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At the Asian Art Museum – In Grand Style: Celebrations in Korean Art during the Joseon Dynasty

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In Grand Style: Celebrations in Korean Art

The Asian Art Museum – In Grand Style: Celebrations in Korean Art during the Joseon Dynasty

 

In Grand Style: Celebrations in Korean Art during the Joseon Dynasty (via PR Newswire)

Download image Download image King Jeongjo’s Procession to His Father’s Tomb in Hwaseong, 1795 (det). Korea. Handscroll; ink and colors on paper. H. 18 3/8 in. x W. 150 ft. 11 in. National Museum of Korea. (PRNewsFoto/Asian Art Museum) In an unprecedented…

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Reflections on The Armory Show At 100 and The Cubists Vs. The Fauves

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Came across an interesting bit of art history after finding myself on the New York Historical Society’s website in celebration of  the 100th anniversary of the seminal 1913 Armory Show. For one month in New York City, The Armory Show introduced Americans to the European avant-garde artists of the day including Duchamp, Gauguin, Van Gogh and Picasso, and in doing so became what is has been called the most important art exhibition ever held in the U.S.

What Kim Orcutt writes for the Historical Society anniversary about the Cubists versus The Fauves is fascinating. It’s pointed out that The Armory Show is best remembered for Duchamp’s Nude Descending a Staircase (No. 2), and so today, it’s easy to think that the Cubists “were the ‘big news’ of 1913.” Orcutt points out that there was a lot of media attention to “find the nude,” and some critics had no taste for these “puzzle pictures.”

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Marcel Duchamp, Nude Descending a Staircase (No. 2)

Henri Matisse, Le Luxe II

Henri Matisse, Le Luxe II

But The Historical Society piece reminds us that the most important space at the show was reserved for Henri Matisse and other artists in his circle, known as the Fauves. Interestingly enough the Fauvist exhibit included a work by George Braque, who to many would become known for his work in Cubism.

The Port of Antwerp by George Braque

Georges Braque, The Port of Antwerp (Le Port d’Anvers), 1906.

Many critics were to become outraged at the Fauves’ primitivist style, which as the article points out, because to them it abandonded technical mastery at the dawn of the modern era and was called art for children. The article itself is brief, but you’ll enjoy seeing all of the art that was at the show by so many artists that we now know, and whose work we love. Hope you enjoy it.

Read more about The Armory Show at 100, The Cubists versus the Fauves ->

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

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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

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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

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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

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

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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

 

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Brian Eno

 

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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.

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Mark Gould

 

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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.)”

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Jared Tarbell

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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.

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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!

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