Colorful Colorado by Phil Morton

Colorful Colorado by Phil Morton:

Colorful Colorado by Phil Morton, 1976_

Phil Morton (1945 - 2003) was an influential video artist and activist who founded the Video Area in 1970 at the School of the Art Institute of Chicago where he taught from 1969 - 1981/1982. See more;

I added all information I found about Phil Morton at Wikipedia, I find it really interesting about his trajectory as video artist and about his life;

"The Video Area that Morton founded was the first department in the United States to offer erectile degrees in Video art. The Video Area eventually became the Video Department, which later became part of the Film, Video & New Media Department. Phil Morton also founded The Video Data Bank, one of the world's leading collections of Video art. The Video Data Bank was originally conceived of as a collection of shared resources for and projects by the students of the Video Area as well as an archive for documentation of the visiting artists and activities in the Video Area. Frequent visitors and collaborators in the Video Area during the 1970s included Steina and Woody Vasulka, Gene Youngblood, Dan Sandin, Timothy Leary, Barbara Buckner and many other active and founding members of the early Video art community. Morton introduced analog and digital computers into the curriculum of the Video Area and the School in the 1970s through the use of the Sandin Image Processor, a patch-programmable analog computer optimized for video processing and synthesis developed from 1971 - 1973, and The Bally Astrocade Arcade Video Game System, a programmable home video game console developed in 1974.

Morton's playful, critical, self-reflexive and conversational Video art works, projects and performances often involved ongoing collaborations. In particular, Morton collaborated extensively with artists Jane Veeder, Dan Sandin, Tom DeFanti and Jamie Fenton. In 1973, Morton asked Dan Sandin if he could build the first copy of Sandin's original Sandin Image Processor. Sandin and Morton then began to work together to create the schematic plans for the Sandin Image Processor, a document they called the Distribution Religion. Through The Distribution Religion, Sandin open sourced his Sandin Image Processor, giving the plans away for only the cost of making Xerox copies and mailing them while incorporating any additions or modifications made by those who built their own Sandin Image Processor into any further releases of the Distribution Religion.
Morton developed an approach he called COPY-IT-RIGHT, an anti-copyright approach to making and freely sharing Media art. The Distribution Religion and Morton's individual and collaborative Media art works were released under his COPY-IT-RIGHT license. COPY-IT-RIGHT encouraged people to make faithful copies, caring for and distributing the work as widely as possible.

During his life, Morton's Video art works were exhibited at the Museum of Modern Art (New York), the Museum of Contemporary Art, Chicago, the Iverson Museum of Art (New York) and the 1975 São Paulo Art Biennial (Brazil). His Video art works were also shown on television stations such as WNET (New York), WGBH (Boston) and WTTW (Chicago) and reviewed in magazines such as Artforum and New Art Examiner. In 2007 the "Distribution Religion" exhibition at The Art Gallery of Knoxville was inspired by and featured the work of Phil Morton.

The Phil Morton Memorial Research Archive (located in the Film, Video & New Media Department at the School of the Art Institute of Chicago) seeks to coordinate and freely distribute Phil Morton's Media art work and associated research under Morton's COPY-IT-RIGHT license. jonCates initiated the Phil Morton Memorial Research Archive in 2007 after receiving a generous donation of Phil Morton's personal video archive/database from Morton's surviving partner Barb Abramo. The Film, Video & New Media Department presented "COPY-IT-RIGHT! Selections from The Phil Morton Memorial Research Archive" at The Gene Siskel Film Center on Thursday, February 15 2007. The program included excerpts from Morton's "General Motors" (like the video below called "Colorful Colorado") and the complete works of "Program # 9 (Amateur TV)" by Morton and Veeder and "SAIC Memo". - Wikipedia

See also copyitright.wordpress.com and more videos on google.

Pard Morrison

Pard Morrison:

Ungewöhnlich wirken die Arbeiten von Pard Morrison in freier Natur. Die geometrischen Formen und Säulen sind eine Mischung aus Skulptur und Malerei. Farben und Formen sind sorgfältig ausgewählt und stehen in Kontrast zu der Umgebung, in der sie präsentiert werden.

Morrisons Arbeiten fallen mit ihrer kräftigen Farbgebung sofort ins Auge und verwandeln den gesamten Kontext in dem sie stattfinden zum Kunstwerk. Dabei entsteht das Gefühl, dass die bunten Werke den Ort ihrer Bestimmung gefunden haben und sich in ihre neue Umgebung gut einpassen. Es ist als ob sie, genau wie die Natur welche sie umgibt, auf eine merkwürdige Art und Weise schon immer dort gestanden hätten. Der 1975 geborene Pard Morrison studierte Kunst an der Colorado State University und nahm zwischen 1997 und 2011 an zahlreichen Gruppen- und Einzelausstellungen teil.

All images © Pard Morrison | Via: Design Milk

Soundmachines [Objects, Sound]

Soundmachines [Objects, Sound]:



The Product, a Berlin-based studio for spatial and media related design, was commissioned by Volkswagen to develop a set of visuals for an interactive musical performance for the premiere of the New Beetle at the 2011 IAA motor show (September 15-25, 2011, Frankfurt am Main). What the client got instead was Soundmachines – a custom-built instrument for performing electronic music by DJing visual patterns on record-sized discs. Honk for ingenuity
Continue reading.... Soundmachines [Objects, Sound]

Eric Fleischauer

Eric Fleischauer:







Eric Fleischauer

Work from his oeuvre.

“Working mainly in video and sculpture with drawings, photographs, websites, artist books, and curated projects surfacing from the concepts that guide his work, Eric Fleischauer uses these various forms to investigate the position(s) and influence(s) that technology holds in society on both the individual and cultural level.

Fleischauer pushes the most basic of elements inherent to video media such as the single take or the rejection of post-production special effects to produce minimal videos that retain a “truth.” Folded into these pieces is a further layer of materiality, where certain objects are emphasized within the context of video, particularly other forms of technology like hand-held communication devices and televisions. Tapping into the formal language of video allows Fleiscahuer to remix and reorder the expansive lexicon included in the semiotics of television, film, and video to respond to its advancements, slippages, and history in order to question and challenge those changes.

Engaging the viewer in a close read, the work in POST-CURSOR invites the audience to connect to the work through the recognition of and access to the hand-held as it is melded or encoded with digital information. A hand-bound stashbook (in collaboration with Susannah Kim) hides hidden text, a video documents the deletion of coded personal information, and a series of slow, transforming images re-visualizes “truths.”” – via Three Walls

Julian Oliver

Julian Oliver:





Julian Oliver

work from Föhnseher

“Föhnseher rises from the scrap heap of analog TV. Unlike other televisions, Föhnseher captures and displays images downloaded by people on surrounding local wireless networks.

Other people’s phones, laptops and tablet computers all become broadcast stations for this device, replacing the forgotten television towers of old.

The name föhnseher derives from fernseher, the German word for television, and the föhn, a strange warm wind known to the south of Germany. The words have a very similar pronunciation.” -Julian Oliver

via Creative Applications

wim botha

wim botha:





















sculptures by wim botha

Between Dashikis and BET

Between Dashikis and BET:

The New Negro Escapist Social and Athletic Club never existed, but for his 2008 solo debut at Nicole Klagsbrun Gallery, Rashid Johnson conjured the fictional secret society through smoky portrait photographs of distinguished-looking men wearing suits and ties. In the process, Johnson managed to personify the qualities of his own artwork: ambiguous and hard to read, yet whimsically redolent of African American history. Already a finalist for the 2012 Hugo Boss Prize, Johnson is embarking on the biggest year of his career thus far, with solo shows opening at Hauser & Wirth in New York, the Museum of Contemporary Art in Chicago, David Kordansky in LA, and South London Gallery during the Frieze Art Fair.

At Hauser & Wirth, Johnson invokes one of the former owners of the gallery’s Upper East Side townhouse, boxing promoter Don King. The title Rumble refers to the historic 1974 Rumble in the Jungle, promoted by King and fought in the former Zaire between world heavyweight champion George Foreman and Muhammad Ali. Rumble’s complex, geometric arrangement of mirrored tiles is fractured, its surface splattered with black soap, wax, and paint. For Johnson, the ’70s represent rumblings of transition, a moment between black identity epitomized by everyone “wearing dashikis and looking for their African roots” and black identity as “listening to hip-hop and watching shows on the Black Entertainment Network.”

Rashid Johnson, Rumble, 2011, mirrored tile, black soap, wax, paint. Courtesy Hauser and Wirth.

The Cosmic Slop series, carved and slashed into layers of black soap and wax, is named for a 1973 Funkadelic track from the album of the same title. Johnson consistently uses albums as cultural references points, propping up LPs on shelves attached to several mirrored tile pieces, along with objects like a bar of black soap, a CB Radio, and shea butter. Not all of these are simple cultural touchstones—Johnson draws many from his personal history (the CB Radio refers to his father’s electronics company), confounding expectations for easily identifiable symbols of black culture. Through these ambiguous personal references, Johnson avoids relying too heavily on the kitschy stock imagery of dashikis and hip-hop.

Rashid Johnson, Comic Slop “Black Orpheus”, 2011, black soap, wax, 72×96×1.75″. Courtesy Hauser and Wirth.

On one shelf, neighboring a CB Radio, Johnson props up a 1957 Charles Mingus album, The Clown. In the album’s liner notes, Mingus writes, “My solo in it is a deeply concentrated one. I can’t play it right unless I’m thinking about prejudice and persecution, and how unfair is it. There’s sadness and cries in it, but also determination. And it usually ends with my feeling, ‘I told them! I hope somebody heard me!’” The shelves, or shrines, have a reverent and also distancing attitude towards these artifacts. Johnson is hearing the history and prejudice and persecution, but he’s also thinking about what might come after. How else can we understand a video called The New Black Yoga?

Rashid Johnson, Glass Jaw, 2011, mirrored tile, black soap, wax, books, shea butter, vinyl, oyster shells, paint, 88.5×118.5×12″. Courtesy Hauser and Wirth.

(title unknown)

(title unknown):



“Untitled”, 2011 by Nate Boyce.

Philippe Ramette

Philippe Ramette:









Phillipe

Work from is oeuvre

“Philippe Ramette has always appeared to me as a kind of flying saucer in the contested landscape of contemporary art. Just consider the generation of artists who began to show their work in the nineties: his remove is evident, both in terms of formal resources and in the nature of his universe. I clearly recall my first conversations (in 1986 at Villa Arson, at the time when I was director) with the odd, “cut-out” image of this slim, fragile, discreet, timid young man, often searching for his words, at times as translucent as his clear blue eyes, as elegantly selfeffacing as his vaguely outdated suits – a kind of Keatonian dandy, as evanescent as his smile which was imbued with a sad humor like Jules Laforgue, as photogenic as a solitary figure by Sanders or one of Truffaut’s adolescents, as simultaneously close and distant as one of those absolute bachelors that the nineteenth-century novel, as well as Duchamp and Kafka, made into emblematic figures of modernity. A student still so much the same today that the calendar seems to have no grasp over him: he always appears to have just emerged from a parallel corridor of time…” – Christian Bernard, July 2001.Translated from the French by Brian Holmes

via Pietmondriaan.

Simon Dybbroe Møller

Simon Dybbroe Møller:









Simon Dybbroe Møller

From Hello at Fondazione Giuliani.
Press release below.
Hello, has a certain non-word-ness about it. It feels more like sound and less like communication of meaning than most words. When Thomas Edison discovered the principle of recorded sound, the first word he yelled into the machine was ‘halloo’. Hello is the title of the audio piece that, with a stressed correctness of tone and attempted neutrality, will speak to you when you enter the Fondazione Giuliani. Hello is also the title of this exhibition.
I often suffer from sudden dizziness when thinking that perhaps things gather in clusters by themselves.

- Pablo Henrik Llambias
It will be like this: when you stand or walk on O and No, a gym floor that has been assembled with a different intention than the ruliness of sports, you will see that the floor has been reduced to an image. An image of material excess. Or an image of nothing. An image of that which turns hell into hello. On the walls you will see O: in these inkjet prints, the same subject is reproduced over and over again, only in different colours and styles. They have their origin in Word, a program released in 1983 by Microsoft. In this program, one is offered a selected range of colours and sizes to produce and output letters and numbers. One is likewise offered the option to then cancel these choices. These O’s are unfinished. They have never gone full circle to become holes in language. They simply smile back at us. If O is a thing, it is a thing that signifies nothing.
Things Thinking Things consists of bundles of photographed objects chosen according to the simplest of all phonetic principles, that profane poetic tool: the rhyme. Here, the rhyme is a machine and it spits out objects. Each family of objects is arranged in stacks according to generation. And finally, Produce. Straight-from-the-package household-printers, hanging on the wall, sticking out their tongues. They have been unplugged in the midst of printing their very first piece of paper, and now they hang there, substituting the frame, which would otherwise have held the image. The new bike does not exist.
Hello is my second exhibition in Italy this autumn. The first, entitled O, opened in Milan some weeks ago. O, a sort of premature echo of Hello, oscillates between the too much and the less than little. The same could be said of Hello, but this show goes a step further. Hello takes on limitless expenditure and passive indifference as modes of resistance.
Yours truly,

Simon Dybbroe Møller
via Contemporary Art Daily

(title unknown)

(title unknown):



»Black Pig Lodge«, 2011 by Heather and Ivan Morison.

Pandora

 

Pandora:

White Elephant (Privately Soft) by Jimenez Lai

White Elephant (Privately Soft) by Jimenez Lai:

White Elephant (Privately Soft) by Jimenez Lai, 2011.

The White Elephant is roughly 10'x10'x10'. It has three basic premises: (1) A building inside a building, somewhere between a super-furniture and a small house. (2) An object that tumbles to attain multiple orientations to blur the qualification plans and sections. (3) An object that is hard on the outside, soft on the inside.

Its exterior is clad with translucent polycarbonate, and the interior is stuffed cowhide. It tumbles and changes orientation and can flip to eight different stances. See more;

"What is a building that can tumble freely without gravity or fixed orientations, hard on the outside but soft on the inside, and obstructs the continuity of interior spaces like an elephant in a room? This installation is a freestanding micro building / macro furniture that questions projection, inside/outside, rigidity/fluidity and size/scale." - Jimenez Lai

via | BLDGBLOG