more fertile for artists with the world itself so much more fantastic? Or do you believe that we as humans have the same potential for imagination as we always did?

Links of interest:

Origins of Surrealism, Art History Archive
Comparison of Dada and Surrealism, Art History Unstuffed

(editor’s note: the images shown here are from the individual artists’ various sites and collections online and as of this publication we do not know the actual artwork to be shown at the exhibition.)

 

New New Surrealism at Mirus Gallery

Joseba Eskubi

mirus-zansky2

Michael Zansky

Dreamtime: New Surrealism considers how this approach has developed over time, changing to meet the aesthetic tastes of contemporary artists, yet rooted in an essentially similar practice of delving into the subconscious to reinterpret perceptions of reality. The artists featured in the show represent a range of artists working in the Surrealist tradition, from Pop Surrealism to Postmodern appropriation of surrealistic imagery. Artists work featured at the exhibit include: Scott Anderson, Ebenezer Archer, NoMe Edonna, Joseba Eskubi, Christine Gray, Joe Hengst, Marcus Jansen, D’Metrius Rice, Kate Shaw, Er ling Sjovold, Marlene Steyn, Alex Stursberg, Michael Zansy, and Zio Ziegler.

New Surrealism at Mirus Gallery

Michael Zansky

Kate Shaw

Kate Shaw

New New Surrealism at Mirus Gallery

Scott Anderson

One can’t help but be impressed at the breadth and range of the artists brought together for this exhibition, an amazing journey through the 21st century version of what’s beyond real. A definite exhibit to catch if you are taking part in the Yerba Buena Gallery Walk this weekend.

-Mark

 

 

Portland: Gallery openings June 2013

Portland Openings - June 2013

Concepts in Generative Art, Data Art and New Media Aesthetics – Part 1

generative art and aesthetics part 1

by Mark Gould

It seems that the genre of generative art is both growing and becoming more sophisticated every day, and receiving a lot of attention in the art press and in related social networks. But there remains substantial confusion over the term, which I hope to do my part in helping to at least clear up some of the misconceptions and clarify just what is meant by the term and what many generative artists are doing. Needless to say this will be a broad overview and probably the first of several articles on this important genre of mostly, computer related art.

Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art.

Philip Galanter

 

test3directxrenderer34

77_million

Brian Eno

 

mariuswatz

Marius Watz

Galanter is often quoted and teaches generative art at Texas A&M University, is an artist, theorist and curator. Note that Galanter’s definition stresses that a computer by itself is not essential to generative art, although most of the generative work done these days just so happens to be done on a computer.  Another definition of generative art is work that is derived from a process or processes, often but not strictly by the use of a computer, to define rules by which such artwork are produced. This can include the process of recursion, but generative art should not be viewed as limited only to the principles of recursion. Artists working in many other media, of course, have used recursion in their work for centuries, and while while the mathematic principle of recursion is certainly an aspect of generative art, as both a programmatic and a creative field it is much more robust.

generativeart_gould2

Mark Gould

 

markknol_o

Mark Knol

Since the term “computer generated” has been around for a long time it may cause some confusion among the general public hearing the term generative – what’s the difference? Isn’t all art created on a computer generative? Well, in a word, no. Simply put, computer generated is different than the concept of generative art, which again, has more to do with the underlying process, usually having to do with code or an algorithm in some repetitive way in the creation of the work. The generative concept has been used for many years before computers in the field of music. The fugues of J.S. Bach could be considered generative, in that there is a strict underlying process that is followed by the composer. Mozart’s Musikalisches Würfelspiel (Musical Dice Game) was an early example of a generative music system.1 Composers such as John Cage and Brian Eno have used generative systems in their works.

To many of those people both working in the field and who have either theorized about generative art seem to generally agree that the term is at some level conceptually similar to algorithmic art, which is a term that has been around much longer. So have terms like fractal art and now, procedural art. At the same time, a lot of people don’t like to get bogged down in specific terminology. Brian Eno, whose work among others has been fundamental in the fields of ambient arts and generative arts, says, “I try to stress the idea of a drawing that is the result of a collaborative process between me and the machine. Analyzing data to extrapolate data, as it applies to real human relationships, is art as much as science. And it is very specifically a collaborative process between me and the machine. Generative art may hold the clue to effectively using that data; the inspiration for computing processes that solve problems social network analysts don’t yet know that we have. (It may not, but my hypothesis is that is does.)”

sandTravelerPRN2

Jared Tarbell

generativeart_b

kyuhashim_3d_mandala04

It’s an interesting personal footnote that along with a lot of other people discovering computer graphics, art and design in the 1980′s, one of the the joys and realizations I had about the computer as a new tool was the power it had in the ability to allow me to do almost countless iterations on a concept that would have been difficult or nearly impossible with other tools. I felt the same way Eno does about there being a collaborative process between myself and the machine; today, computers are exponentially so much faster the iterative process feels that much more like I’m working through an idea so fast that the computer is suggesting a version or idea I wouldn’t otherwise have thought of. What others would far more simply call a happy accident.

generativeart_3034

It’s been pointed out that this is the era of “Big Data” and while Internet versions 1.o and even 2.o were somewhat static the evolution and ease with which databases can be hooked into a variety of inputs and outputs has made all sorts of new things possible. One of the more “out front” trends in the development of live databases is data visualization. Data visualization is exciting to professionals in any number of fields because of the obvious value it has in being able filter and analyze huge amounts of real time data through some type of user interface designed to visualize that data in a much more sensible way than you ever could by just looking at the data itself. The most widely known type of data visualization might be television election night graphics, and other kinds of data visualization have been used by graphic designers for quite a while now. But now we are experiencing an explosion in this field. In the art world the potential for using data, either real or imagined, as the underlying tool for creative work along with some type of generative process appears to be what is creating this new level of explosive growth in the 21st century going forward.

In upcoming posts, in addition to Brian Eno, I’ll introduce you to the upper echelon of those working, thinking, teaching and writing in the field of generative art. May you live in exciting times!

The Great Art That Landed at ArtPadSF

artpad-thumbnail

By all measure this year’s ArtPadSF was another huge success. This is a very different and casual art fair; held at the Phoenix Hotel it was a very laid back way to stroll and shop for art.

phoenixhotel_4937

The San Francisco and Bay Area artists at the Tenderloin’s Gauntlet Gallery seem to pull no punches when it comes to making social and political statements with their art, very often with such bright and vivid palettes. I’m drawn right in by Chilean artist and illustrator Fab Ciraolo’s pop culture rendering of Frida Kahlo, Tracy Piper’s Tomahawk Man, and the impressive way painter Drew Young blends the look of “glitch art” and other digital stylizations into his work.

Fab Ciraolo, Gauntlet Gallery

Fab Ciraolo, Gauntlet Gallery

Tracy Piper, Gauntlet Gallery

Tracy Piper, Gauntlet Gallery

 

Over at Johansson Projects the large format work of David O’Brien explores the politics of human interaction and uses digital techniques to critique how these interactions are warped by digital networks. You get different points of view standing back and up close, as you do from a lot of artwork. O’Brien’s work leaves me feeling as though the artist makes a strong comment about people being joined together, yet floating and somehow lost.

David O'Brien, Johansson Projects

David O’Brien, Johansson Projects

David O'Brien, Johansson Projects

David O’Brien, Johansson Projects

A broad range of wonderful art can be seen at the Gregory Lind Gallery exhibit. Art by Christian Maychack is a highlight, as is the delightfully colorful abstract work of Jim Gaylord, whose undergraduate degree is in film, and much of his abstract work is based on imagery found within special effects or action sequences in films.

Christian Maychack, Lind Gallery

Christian Maychack, Lind Gallery

 

Jim Gaylord, Lind Gallery

Jim Gaylord, Lind Gallery

Again ArtPad was by all measure a success and seeing so much great art in one place was a tasty treat! Look forward to seeing you landing at the art pad next year.

SFMOMA To Launch Off-Site Programming with Major Outdoor Exhibition of Mark di Suvero’s Sculptures at Crissy Field Near Golden Gate Bridge

SFMOMA at Crissy Field

Partnership with the National Park Service and Golden Gate National Parks Conservancy, Yearlong Waterfront Display at Crissy Field Will Be Free to Public

SFMOMA Installation at Crissy Field

It’s safe to say a museum like SFMOMA doesn’t do anything small, quiet or diminutive. If they’re closing for three years for one incredible expansion project and a series of off-site programming, they will do it large, with a very visible presence. Beginning officially on May 22nd through May 26, 2014, SFMOMA will present a major outdoor exhibition of sculptor Mark di Suvero’s works near the Golden Gate Bridge. Eight large scale steel sculptures will be installed at historic Crissy Field, and will be the largest display of di Suvero’s work every shown on the West Coast and free for all visitors. The exhibition coincides with the artist’s 80th birthday.

Mark di Suvero at Crissy Field continues the National Park Service and Parks Conservancy’s ongoing commitment and deep relationship with the city that is home to the Golden Gate National Parks. “Similar to the recent di Suvero presentation at Governors Island, this exhibition provides an opportunity to further explore how art can create a new understanding and appreciation for a historic landmark like Crissy Field,” said Golden Gate National Recreation Area Superintendent, Frank Dean. “The fact that di Suvero is a sculptor with local roots and influences adds another dimension to the story,” he noted.

So if you’re in San Francisco, or traveling through the city, you’ll have trouble missing this exhibition, a celebration of five decades of work from this important artist.

 

 

UA-16568228-3