Art 345 Final Project:

Artist Statement: This video is my first attempt at Adobe Flash. I had many ideas for this final project, and I at first started creating an animation in Adobe Photoshop CS5 using their new puppet animation tool. But, after I wrote my final paper investigating the works of Miguel Chevalier I became inspired by his work and wanted to create my own piece that reflected his digital techniques. I first created shapes with all sorts of spikes and edges, then I used the shape tween in Flash to animate the key frames. I have about 25 layers, each with different shapes doing different animations. The layers are timed so that only a few shapes overlap animation. I feel that the movement is very interesting an a little hypnotic.  The sound is a clip I made my combining multiple clips in Audacity. I used tools within Audacity to amplify, clip and edit each layer of sound to create an entirely new song. The visual effect is enhanced by the interesting sounds from the pieced together sound clip.      


Art Exhibition Paper: 

Museum Review

            The title of the photo show at the Museum was The Altered Landscape: Photographs of a changing environment. All of the photographs in their own way made a statement about alterations to nature. It seems that this show is also a play on how man is responsible for the alterations, which have a negative impact on nature and how life was before man came and built over it.

            A great photograph that I enjoyed was Howl by Amy Stein. This image shows a coyote howling to a street light. The animal is looking up into the light as if it is confused. This image has to do with animals and how their habitat has been changed by man as well as their presence. I believe the photographer was trying to show how the man made environment can hugely impact the animals. I found this image very interesting because you see the coyote staring into the light but the snow around the coyote is untouched. There are no foot prints around the coyote that suggest the animal stumbled across this man made street light.  Overall the image is very interesting and beautiful.

            Another great image that caught my eye was by Yang Yongliang and was called untitled #5. This image has a feeling of a dreamlike world and is very imaginative. It is said to be sort of a seamless collage of photos taken within the busy cities of China.  This combination of separate images is put together in such a way that a new landscape is developed. On a level of altered environments this work critiques China’s rapidly growing, building and intensely changing environment. This image to me brings up the issues of design and photography. At what point does photography end and when is the piece considered a graphic design work? Can a piece be considered both? Although I love both photography and design, I feel that a photo should be minimally changed to still be considered a photograph. This piece to me is a beautiful representation of digital design.    

            One final image I found fascinating was called Site Specific_NYC 07 by Olive Barbieri. This image is a classic example of a bird’s eye view of a city. This comments on how an animal like a bird flying overhead sees the city and its inhabitants, coxing the animal to believe that its surroundings are nature. Little does the bird know what nature is and what this massive city once looked like. On a photographic perspective, this photo is very interesting to me because it has a very strange depth of field. The areas that are in focus are not of similar planes and likewise for the areas of the image that are out of focus.

Artist Lecture Review: The Work of Art Featuring Jeff Ross (KNPB)

            Jeff Ross is an award winning photographer, who wanted to take a break from commercial and advertisement photography and give back to the community. His project took place at the Renown Rehabilitation Center. Here he found himself in a much different environment than he was obviously used to. Instead of photographing and object for an advertisement or a beautiful model, Jeff had to document the trials and tribulations relating to the lives of individuals undergoing intense physical therapy.

            It is very interesting to me how Jeff was able to create a photo essay and open the eyes of the viewer, giving them a glimpse of these individuals’ hardships. During the program it was said that, “Jeff takes the responsibility of showing who that person is.”  He developed intimate relationships with these individuals that were either recovering from a serious accident or dealing with declining health problems.  This in turn allowed him to capture true and natural moments of pain, struggle, denial, recovery and/or optimism. In a sense these pictures give the viewer a behind the scenes look of this individual’s life. And for some the camera turned the individual into the person they were before their lives became overrun with the constant hope for recovery.  He said, “They were kind of celebrities at that point, it made them feel better about themselves.”  

            Jeff said, “When you see someone walking down the street with an artificial leg, an amputation, these kinds of things, you look the other way. I want people to look at this person. They are just like you and me and they are struggling to get their life back.”  Art can do just that. It can open the eyes of the viewer forcing them to face reality and see the beauty in something that would have never been noticed before. These photographs in a sense freeze a moment of time, capturing an emotional response from the viewer and telling a story in a split second.        

Final Paper

Digital Metamorphosis

            Miguel Chevalier is a digital artist who has dedicated his life and works to the exploration of technology. “Taking references from the history of art and reformulating them using computer tools, his works investigate the flux and networks that underlie contemporary society” (International). Chevalier has also been said to be a pioneer of virtual and digital art. His work is very unique even in the direct sense of digital art. The very individual approaches he uses within his work, which leaves an intense signature of work that, can only be created by Miguel Chevalier. “His images are a rich source of insights into ourselves and our relationship to the world” (International).

            Chevalier born in Mexico City now working in Paris became a master of digital art only after intense study.  He graduated from the Ecole Nationale Supérieure des Beaux Arts in Paris then continued on to Ecole Nationale Supérieure des Arts Décoratifs.  He also studied art at the Pratt Institute in New York and later attended as an artist in residence at the Kujoyama Villa, Kyoto, Japan. It has been said that, “Miguel Chevalier's wide-ranging artistic vision has been shaped by a broad education and extensive travel” (International).

                 Beginning around late 1970 Chevalier began using the computer to express his artistic creations. His work is seen as experimental and first of its kind. He wanted to be innovative and create work unlike any other, one could say inventive as an engineer yet avant-garde like a painter. What jump started Chevalier’s ideas and creativity with digital art, was intense feeling that technology would be very important in the future. After he farther developed his programming and computer skills he began to toy with the idea that technology would be a new and ever growing medium. With the result of his ideas, came an innovative type of applied art.  Within this new form of applied art came technology shown as no one had yet seen. Chevalier had succeeded in creating art through technology. Themes like nature, artifice, flows, networks, virtual cities and ornate designs influenced and are expressed within his work.  After his first work Chevalier had started to explore the ideas of hybrid and generative image. This idea definitely comes through in his later works.

A piece called “Fractal Flowers” is a great example of combining technology with art to create a world in which you can lose yourself. “Nothing can predict what these “fractal flowers” might produce, as they are infinitely free to hybridize and reproduce” (Desaive).  The code based work Chevalier produces is very distinctive, a transposition of nature to a technology created universe one could say. Fractal flowers has been said to be one of Chevalier’s defining pieces. Not only does this piece question art in the digital era, it is shown in such a way that the question of art is no longer a question. The pieces are made to be poetic showing the viewer a sort of whimsical look at digital metamorphosis.    

            Chevalier uses technology to relate his art to modern day. The idea is that everything around us in the world today is artificial. He explains, “we live in a world in which almost everything surrounding us is artificial: there is artificial light everywhere and we cultivate vegetables in greenhouses, for example. Even nature is not free from culture” (Chevalier, Herbarius 2059 2011). His visions for society in a contemporary aspect is shown all throughout his work by creating “artificiality” when he uses the computer to create a whole new artificial world. Using the computer as a medium, Chevalier explains his ideas for this new world:

For example I decide that a flower can have between a hundred and a thousand leaves and is allowed to grow a maximum length of three meters. The computer then randomly creates a plant within my boundaries. This way the outcome is always unique and surprising, even to me. Creating a virtual life is very exciting. (Chevalier, Herbarius 2059 2011).

The awareness that he is creating a new world, a virtual world is what keeps him going. A place that can capture a new essence of nature is the final and ultimate goal.

            Chevalier studies plants. Their growth, movement and life, just as a botanist would. A work called ‘Herbarius 2059’, shows just that. This innovative piece comes together in a virtual reality demonstrating the life of fractal flowers but in the form of a book. On one side of the book you watch the life, growth and death of a flower, while on the other side you see words spilling on the page, as if you were to see a message on a screen as it was being typed. Although the flower is not a realistic depiction of a flower, you create a sort of imaginary world where this flower exists. The flower shows a time laps of the life of a real flower, from a sprouting seed to a dying plant, to a new growth of life.                In a you tube video; Chevalier speaks of his influences and what lead him to explore the digital side of art. He spoke of artist like Monet and how he used intricate brush strokes to capture light. Chevalier said, “When you use a computer you work with light, red, green and blue” (Mill). He explains how he was most interested in the work of Monet and how he captures the motion of light in his painting. He then began to experiment with ways in which he could capture the motion of light within his digital work. He also spoke of influences from Andy Warhol and how he re-created the same piece just using different colors. Once again this was an aspect of color he wanted to explore because there are a lot of variations of color in the digital world. Yet another artist Chevalier was inspired by is the master of pointillism, Seurat.

In a 1999 interview with Patrick Imbard (which can be found at www.Chevalier-chevalier.com), Chevalier noted that the pointillists' experimentation with brushstroke and "simultaneous contrast of color" neatly mirrors a process in electronic art: The juxtaposition of pixels on a computer screen creates color and form just like setting one brushstroke beside another in a painting (Kuntz).

Chevalier spoke a lot about how he wanted to recreate nature in his work. This is how he first developed the idea of his piece Ultra-Nature.

            Ultra-Nature, a very interesting piece created by Chevalier captured the attention of many people. Chevalier re-created this piece many times through the years, 2004-2011. Ultra Nature is an interactive virtual reality instillation. He used special software created for him, to create a computer generated landscape. This landscape consisted of nature, flowers, trees and plants. His work allows viewers to participate with the pieces by moving their arms and bodies. This in turn simulated movement of the plants, flowers and or trees. Chevalier said in his you tube video he wanted his piece to have a “poetic feel” simulating the growth, life and death of plants.

            Margot Lovejoy, author of Digital Currents: Art in the Electronic Age, categorizes work like Chevalier’s in the form of video art created from computer animation.  She speaks of “The use of computers for an art grew out of existing formalist art practices, especially with regard to 1970’s Minimalist, neo constructivists, and conceptual aesthetic tendencies” (Lovejoy 174). She believes that many interests of computer work were motivated by the artist’s interests in kinetic and interactive aspects of computer programing. “In the next decades, the continuing work of many pioneer artists probed at the edge of computer’s potential, participated in developing new software tools and made vital contributions in laying the foundation for future achievements” (Lovejoy 175). This is exactly what Chevalier did. He created a whole new view of the artistic expression that can be created from a computer. “Miguel Chevalier continues to be a trailblazer, and has proven himself one of the most significant artists on the contemporary scene” (International).

            Miguel Chevalier’s work is very interesting to me. He uses nature to capture viewers in such a way that this virtual world becomes a reality. Although, I have not experienced his work in a large gallery setting where the walls surround you as if you were part of the piece but I still feel memorized by his work that I have seen on a small screen. His work is not high definition realistic by any means, but the realistic life cycles and movements of the nature put you in this sort of alternant universe where these strange plants grow and exist. Some of his other pieces that don’t show the life cycles of plants and just consist of shapes also have their own way of introducing a new world. The movement of these shapes combined with the alternating sizes growing from small to big and back to small again, captivates the viewer and somewhat confuses them as they search for some recognizable pattern, only to conclude that no such pattern exists. His work is beautiful and fascinating creating a whole new world where the viewer can entirely lose themselves in this digital world.         

Works Cited

Chevalier, Miguel. "Herbarius 2059." 14th June 2011. Design Miami Basel. 1 December 2011 <http://www.priveekollektie.com/upload/cms/39_PRESS_RELEASE_Miguel_Chevalier.pdf>.

Chevalier, Miguel. "Miguel Chevalier Exhibitions." n.d. Digital Nights. 1st December 2011 <http://www.digitalnights.sg/Miguel%20Chevalier.pdf>.

Desaive, Pierre-Yves. Center for Digital Cultures and Technology. 23rd April 2009. 1st December 2011 <http://www.imal.org/en/activity/fractal-flowers>.

International, Digital Art. Miguel Chevalier Biography. 30th December 2009. 1st December 2011 <http://www.digitalarti.com/en/blog/miguel_chevalier/miguel_chevalier_biography>.

Kuntz, Melissa. When Nature Won't do, There's Miguel chevalier's Ultra-Nature, at Wood Street Gallery. 14th December 2006. 1st December 2011 <http://www.pittsburghcitypaper.ws/gyrobase/Content?oid=oid%3A20358>.

Lovejoy, Margot. Digital Currents: Art in the Electronic Age . New York, NY: Routledge, 2008.

Mill, Idea. You Tube, Miguel chevalier on Ultra-Nature (part II). 19th December 2006. 1st December 2011 <http://www.youtube.com/watch?v=_N9uCfODWvg>.

Popper, Frank. Art of the Electronic Age . Harry N. Abrams, 1993.

Triptych Video

Artist Statement- For this triptych video I took multiple videos of a parrot. This project for me, was more to explore video editing software which I haven't used that much as well as work with and editing audio. Each video has both left and right audio which was formatted to fit the video. The left and right videos have effects that lead your eye to the middle video. These effects include a sketch filter and an abstraction filter. I went out of my comfort zone and explored the settings within each filter to create a personal effect. The side videos footage is sped up, to show the normal behavior of the bird. The middle video is the bird interacting with the viewer.  The left side audio has a left and right audio, and includes the water and splashing sound effects created with the video. The middle video also has left and right audio channels that consists of light sounds created by the birds stepping back and forth or pecking at the ground. The right sides video consists of a beat-boxing sound clip, as I feel that the rhythm and beat sounds allow the viewer to connect with the video and the slight movements of the bird. 

Small Video Assignment

Artist Statement

This video was my first attempt using Final Cut Pro, so I decided to try and mess around with many of the options and settings available within the program. I also maintained my original proposed idea to make a sort of video collage, as well as giving the viewer enough freedom to imagine different story lines using the assumed visual and sound. To evoke the freedom of the viewer I created the video with a static overlay. The static that remains throughout the video is a video in itself created by recording an offline cable channel. The other videos are clips from various you tube videos and edited down to size. I choose clips that had some sort of relevance to the sound being made at that moment in time.  

Audio Self Portrait

Sound Cloud Links

Audio Self Portrait- Original
Audio Self Portrait- Random

Circuit Bent Toy

Circuit Bent Toy Process- First I found an area on the board that could circuit bend. I choose this circuit bend because it made what seemed to be another instrument sound (different from the other four instrument sounds- button's top right in image). I then soldered in a button switch. This allowed me to add another button and instrument sound to the right top panel. I then reassembled the toy and drilled a hole to make room for the new button. Sound clip for the circuit bent toy found below.

Circuit Bent Toy SoundCloud Link

Crowdsourcing Final Projects

Swarm Sketch Project

Artist Statement: I contributed to two swarm sketches. It was interesting to see how contributors can use the small lines of others to create an overall image with (some) recognizable areas of the sketch.

Johnny Cash Project   

Click Here to See My Contribution to the Johnny Cash Project

Artist Statement: I choose to contribute to the Johnny Cash project because it is a great crowdsourcing project with a great cause. Within my image I choose to use the stippling technique to create the characteristics of the face. I spent a lot of time using the opacity of the brush to create bright highlights to bring out facial features. For the background my inspiration was Van Gogh's famous Starry Night painting.

Post Secret

Artist Statement: I have always wanted to contribute to Post Secret so I decided to use this as another crowd sourcing project to participate in. To incorporate the ideals of the class, I decided to make a digital collage for the background of the post card. The letters where found on images on-line and cut and pasted to the background, in true digital ransom note fashion.

Crowdsourcing Web Page Home Page Design

Artist Statement: Seeing as how my favorite project in class was the Triptych, this is what I decided would be my crowdsourcing idea. The idea behind this project is a combination between all the crowdsourcing projects I have seen. First, each day the project would have a word written in bold. The next step is to take the first image,color or word/s that comes to your mind when you see the bold word and add it to the days digital collage or Triptych. Similar to the technical layout of the Johnny Cash Project, the users would have a simplified version of Photoshop to edit their piece and place it on the working collage space. I choose to make a simple elegant Home page, using negative space and a simple layout so it would give the purpose of the project while not initially bombarding the user with too much info.  

Digital Currents: Chapter 5 Discussion Question

1. Because artist that create interactivity within their work have to explore many different sides of their work as they are developing it, i.e not only creating the work as an artist but as exploring their work as a viewer, do you believe they form a deeper connection with their work than visual artists like painters, poets, composers and so on?

"Interactivity deeply entwines the function of viewer and artist. In the process, the artist's role changes.    This convergence transforms what had been two very different identities of the artists and viewer." (167)

2. Do you believe that the an artist that creates an interactive piece has a deeper level of connection with the viewer, than that of traditional artist?

"In interactively participating, the viewer derives power somewhat parallel with that of the artist: to choose one's own path and discover one's own insights through the interactive work." (167) 

YouTube Remix

Artist Statement- I found this project to be interesting as well as challenging. I am not use to working with code so the challenge increased as the project progressed. I really find this lady's news story remixed into a song with videos ranging from animation, re-creation, to previously developed videos, very creative. I did have a hard time syncing all videos and sound together. I spent a good amount a research searching the net for codes that would mute some of the videos that had similar if not the exact song, but I had no luck in finding a code that actually worked. So, I decided to rearrange the videos so that the other videos sounds would come in at a lower sound and create a background repeat. The volumes of each video must be lower than the larger middle video for the piece to have successful sound piece.

Overall, I choose this initial video as my piece subject because the videos are hilarious. These videos are a sure way to crack a smile.

Video Piece: Click Here 

Digital Currents: Chapter 4 Discussion Question

1.Rosalind Krauss, art critic, termed early video works as “narcissistic” performance. How does works by Berly Korot, like First Four Monitors of Dachan, fit into the idea of “narcissistic performace” in realtion to video art?

 “Krauss describes this narcissism as a kind of psychological strategy for examining the conditions and traditions of the relationships between the process of image-making and the viewer’s perception of it.”(99)

2.Robert Pinaus- Witten said that “video art was ‘deficient precisely because it was linked to and perpetuated the outmoded clichés of Modernist Pictorialism.”’ (106)

What does he mean by “perpetuated the outmoded clichés of Modernist Pictorialism?” What are the clichés? Is he using the term modernist pictorialism to refer to a minimalist approach to a modern media?

Digital Currents: Chapter 3 Discussion Question

1." At the same time, television projected the world of the 1960s directly into the public's consciousness, transmitting dramatic, disturbing images of the Vietnam War Mixed with scaled up images of consumer objects which attempted to hook the viewer into believing that both kinds of images were of equal importance." (64)

Is the author saying that the attempts of subliminal advertising on TV in the 1960s, served as a vessel for "postmodern consciousness?"

2. "'In Conceptual Art", wrote Sol LeWitt, "the idea or concept is the most important aspect of the work... all planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes the machine that makes the art.'" (73)

The Medium is the Massage Discussion Questions

1. Marshall McLuhan says, "This feeling is an aspect of the new mass culture we are moving into-- a world of total involvement with everybody else and in which nobody can really imagine what private guilt can be anymore" (61). 

Does this quote have a direct correlation with the massive social networking that occurs every day on Facebook, Twitter or Myspace? These people tend to publish their every action, feeling and thought. Does this combine everyone and erase the boundaries associated with the term "private?"

2. "We look at the present through a rear-view mirror. We march backwards into the future. Suburbia lives imaginatively in Bonanza-land." (McLuhan 75)

What does McLuhan mean by "we look at the present through a rear-view mirror?" Does he mean, technology of the future is fast approaching today? Then, how does that connect with marching "backwards into the future?"              

 

Assignment 2: Animation

Artist Statement: This assignment was my first attempt to animate in Photoshop. I found it very time consuming but fun. It consists of 28 frames at .2 sec each. Since I have multiple areas of animation I worked in each frame separately to achieve multiple movements. In time I am sure I will perfect the timing progressions.

Assignment 1: Triptych and Digital Currents Introduction: Discussion Question

Artist Statement: My inspiration for this assignment came from the upcoming holiday Valentines Day. I mostly used this assignment to explore masking, special effects and selections in Photoshop. Nothing was planned out, it was more of a build as you go type of piece. 

Here are a few quotes from the reading that I found particularly interesting:

1) "Benjamin pointed out, however, that the discovery of photographic technologies from 1850 onward essentially undermined the existing function of art, not only because photography and photomechanical reproduction could provide visual reportage but because it threatened the “aura” and value of the original, the handmade object that relied on the specialized skills of the artist.” (Page 4)

Does this quote imply that “aura” of art’s essence can only be captured by the original work and that any reproduction of a specific piece is only undermining the value of the original? Then how does this so called undermining of the original piece threaten “the existing function of art” as a whole?

2) “When Andy Warhol began silk-screening photo images directly onto his canvases, Pop artists began the appropriation of mass culture, photomechanically reproducing images directly into the field of painting. In doing so they bypassed dealing with the social implications of photography raised by Benjamin.” (Page 6)

Why did these Pop artists that were reproducing their works for consumer consumption, escape the “social implications” that Benjamin labeled photography and cinematography as “threatening the existing foundations of the art establishment?” If we define Art within the terms that art is based on “hand skills” then we are decreasing the scope of art as an institution.