Untitled (After Rauschenberg, Retroactive 1, 1964) 2008

Untitled (After Rauschenberg, Retroactive 1, 1964) 2008 Graphite on paper 6-1/4 x 4-1/2 inches/15.9 x 11.4 cm

How did I miss this?

Microsoft Photosynth

Photosynth takes a large collection of photos of a place or object, analyzes them for similarities, and displays them in a reconstructed 3-Dimensional space.

Giselle Beiguelman: "Sometimes Always, Sometimes Never, Sometimes" 2003

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

New Work

Luo Yongiin

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.

 XiGaZe 2001

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.
    (Dematté, 2006)

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

Artspeak China; http://www.artspeakchina.org/mediawiki/index.php/Luo_Yongjin_%E7%BD%97%E6%B0%B8%E8%BF%9B

Dematté , M., Allsopp Contemporary & Lavinia Calza
Luo Yongjin: “Points Of View”,
http://www.allsoppcontemporary.com/pdf/LY_PR.pdf

Michael Wolf

Peter Halley: 2

Peter Halley at Mary Boone, NYC (February 2010. Originally uploaded by ballenato63 on Feb 13, 2010.