141 Green Street, Jamaica Plain, MA 02130. Located in the Green Street T Station on the Orange Line. 617-522-6710. Friday, Saturday & Sundays 11 – 6pm
May 22 – June 28, 2015
Opening Reception Friday, May 22nd, 6pm to 8pm
Boston Cyberarts Gallery presents COLLISION:Stealing from the Real: Simulation and sense making, organized and curated by COLLISIONcollective member Georgina Lewis. COLLISION:Stealing from the Real includes 10 artists from the US and Canada.
How do we make sense of our environment parse it, probe it, and enact change? COLLISION:Stealing from the Real examines the transformative power of play and technology’s place within this act. Increasingly computer-mediated, simulation is how we learn about the world and test scenarios, a way of exploring identity, critiquing societal norms, constructing and reframing history or just plain having fun. Simulation redefines play as a rules-based process that allows artists to mimic reality and push formal, technical, and conceptual boundaries.
Emulating the stylistic tropes of Hayes code era erotica, Faith Holland’s (2014 NYFA Fellow in Digital/Electronic Arts) “Visual Orgasms” series depicts metaphors for orgasm with no actual depiction of sex. Four of her brilliantly colored “excessive moving image collages” are on display. Holland’s work calls the bluff of traditional sexual euphemisms by taking them literally with faux-naive exuberance.
To create her 3d printed “clouds”, Erica Lincoln scanned one half of a 3d object and then used software to reverse engineer the form of the corresponding side. Complex visual and formal artifacts arise from the software’s corrective hole fixing algorithms, raising questions about reproduction and representation in the digital realm. Lincoln is the City of Winnipeg Office of Climate Change Artist in Residence.
In “De Solutione Problematum per Motum“, William Tremblay metaphorically pinpoints the emergence of modern science and the beginning of its historical schism with art. Simultaneously absurd, ghostly and mechanical, a replica of Isaac Newton’s wig traces out figures from a set unpublished papers from 1666. These papers document some of Newton’s early mathematical thinking, a transition from the Cartesian geometry of the period to work that would develop into his theories of calculus. Animated by CNC technology (based on Cartesian math), the wig functions as an avatar of reason encumbered by human frailty, yet detached from context and emotion.
Artists include: W. Benjamin Bray, Rob Gonsalves and Anna Kristina Goransson, Faith Holland, Annette Isham, Erika Lincoln, Sarah Rushford, John Slepian, Mark Stock, and William Tremblay
February 28 – April 5, 2015
Opening Reception – Friday, February 27 from 6-8pm
The history and cultural assemblage of viral digital culture has morphed significantly since the Frankfurt Museum for Applied Art added viral code to their permanent collection in 2002 and hosted the ground-breaking “I Love You – computer_viruses_hacker_culture” exhibition. A fascination with viruses, as previously witnessed in the Slovenian Pavilion at the 2001 Venice Biennale, has seeped into contemporary culture; it has “gone viral”, so to speak. In #VIRAL, this evolution is explored through the various forms in which digital art exists and through the many expressed applications of the word “viral” and “virus”.
Some pieces are representative of the idea that language is a virus. Cory Arcangel’s zines, The Source, contain information including source code, the language of computers. Ranjit Bhatnagar’s Pentametron represents a digital version of the cut up method–popularized by William S. Burroughs and Brion Gysin. Bhatnagar wrote an algorithm that locates iambic pentameter in the world of twitter, forms them into rhyming couplets, then retweets them. Other pieces are emblematic of the biological virus. Caleb Larsen’s A Tool to Deceive and Slaughter is a little black box that perpetually sells itself on eBay. This “virus” accomplishes what every virus sets out to accomplish–replication and distribution. Combining his own DNA with the codes of different viruses (Lloviu virus, Polio virus, Marburg virus and Ebola virus), Robert B. LISEK created CAPITAL to model the ever-changing nature of the data that measures the transformation of his DNA, synthesis of code, and exchange in social environment. In Network, Sara Schnadt uses data visualization to illustrate the proliferation of information on social networks. Using a matrix of yellow rope, Schndat creates a three-dimensional way to interpret data, demonstrating how information can spread like a virus.
Artworks By: Cory Arcangel, Ranjit Bhatnagar, Darius Kazemi, Caleb Larsen, Robert B. LISEK, and Sara Schnadt
Curated by: George Fifield, Joseph Ketner II & John Powell
January 10 – February 15, 2015
Opening Reception: Friday, January 9, 2015
The Boston Cyberarts Gallery is pleased to announce its first exhibition in 2015, Otto Piene & Electronic Art in New England, which will examine Otto Piene and his role as a founding figure in art and technology in New England. From the time that György Kepes invited Piene to be a Fellow at his newly founded Center for Advanced Visual Studies (CAVS) at MIT in 1968, Piene catalyzed several generations of artists in collaborative ventures to harness nature and technology and create interactive, participatory events that engaged the public in spectacular feats of what he coined “Sky Art.” His career marks the initiation of New England as a center of art in technology in the United States and around the globe. Otto Piene passed away in July 2014 while participating in his monumental installation of Proliferation of the Sun (1967) and a Sky Art event for the New National Gallery of Germany, his native country.
Piene was a founding member of the postwar German group Zero that played a formative role in reintroducing kinetic art and technology to the vocabulary of international art in the 1950s and 1960s. Based upon the collaborative light installation that group Zero produced for documenta 2 in Kassel, Germany in 1964, they were invited to exhibit in the United States. György Kepes, a protégée of Laszlo Moholy-Nagy and the Bauhaus had recently joined MIT to begin his CAVS. He took the initiative to attend Piene’s Light Ballet at the Howard Wise Gallery in 1965 and invited Piene to join him at MIT. Beginning as a fellow in 1968, Piene served as the director of the CAVS between 1974 and 1994, when he was named an emeritus professor.
As director of CAVS, Piene launched a new body of outdoor, inflatable sculptures that he referred to as “Sky Art”. The first such event was the Light Line Experiment at MIT in May 1968, which evolved into his monumental rainbows that he first produced at MIT and on the Charles River in 1971 and became recognized internationally as the closing event for the ill-fated Munich Olympics in 1972.
The exhibition will document the range of Otto Piene’s work in Boston from 1967 through 2014 and its international reach. It will present an inflatable sculpture, videos, projections, photographs and ephemera to document the key moments in Piene’s career, the many electronic artists who came through CAVS and thus the development of art and technology in New England. A series of Wednesday evening symposia on key elements in Piene’s art and history in Boston will be announced shortly.
The exhibition is curated by George Fifield, Joseph Ketner II, and John Powell and draws extensively from the CAVS archives at MIT.
November 8 – December 21, 2014
Opening Reception: Thursday, December 4, 6 – 8pm
Boston Cyberarts Gallery presents Comfortable Control: Vulnerability in the Digital Age, an exhibition of work by Evelyn Eastmond, Catherine Siller and Hyo-Jin Yoo, three new media artists from the greater Boston and New York areas.
Comfortable Control: Vulnerability in the Digital Age, explores our inherent vulnerabilities relative to digital technology. While technology is typically characterized as being impersonal, the digital technologies surrounding us are all products of human endeavors to connect, empathize, belong, and be in control. Far from being impassive, technology has become an avenue for helping us explore emotion. Connectivity, identity, emotional resonance, comfort and rebellion are common themes throughout these works.
Collision21: More Human will be at the Boston Cyberarts Gallery September 13-October 26, 2014. This is a group show dealing with two closely-related concepts: human self-modification and the human modification of our environment. Formed by artists and technologists, the COLLISIONcollective is premised on the sometimes abrupt intersection between art and technology.
Matt Brand, Ben Bray, Alicia Eggert, Joseph Farbrook, Antony Flackett, Rob Gonsalves, Hwayong Jung, Gloria King Merritt, Georgina Lewis, Robin Lohrey, Mark Millstein, Nick Monfort, Andrew Neumann, Sarah Rushford, Fito Segrera, John Slepian, Sophia Sobers. Download the More Human catalog here (pdf).
Where is the line between fine art and technology? Historically, art and technology have continually intersected–from the accused Old Masters who are rumored to have used the technology of their time in the production of their masterpieces, to contemporary artists who often straddle the line between the cyber and the palpable. Art is a vehicle for intersecting interests and media, and the use of technology in the creation of fine art further demonstrates this notion. With artistic movements such as “The New Aesthetic”, we are experiencing the influence of technology on art even through more traditional processes. “Crossover” exhibits examples of ostensibly traditional work that are heavily influenced by technology. Even though these pieces do not overtly demonstrate the utilization of technology, they do exemplify the novel way in which technology and fine art are interrelated.
Sophia Brueckner, born in Detroit, MI, is an artist and engineer. She received her Sc.B. in Computer Science and Applied Mathematics from Brown University. As a software engineer at Google, she worked on the front-end development and interface design of products and later on experimental projects within Google Research. Brueckner earned her MFA in Digital + Media at the Rhode Island School of Design and was also an instructor there teaching a course on science fiction and art. Her artwork has been exhibited internationally, and, in particular, she is interested in interaction design, generative art, algorithmic writing, and, as a technology antidote, painting. She recently joined the MIT Media Lab where she is a researcher in the Fluid Interfaces group and teaches Science Fiction to Science Fabrication, a course combining science fiction and invention.
Nicholas Irzyk is an MFA candidate at Virginia Commonwealth University in Richmond, VA. His work has been exhibited nationally, most recently at the New Bedford Art Museum in New Bedford, MA, the Hiestand Gallery in Oxford, OH, NK Gallery in Boston, MA, and Page Bond Gallery in Richmond, VA. He is a 2014 award recipient from the Miami University Young Painters Competition and, in 2013, a recipient of the Graduate Teaching Assistantship Award as well as a Graduate School Scholarship, both through Virginia Commonwealth University. Irzyk is an Assistant Professor at Virginia Commonwealth University in Richmond, VA where he currently lives and works.
Carlos Jiménez Cahua (b. 1986, Lima, Peru) received an A.B. from Princeton University and an M.F.A. from the Massachusetts College of Art and Design. His work has been reviewed in The New Yorker, The Boston Globe, The Wall Street Journal and Artforum. He is based in New York, NY and is currently a lecturer in the Department of Art + Design at Northeastern University.
Nathalie Miebach is a Boston-based sculptor who translates weather data into woven sculpture and musical scores. She holds a Bachelor of Arts in Political Science from Oberlin College, OH, and both a Master of Art Education and Master of Fine Arts from Massachusetts College of Art, MA. She is the recipient of numerous awards and residencies, including a Pollock-Krasner Award, a TED Global Fellowship, the Massachusetts Cultural Council Fellowship, Blanche E. Colman Award, the International Sculpture Outstanding Student Award, a LEF grant, two-year fellowship at the Fine Arts Work Center, a Bemis Center for Contemporary Arts Residency, and the Berwick Research Institute Residency. Her work has been shown in the United States, the United Kingdom and Australia. Her sculptures have been reviewed by many national and international publications, spanning fine arts, design, technology and science audiences, including Art In America, Art News, Sculpture, New York Times, Form, Wired – UK and American Craft Magazine.
Monica Tap is an artist whose many activities involve exploring questions of time and representation in painting. Over the past fifteen years her canvases, which are conceptual and systematic investigations into the codes of pictorial illusionism and perception, have been exhibited in Canada; London, England, and New York. She is the recipient of many grants and awards, most recently from the Social Sciences and Humanities Research Council of Canada for her project,Translation as a Strategy of Renewal in Painting. Tap’s work is represented in private, corporate and public collections in Canada and the U.S. Originally from Alberta, Monica Tap completed her BFA (1990) and MFA (1996) degrees at the Nova Scotia College of Art and Design. She lives in Toronto and is a Professor at the University of Guelph.
by Dana Moser and Nita Sturiale
Boston Cyberarts Gallery announces today its opening of We See Each Other All The Time: A Study in Ubiquitous Communication by Dana Moser and Nita Sturiale on April 10, 2014. The installation features the two artist-colleagues as they embark on a month long daily ritual of information exchange using various methods of analog and digital communication. The exhibition’s opening reception is Thursday, April 10, 6:00 – 9:00 p.m. at Boston Cyberarts Gallery, 141 Green Street, Jamaica Plain, MA.
“We’re thrilled that Boston Cyberarts Gallery is hosting our show. Dana and I have been colleagues and friends for over 20 years and this is the first time that we’ve collaborated on an artwork,” says Nita Sturiale. “As co-teachers in the Studio for Interrelated Media at MassArt, we’ve witnessed the changing communication methods and attitudes of our students which inspired us to explore our own relationship to each other through the lens of our mediated conversation.”
As their transactions move from Portland, OR to Boston, MA to Agrigento, Italy and Berlin, Germany, Moser and Sturiale recorded a poetic journal of reflections on space, time, friendship, technology and communication. The show is comprised of a combination of work in 2D, audio/video installation, and digital, generative artwork.
Dana Moser adds, “We committed to creating a communication of some sort every day for a month as a way of thinking about not only how the nature of our technologies have changed over the past 2 decades, but also how the technologies that we use every day have changed us.”
About Dana Moser
Dana Moser is a film/video/algorithmic media artist, musician, and teacher. He has been creating works in digital media for over 30 years including computer text and video for the 42nd International Venice Biennale. As a curator, he has assembled numerous exhibitions of interactive and computer-based installations. Dana also works with the Boston affiliation of May First/People Link, that provides Information Technology support internationally for social justice organizations. He is a professor in the Studio for Interrelated Media (SIM) Department at the Massachusetts College of Art and Design in Boston.
About Nita Sturiale
Nita Sturiale has been working in the fields of art, science, and technology for over 20 years. Currently, she is professor and department chair in the Studio for Interrelated Media at the Massachusetts College of Art and Design. Sturiale produced the award-winning Invisible Ideas project, which was included in the 2001 Boston Cyber Arts Festival, which was the first time a PDA, GPS, and Flash technology were integrated into a location-based, interactive artwalk.
As an interactive communication design program, the MassArt Dynamic Media Institute (DMI) aims to encourage dialogue within the fields of art, design, technology, and science. FreshMedia is an annual showcase of all the artists/designers in the program from diverse backgrounds in engineering, fine arts, computer programming, graphic/industrial design and advertising. Pieces include interactive and dynamic work ranging from computer based imagery, aural soundscapes, data visualization, and even game-like storytelling. Since the focus of the work created by DMI is on creating experiences, the students in the program rely heavily on critical user analysis. Tangible results not only enable a better understanding and development of specific project work, but also assist in the expansion of the fields of interaction and communication design. By sharing their playful, yet though-provoking work, DMI hopes to engage with the community at large, asking people to question their place in the midst of this dynamic society we live in.
Part of the life of remarkable artworks is that they are appropriated, transformed, and made new. In Programs at an Exhibition, two artists who use code and computation as their medium continue the sort of work others have done by representing visual art as music, by recreating performance pieces in Second Life, and by painting a mustache and goatee on a reproduction of the Mona Lisa. Programs at an Exhibition presents computer programs, written in Perl and Commodore 64 BASIC, each running on its own dedicated computer. The 20th century artworks reenvisioned in these programs include some by painters and visual artists, but also include performances by Joseph Beuys and Vito Acconci. All of the underlying code is made available for gallery visitors to read; they are even welcome to take it home, type it in, and run or rework these programs themselves.
The programs (Commodore 64 BASIC by Nick Montfort, Perl by Páll Thayer) re-create aspects of the concepts and artistic processes that underlie well-known artworks, not just the visual appearance of those works. They participate in popular and “recreational” programming traditions of the sort that people have read about in magazines of the 1970s and 1980s, including Creative Computing. Programmers working in these traditions share code, and they also share an admiration for beautiful output. By celebrating such practices, the exhibit relates to the history of art as well as to the ideals of free software and to the productions of the demoscene. By encouraging gallery visitors to explore programming in the context of contemporary art and the work of specific artists, the exhibit offers a way to make connections between well-known art history and the vibrant, but less widely-known, creative programming practices that have been taken up in recent decades by popular computer users, professional programmers, and artists.
The Perl programs in the exhibit are from Microcodes, a series of very small code-based artworks that Páll Thayer began in 2009. Each one is a fully contained work of art. The conceptual meaning of each piece is revealed through the combination of the title, the code and the results of running them on a computer. Many contemporary programmers view Perl as a “dated” language that saw its heyday in the early ages of the World Wide Web as the primary language used to combine websites with databases. Perl was originally developed by Larry Wall, whose primary interest was to develop a language for parsing text. Because of his background in linguistics, he also wanted the language to have a certain degree of flexibility which has contributed to its motto, “There’s more than one way to do it.” “That motto, ‘TMTOWTDI,’ makes Perl challenging for professional programers who have to take over other’s people code and may struggle to make sense of it,” Thayer said. “But it’s one of the main reasons that Perl, a very expressive programming language, appealed to me in developing this project. This flexibility encouraged Perl programmers to explore individual creative expression in the writing of functional code.”
“Páll’s work in Microcodes engages explicitly with the way computer programs are read by people and hwo they have meanings to those trying to understand them, modify them, debug them, and develop them further,” Nick Montfort said. “The Perl programs in Microcodes are quite readerly when compared to my BASIC programs. I’ve tried to engage with a related, but different documented historical tradition — the one-line BASIC program — as it works in a particular computer, the Commodore 64, and to dive into what that particular computer can do using a very limited amount of code, given these many formal, material, and historical specifics. Because my programs are harder to understand, even though they are written in a more populist programming language, I’m including versions of the program that I have rewritten in a clearer form and that include comments.” Montfort’s related projects include a collaborative book, written with nine others in a single voice, that focuses on a particular Commodore 64 BASIC one-liner. The book, published in 2012, is named after the program that is its focus, 10 PRINT CHR$(205.5+RND(1)); : GOTO 10. Montfort also writes short programs to generate poetry. These include two collections of Perl programs that are constrained in size: his ppg256 series of 256-character programs, and a set of 32-character concrete poetry generators, Concrete Perl. His book #! (pronounced “Shebang”) collects these and other poetry generators, along with their output, and is forthcoming from Counterpath Press.
Nick Montfort develops literary generators and other computational art and poetry, and has participated in dozens of collaborations. He is associate professor of digital media at MIT and faculty advisor for the Electronic Literature Organization, whose Electronic Literature Collection Volume 1 he co-edited. Montfort wrote the book of poems Riddle & Bind and co-wrote 2002: A Palindrome Story with William Gillespie. The MIT Press has published four of Montfort’s collaborative and individually-authored books: The New Media Reader (co-edited with Noah Wardrip-Fruin), Twisty Little Passages, Racing the Beam (co-authored with Ian Bogost), and most recently 10 PRINT CHR$(205.5+RND(1)); : GOTO 10, a collaboration with Patsy Baudoin, John Bell, Ian Bogost, Jeremy Douglass, Mark C. Marino, Michael Mateas, Casey Reas, Mark Sample, and Noah Vawter that Montfort organized. Nick Montfort’s site, with his digital poems and a link to a free PDF of 10 PRINT: http://nickm.com
Páll Thayer is an Icelandic/American artist working primarily with computers and the Internet. He is a devout follower of open-source culture. His work is developed using open-source tools and source code for his projects is released under a GPL license. His work has been exhibited at galleries and festivals around the world with solo shows in Iceland, Sweden, and New York and notable group shows in the US, Canada, Finland, Germany, and Brazil. Páll Thayer has an MFA degree in visual arts from Concordia University in Montréal. He is an active member of Lorna, Iceland’s only organization devoted to electronic arts. He is also an alumni member of The Institute for Everyday Life, Concordia/Hexagram, Montréal. Páll Thayer currently works as a lecturer and technical support specialist at SUNY Purchase College, New York. Páll Thayer’s Microcodes site: http://pallthayer.dyndns.org/
The 20th COLLISIONcollective exhibition will open at the Boston Cyberarts Gallery on Friday, January 17, 2014. Formed by artists and technologists, the COLLISIONcollective is premised on the sometimes abrupt intersection between art and technology. Its practitioners are drawn to this synthesis as the epicenter of forward-looking cultural adaptation. View PDF Catalog Here.
For more information, visit www.collisioncollective.org
The Boston Cyberarts Gallery and Emerson College’s Huret & Spector Gallery team up to present Hungarian-born sculptor Bálint Bolygó’s first U.S. exhibitions.
Based in the UK, Bolygó creates mechanisms animated by natural, invisible universal forces (gravity, optical laws, and crystalline movements on a nano scale) that investigate the process of creation independently. His sculptural inventions often explore the passing of time, and they record traces of particular events and movements on a surface-paper, metal, plaster, glass-through the build-up of complex patterns, highlighting the connection between space, matter, and time. The relationship between the predictable nature of a system (a machine, program, and algorithm) and the unpredictability of the human touch conjures up both notions of random chaos and universal order.
Curated by George Fifield, director of Boston Cyberarts, and Joseph D. Ketner II, Foster Chair in Contemporary Art, Distinguished Curator-in-Residence, at Emerson College, the exhibitions will highlight some of Bolygó’s works that explore similarities between artistic and scientific minds: both motivated by the need to discover and turn ideas into totalities. The Boston Cyberarts Gallery will present three machines that draw a mural, a portrait, and an animated film, while Emerson’s Huret & Spector Gallery will showcase three works that draw continuously with light.
“We are very excited to be collaborating with Boston Cyberarts in bringing the work of Bálint Bolygó to the U.S. for the first time. Boston is a hub for innovation, technology, as well as a thriving arts culture-areas that Bolygó draws inspiration from for his marvelous drawing-machine sculptures,” said Professor Ketner. “I hope visitors will enjoy this opportunity to see his work on display firsthand.”
Leonardo Electronic Almanac – in conjunction with Operational and Curatorial Research – and Boston Cyberarts are pleased to present Mathematical Rhymes – an exploration of art-making practices based in algorithmic and mathematical systems that translate into generative forms of moving image media. The exhibition pairs some of the earliest artworks dealing with the aesthetics of code and the structure of the computer screen with contemporary artists working with the visual and aural effects of computer data and networked technologies. By showcasing influential historical predecessors identified with the beginnings of computer art (Stephen Beck, Manfred Mohr, Lillian Schwartz and Stan VanDerBeek) alongside leading contemporary experimental media artists (Ryoichi Kurokawa, Yoshi Sodeoka and Casey Reas), Mathematical Rhymes promotes an expansive view of the procedural logic and imaginary that characterizes the aesthetic program of generative art.
New media scholar Philip Gallanter provocatively suggests that “generative art may be as old as art itself.” The programmatic, mathematical patterns found in Islamic tiles or Tibetan mandalas, along with textiles from around the globe – particularly those produced with Jacquard’s early 19th century punch card loom, a mechanical precursor of the modern computer – all exhibit algorithmic qualities: they are produced by preset instructions or procedural rules that dictate the forms and structures they might take. Depending on the technology implemented by the artist and the material form of the finished artwork, there can exist wide variations in the degree of the system’s autonomy, the impact of artistic intention and influence, and the complexity or predictability of the system used to generate the artwork. A technology can be as simple as a written set of natural language instructions or as complex as a string of computationally executable code that manifests in a spectacular array of screen-based graphics.
Mathematical Rhymes begins its account in the mid-1960s and early 1970s, when artists began to experiment with the potential of making films and videos with computer technology. Working at Bell Laboratories in the 1960s, Stan VanDerBeek created a series of early computer films, including the Poem Field series (1966-1969), that established the poetic aesthetics of computer programming. Lillian Schwartz, too, worked as an artist-in-residence at Bell Labs around this time. Her films Pixilation (1970) and Googolplex (1972) explore the basic unit of the pixel and the profound sensory effects possible through the computer terminal in both 2D and 3D. Concurrently, Stephen Beck was experimenting with the potential of generative video while an artist-in-residence at the National Center for Experiments in Television, at KQED-San Francisco. There he invented some of the earliest analog and digital video synthesizers, which allowed him to create fluid, improvisational, generative compositions exemplified by Illuminated Music No. 1 (1972) and Video Weavings (1975). In addition, a feature of the Boston Cyberarts exhibition will be the American debut of Manfred Mohr’s pioneering computer film, Cubic Limit (1973-4), which uses the simple shape of a cube to algorithmically generate a complete catalog of visual signs.
Works represented across the inventory all exhibit how the degree of artistic intervention in the final product effects the extent to which a system can be defined as functioning autonomously; in a true generative system, the rules of the program are produced by the artist, set into motion, and then left to develop, often in ways that could not be predicted by the artist due to the incursion of random variables. Mathematical Rhymes presents hybrid media artworks by contemporary artists Ryoichi Kurokawa, Yoshi Sodeoka and Casey Reas. While diverse and idiosyncratic in form and content, their respective creative practices share in common the performance of procedural and programmatic processes. Ryoichi Kurokawa’s Sirens (2013) exemplifies the relationship between generative visualization and cinematic practices. This impressive computer generated film – conceived and directed by Novi_sad with visuals produced by Kurokawa and sourced audio compositions by Richard Chartier, CM von Hausswolff, Jacob Kirkegaard, Helge Sten and Rebecca Foon – transforms our understanding of the relationship between moving image and “cinema” by immersing the viewer in an audiovisual scape and narrative composition that heightens the performativity of technological and natural systems. New York-based multidisciplinary artist Yoshi Sodeoka explores audio and video feedback as a generative system. In #46 — 35.23N 139.30E [FAC 3097] E5150xx – Digital/Analog Intermix (2012), Sodeoka produces a dense multi-sensory, psychedelic document of the Fukaya Communication Site in Yokohama, Japan from experimentation with distorted telecommunication signals. Casey Reas will contribute a new black and white version of Path (2001/2013), which uses graphical constraints similar to the pioneers of generative and algorithmic art, but deploys modern machines to demonstrate the possibilities inherent in digital simulation. Together, these works embrace degrees of unpredictability and “aleatoric” methods of authorship involved in computer-generated art-making.
The exhibition itself forms part of a multi-facetted curatorial project focusing upon historical precursors and contemporary exemplars of generative and algorithmic art practice. The exhibition and associated publication program has been conceived and developed by an international curatoriate working in association with the Leonardo Electronic Almanac (LEA) and Operational and Curatorial Research (OCR). Established in 1993, LEA is the electronic arm of the pioneer art journal, Leonardo – Journal of Art, Science & Technology. It is a peer-review journal jointly produced by Leonardo, the International Society for the Arts, Sciences and Technology (ISAST), and published by MIT Press. LEA and OCR provide forums for those who are interested in the realm where art, science and technology converge, and acts as an incubator for research projects, conferences and exhibitions that are later on published in a variety of formats, including catalogs, books and magazine issues in collaboration with institutions of excellence. For more information about LEA and Leonardo, visit http://www.leoalmanac.org. For more information about OCR, visit http://www.ocradst.org.
Lanfranco Aceti (Executive Curator/Editor-in-Chief, LEA), Vince Dziekan (Senior Curator, LEA), Meredith Hoy and Kris Paulsen (Guest Curators/Editors) and George Fifield (Director, Boston Cyberarts)
Boston Cyberarts Gallery presents COLLISION:19, organized by the COLLISIONcollective and guest juried by Boston Cyberarts assistant director, Stephanie Dvareckas. COLLISION:19 includes twenty two artists from eight countries around the world whose work lingers at the junction of art, technology and science. Chosen from an international open call, COLLISION:19 exemplifies the diverse range of work produced by artists working under the influence of technology.
Some pieces, such as Elizabeth Fuller’s Schrödinger, address our acceptance of scientific theories. Schrödinger is an exercise in frustration: the closer you approach the piece, the more difficult it is to see the subject. A box of one-way mirrors encompasses a lit cat. Yet, as the observer approaches the cat, the lights lower. With lessening light, the material of the box becomes more mirrored and obscures the cat until, upon close inspection there is nothing to see.
Others are social experiments where technology is implemented to uncover something about human behavior. This can be seen in Lauren McCarthy’s Social Turkers: Crowdsourced Relationships where Amazon’s Mechanical Turk (a website where one can hire a person to perform jobs that computers aren’t able to accomplish) gets paid to watch and give feedback on romantic dates.
Nathaniel Hartman’s extraterrestrial origins of pulsating stars examines the timings of 96 rotating pulsars as light and sound. An array of LED tubes displays either single stars as a pulsing wave or clusters of stars, creating a cacophony of visual and sonic noise. The brightness of the array also changes with the stars’ relative distance from Earth, giving the viewer a sense of spatial awareness.
Artists include: Marios Athanasiou, Axes, Nathan Boyer, Zachary Clemente, Will Copps, Juan Escudero, Antony Flackett, Elizabeth Fuller, Rob Gonsalves, Nathaniel Hartman, Stephanie Hough, Bob Kephart, Paul Kinsy, Lauren McCarthy, Matteo Pasin, Hector Rodriguez, Jean-Michel Rolland, John Slepian, Mark Stock, Wayne Strattman, William Tremblay and Emilio Vavarella
ABOUT COLLISIONcollective Formed by artists and technologists, the COLLISIONcollective is premised on the intersection between art and technology. Its practitioners are drawn to this synthesis as the epicenter of forward-looking cultural adaptation. COLLISIONcollective was formed to address several vital needs: the promotion of artists, the creation of events and venues for exhibition, and fostering the exchange of ideas, techniques, and enthusiasm for making art. COLLISIONcollective brings together people of all ages and disciplines in a collective format, creating a supportive community. It has eighty-five members from around the U.S., who are active visual artists/engineers and holds forums and invites speakers of interest to their members. It is the largest organization of its type in New England.
Rafael Rozendaal, Hybrid Moment
BOSTON -The Boston Cyberarts Gallery is pleased to present Poetic Codings, straight from its premiere exhibition at the Fellows of Contemporary Art gallery in Los Angeles. The exhibition includes three projections by John Carpenter, Casey Reas and Jeremy Rotsztain as well as 20 original, interactive iPad artworks by 8 artists including John Baldessari, Jason Lewis, Lia, Erik Loyer, Jeremy Rotsztain, Rafaël Rozendaal, Scott Snibbe and Jody Zellen.
This exhibition includes computer projections by three of the finest new media artists on the West Coast. In the wonderfully interactive Dandelion Clock by John Carpenter, the viewer’s proximity blows the seeds of a digitally created dandelion about the wall. Jeremy Rotsztain’s Action Painting is a video projection transferred onto a large canvas in the style of Jackson Pollock. It is composed using data from action movies as material. Casey Reas, one of the inventors of Processing (a computer language for artists), presents Signal to Noise (Software 1), which uses television signals as a raw material distorting contemporary information into new abstract data structures.
Since the introduction of the iPhone, new media artists have produced a wealth of interactive art for both iOS and Android systems. These are the most inventive and interactive art works available today. All of the apps are low cost, and many of them are even free. Even though several of these apps have become wildly popular, it is clear that neither the art world nor the computer industry knows what to make of these art apps. This exhibition is one of the first to juxtapose wall-based works with those made for mobile devices and is the first exhibition of its kind in New England.
In searching the iTunes store for “art apps” it is possible to find draw and paint apps, however, all of the apps in this show are listed in iTunes under Entertainment or Lifestyle - so there is no way to find this work on iTunes without knowing exactly what it is you’re looking for. Confusion doesn’t stop success; Scott Snibbe’s Gravilux came out on May 15, 2010 and was instantly ranked 1 in Entertainment and 2 in all apps. It stayed in the top 100 in Entertainment for 6 months and regularly returned there for more than a year. Even an obscure art history related work, John Baldessari’s In Still Life 2001-2010, debuted in the top 100 in Entertainment on June 22, 2010 and stayed there for a week. These 20 apps are the beginning of a revolution bringing inexpensive, interactive digital art to millions through their smart devices and connecting artists directly to an audience through an app store. The art world should take notice.
ABOUT THE ARTISTS
John Carpenter is an interactive digital artist and designer whose work explores natural systems and complex data and spaces. Based in Los Angeles, he works for Oblong Industries as a g-speak engineer and is a visiting professor in the Multimedia Arts Department at Loyola Marymount University. John earned his MFA from the department of Design | Media Arts at UCLA (2009) and has recently exhibited work at the 84th Annual Academy Awards, Young Projects and ACME.
Casey Reas is an artist whose conceptual and minimal works explore ideas through the contemporary lens of software. Reas’s software and images derive from short text instructions explaining processes that define networks.
Jeremy Rotsztain is a Portland, Oregon-based digital artist who, taking cues from the practice of painting, works with movies, images, and sound as a kind of malleable and expressive material. In his work, popular narratives, pixels, and sound bites are sampled, transformed, re-arranged and composed in an effort to examine the language and patterns of contemporary media and the shared cultural experiences that we have with them.
John Baldessari, born in National City, California in 1931, is an artist whose innovative combination of text and image, along with his witty, rigorous approach to teaching, has influenced generations of artists. In more than 200 solo exhibitions and numerous books, films, videos and public works, John Baldessari has continually poked holes in the boundaries of art, slyly and confidently asking questions about life, pictures and language. He lives and works in Santa Monica, California.
Jason Lewis is a digital artist and technology researcher whose work revolves around experiments in visual language, text and typography. His other interests include computation as a creative material, emergent media theory and history, and methodologies for conducting art-led technology research
The Austrian artist LIA – one of the early pioneers of Software and Net Art – has been creating digital art, installations and sound works since 1995. Her Internet works combine various traditions of drawing and painting with the aesthetic of digital images and algorithms. They are characterized by a minimalist quality, and by an affinity with conceptual art.
Erik Loyer uses tactile, performative and musical interfaces to tell stories, combining elements drawn from video games and comic books with dynamic typography, gestural control, and synaesthetics.
Rafaël Rozendaal is a visual artist who uses the internet as his canvas. His artistic practice consists of websites, installations, drawings, writings and lectures. Spread out over a vast network of domain names, he attracts a large online audience of over 25 million visits per year.
Scott Snibbe is an interactive media artist, researcher, and entrepreneur. He is one of the first artists to work with projectorbased interactivity, where a computer-controlled projection onto a wall or floor changes in response to people moving across its surface.
Jody Zellen is a Los Angeles based artist, writer and curator who works in many media simultaneously, making interactive installations, mobile apps, net art, animations, drawings, paintings, photographs, public art, and artists’ books. She employs media generated representations as raw material for aesthetic and social investigations that combine text and image.
Opening reception Friday, March 15, 2013 6-9pm
BOSTON –The Boston Cyberarts Gallery is pleased to present The Game’s Afoot: Video Game Art. Three artists who make video games that investigate the nature of art as well as the nature of video games themselves will be on view at The Boston Cyberarts Gallery from Saturday March 2 through Sunday April 14. This exhibition coincides with the PAX East Convention at the Boston Convention Center, at which Boston Cyberarts is also programming the 80 foot LED Marquee with art by Massachusetts Video Game designers and teachers.
Artists in the exhibition include Rob Gonsalves, Victor Liu and Anthony Montuori.
Rob Gonsalves’ O.f.f.i.c.e.A.n.t.s. is a ten-letter-acronym for Organized, Fast, Frantic, Intelligent, Corporate Entities Acting in a Novel Technology Simulation. The worker ants are developers, drones who perform repetitive tasks. You can interact with the O.f.f.i.c.e A.n.t.s. by using the two small canisters of developer nourishment, Pizza Bits and Coda Cola. Campaign Horse is a modified version of the basketball game “HORSE.” Using insults heard during recent political campaigns, the player insults their opponent or “takes shots” at them. The political points are added up by the letters and, if enough damage is inflicted, your opponents credibility is called into question.
Victor Liu’s audiovisual installation, Airlock Park, is an interactive, screen-based work powered by a PlayStation 3 game machine. Inﬂuenced both by the history of moving images as well as by the spatial dynamics of video games, this work pulls image fragments from many sources – from cinema and art history to internet video and video game footage – to construct virtual tableaux, or scenes.
Anthony Montuori’s games illuminate the futility of the modern pursuit of success. Debtris, a spinoff of “Tetris,” allows the player to pay off their insurmountable student debt playing the popular computer game for minimum wage. In Into the Void, the player becomes Yves Klein and attempts to remain in the void for as long as possible and, as in life, it is a struggle to do that. In Sisyphus, the gamer assumes the role of the Greek king and pushes a boulder upwards, to remove it from a hole in the ground. As the boulder gets closer to the top, the task becomes more difficult until the boulder falls back down again. Push, struggle, repeat forever.
ABOUT THE ARTISTS
Rob Gonsalves attended Northeastern University and UMass Lowell. Currently a Boston resident, he is an active member of COLLISIONcollective and works as a senior consulting engineer at Avid Technology.
Victor Liu’s has shown at the American Museum of the Moving Image in Queens NY, the FILE Festival in Brazil, the Microwave Festival in Singapore, the Boston Center for the Arts, among other venues. Grants and commissions include a NYFA Fellowship in Computer Arts and work commissions from Turbulence.org and the Whitney Museum’s Artport. He also served as a juror for the 2007 NYFA Computer Arts Fellowships. Liu currently lives and works in Brooklyn, NY.
Anthony Montuori is an Artist/Video Game Maker who lives and works in Boston, MA. He went to college for his Associates degree in fine arts at Hudson Valley Community, then to Montserrat College of Art for his BFA, and the School of the Museum of Fine Arts for his MFA.
BOSTON -The Boston Cyberarts Gallery is pleased to present City of Work, by Michael Lewy. This dystopian view of a city filled with cubicles reflects the ideas of the author of The Overworked American, Juliet Schor, who wrote that in 1990, Americans worked an average of nearly one month more per year than in 1970. Using photography, video, computer graphics and the Internet, Lewy has constructed an entire society where vacations are given by lottery, jobs are determined by the Human Potential Institute and it is illegal to be unemployed.
Marcus Sterling L’amour, founder and CEO of Omnipresent Industries says about the exhibition, “While we at Omnipresent Industries disapprove of art, as it represents a loss of those precious hours we have available to make ourselves better workers, this exhibition does reflect the strong values that Omnipresent Industries stands for, our core principles that guide our decisions and actions, ensuring everything we do is beneficial to our way of life. Remember our motto “if you worked here, you would be at work right now.””
This exhibition will include a computer based introductory orientation about your new work environment, an opportunity to take a Human Potential Institute test and find out exactly what job you will be assigned to and further inspirational quotes of Marcus Sterling L’amour.
ABOUT MICHAEL LEWY
Michael Lewy is an artist who works in a variety of media including photography, video and computer graphics. He received his MFA from Massachusetts College of Art in 1996; He has been working at MIT as an administrative assistant since 2000 and also works as an illustrator for such clients as the New York Times book review and HiLow books. He is the author of Chart Sensation, a book of power point charts and has shown at the deCordova Sculpture Park and Museum, the Pacific Film Archives and Carroll and Sons Gallery in Boston. He currently lives in Jamaica Plain, MA with his wife and daughter. www.cityofwork.com, www.mlewy.com
Boston Cyberarts Gallery presents its first exhibition in collaboration with the Boston based COLLISIONcollective. COLLISION18:Present, the eighteenth COLLISIONcollective group show, explores the concept of an eternal present as obtained by the use of looping media, static images, sculpture and installation. Other meanings of the word “present” are suggested: gifts to and from the artist and viewer, presentation and simple presence in a place and time. Curated by COLLISIONcollective members William Tremblay, John Slepian and Bob Kephart, COLLISION18:Present consists of 30 works by artists from the Boston area, and from across the US, France, Spain, Switzerland and Israel.
Visit: http://www.collisioncollective.org/show/collision-18 for more information.
***Due to the Thanksgiving Holiday, the Boston Cyberarts Gallery will be closed on Friday and Saturday. We will reopen this Sunday for our regular gallery hours, 12-6pm.
***Due to the Thanksgiving Holiday, the Boston Cyberarts Gallery will be closed on Friday and Saturday. We will reopen this Sunday for our regular gallery hours, 12-6pm.
Click here for exhibitions. 141 Green Street, Jamaica Plain, MA 02130. Located in the Green Street T Station on the Orange Line. 617-522-6710