1. Icteric, No 1, 1966
2. Icteric collective : Why not indeed toys incense and death. Newcastle 1967
3. Icteric no 2, 1967.
4. Catalogue cover.
5. Exhibition view, Moderna Museet, Stockhom, 1969.
6. Stuart Wise, Photomontage after suggestion by Maurice Henry for replacing the Sacre Coeur, 1968.
The above footage features two video projects called Sometimes Always and Sometimes Never, both from 2005 by the artist Giselle Beiguelman. This work shows hows mobile devices such as mobile phones "can become an impromptu interface and a vehicle or participate in an artwork" (Paul, C., 2008, p. 223). These projects consist of images shot on mobiles by visitors to a gallery space.
"In the gallery, the audience can use a keyboard and mouse to edit, in real time, the order and position of the frames on the screen and to impose coloured filters on the images" Paul, C., 2008, p. 223-224). The result in Sometimes Always "is a dynamic mosaic palimpsest" while is similar to the visual effects I am interested in achieving in my work" (Paul, C., 2008, p. 224). Sometimes Never "creates unstable saturated palimpsest" where "added colour saturation triggers a process of erasing" that means that "no action can never be repeated" (Paul, C., 2008, p. 224). The works "create a (de)generated video that is composed and decomposed (Paul, C., 2008, p. 224).
Paul, C., (2008) Digital Art, London: Thames and Hudson
Landscape is given a similar treatment to cubist landscape in the work of Luo Yongjin in work like XiGaZe from 2001 which was shown as part of the exhibition River Flows East-Landscapes of the Imagination in 2010. Yongjin’s XiGaZe is constructed in a similar manner to Kellner’s, however the fragmentation is far more subtle in its arrangements. We also see Hockney "joiners" too.
Luo Yongjin’s photographs hover between two very distinct points of view. The artist’s landscapes and urban scenes are primarily informed by China’s rapidly changing nature as he off sets its rich cultural heritage with more recent urban development. In the late 1990s Luo Yongjin began a series devoted to architecture where a single shot taken from a single viewpoint seems substituted by a long, superimposed series of images extending in time and space like contemporary mosaics. These images convey the speed and hysteria of rapid growth within the simplicity and stillness of a black and white image.
Yonglin between 1997 and 1998 began to photograph the new buildings in Beijing. Yongjin “adopted a ‘mosaic’ style to capture the magnitude of these structures” (Artspeak China, ND). Another example of the ‘mosaic’ technique can be found in his work Oriental Plaza, 1998 – 2002
Luo Yongjin Oriental Plaza, 1998 - 2002
Photography, 36 cm x 650
Lotus Block, Beijing(Series: Chinese City Scape), 1998
John is a lecturer in Media at Lincoln University and an artist. He began his real love for education at West Park College, Smethwick 1988-90, before going on to do his National Diploma in Art and Design at Stourbridge College in 1990. He went to Humberside Polytechnic and graduated in 94 after it had changed to Humberside University. From 1994-99 exhibited his work in a number of group shows. He also worked with a number of art groups and organisations before in 2000 becoming a university lecturer (thank you Jenny Wolmark!). John worked in art and design for about eight years before moving into the School of Media. He makes digital images.
This particular blog is a response to work started during the MA in Digital Imaging and Photography at the School of Media, Lincoln University 2009-11. This blog deals with a wide range of topics to do with visual culture: photography, art, theory, technologies and media practice.