Sunday, April 17, 2011
Scott Blake
Scott Blake was born in Tampa, Florida in the autumn of 1976 Blake created a series of artworks that involved reworkings of barcodes to create artwork. Barcode art was something that quickly became an internet thread. It was largely unknown exactly where this fad had originated from. he used barcodes as a tool and image, such as his portraits which were made entirely from bar codes. Blake had started this project around the time of the Y2K bug craze and the turn of the millennium.
Bruce Nauman
In 1993, Nauman received the Wolf Prize in Arts an Israeli award for his distinguished work as a sculptor and his extraordinary contribution to twentieth-century art.
Much of his work is characterized by an interest in language, often manifesting itself in a playful, mischievous manner.
Much of his work is characterized by an interest in language, often manifesting itself in a playful, mischievous manner.
Joan Jonas
She began her career in New York City as a sculptor. Jonas' projects and experiments provided the foundation on which much video performance art would be based. Jonas’ works were first performed in the 1960s and '70s for some of the most influential artists of her generation, including Richard Serra,Robert Smithson, Dan Graham and Laurie Anderson. Jonas filmed performers stiffly passing through the field of view against a wind that lent the choreography a psychological mystique.
Gary Hill
1998 : Artist-in-Residence, Capp Street Project, San Francisco, CA, John D. and Catherine T. MacArthur Foundation Grant
1997 : Member, Film and Video Jury, John Simon Guggenheim Memorial Foundation
1996-98 : Performed and collaborated with Meg Stuart and the dance company Damaged Goods in Splayed Mind Out, a multimedia performance which was rehearsed in Brussels, Belgium and traveled in Europe and to South America.
1995 : Leone d'Oro, Prize for Sculpture, Venice Biennale, Venice, Italy
1991 : Artist-in-residence, Hopital Ephemere, Paris
1985-92 : Art faculty, Cornish College of the Arts, Seattle, WA
1988 : National Endowment for the Arts, France/U.S. Exchange Fellow
1988 : Commissioned by the Musee National d'Art Moderne, Centre George Pompidou, Paris, France (to produce a new video installation)
1987 : Artist-in-residence, California Institute for the Arts, Valencia, CA
1986 : Artist-in-residence, Chicago Art Institute, Chicago, IL
1985 : Artist-in-residence, Sony Corporation, Hon Atsgi, Japan
1985 : Established Video Program, Cornish College of the Arts, Seattle, WA
1984-85 : Lived in Japan under a Japan/U.S. Exchange Fellowship
1983 : Visiting Professor of Art, Bard College, Annandale-on-Hudson, NY
1983 : Participant, "Intersection of the World and Image", Women's Interart Center, New York, NY
1982 : Media Panelist, New York State Council on the Arts, Ithaca Video Festival, Ithaca, NY
1982 : Visiting Artist, American Center, Paris, France
1981-82 : Member, Board of Directors, Media Alliance, New York, NY
1981 : Video Panelist, Creative Artist Public Service Program, New York, NY
1979-80 : Visiting Associate Professor, Center for Media Studies, State University of New York (SUNY), Buffalo, NY
1978 : Artist-in-residence, Portable Channel, Rochester, NY
1977-79 : Founder and Director, Open Studio Video Project, Barrytown, NY
1975-77 : Artist-in-residence, Experimental Television Center, Binghamton, NY
1975-76 : Conceived and directed Synergism, a series of intermedia performances for dance, music and video, Woodstock, NY
1974-76 : Artist-in-residence and Artist's TV Lab Coordinator, Woodstock Community Video, Woodstock and Rhinebeck, NY
Tuesday, April 12, 2011
John Whitney
John Whitney, Sr. died September 22, 1995 in Los Angeles, California, ending a remarkable career that linked music to experimental film and later to computer imaging. John Hales Whitney was born April 8, 1917 in Pasadena, California; he attended Pomona College, Claremont University before spending a year in Paris from 1937 to 1938. While in Paris, he studied Schoenberg's Twelve Tone techniques with Rene Liebowitz and worked on the animation of abstract designs.
In 1986, John Whitney joined with Jerry Reed to develop a program combining computer graphics and music composing. From 1986-1992, the Whitney-Reed RDTD (Radius-Differential Theta Differential) composing program was refined. The product of this work was the invention of a music/graphic instrument that produces a direct matching of "tonal action with graphic action." Whitney said, "I believe that visual design belongs with musical design."
He stated that with the development of computer technology, computers can now create and store images and music in infinite combinations and sequences to experience Complementarity and bring about a richer communication. Whitney believed that strong emotion flows from the combination of Music and Visual elements. "I've struggled to define my vision. The union of color and tone is a very special gift of computer technologies." He said that he would look to future artists to develop the communication further. His paper, discussing a major new audio-visual art medium, was published in the Computer Music Journal, Vol. 18/3, Fall, 1994.By the 1970s, Whitney had abandoned his analogue computer in favour of faster, digital processes.
The pinnacle of his digital films is his 1975 work Arabesque, characterized by blooming colour-forms. His work during the 1980s and 1990s, benefited from faster computers and his invention of an audio-visual composition program called the Whitney-Reed RDTD (Radius-Differential Theta Differential). Works from this period such as Moondrum (1989 - 1995) used self-composed music and often explored mystical or Native-Americans themes.
In 1986, John Whitney joined with Jerry Reed to develop a program combining computer graphics and music composing. From 1986-1992, the Whitney-Reed RDTD (Radius-Differential Theta Differential) composing program was refined. The product of this work was the invention of a music/graphic instrument that produces a direct matching of "tonal action with graphic action." Whitney said, "I believe that visual design belongs with musical design."
He stated that with the development of computer technology, computers can now create and store images and music in infinite combinations and sequences to experience Complementarity and bring about a richer communication. Whitney believed that strong emotion flows from the combination of Music and Visual elements. "I've struggled to define my vision. The union of color and tone is a very special gift of computer technologies." He said that he would look to future artists to develop the communication further. His paper, discussing a major new audio-visual art medium, was published in the Computer Music Journal, Vol. 18/3, Fall, 1994.By the 1970s, Whitney had abandoned his analogue computer in favour of faster, digital processes.
The pinnacle of his digital films is his 1975 work Arabesque, characterized by blooming colour-forms. His work during the 1980s and 1990s, benefited from faster computers and his invention of an audio-visual composition program called the Whitney-Reed RDTD (Radius-Differential Theta Differential). Works from this period such as Moondrum (1989 - 1995) used self-composed music and often explored mystical or Native-Americans themes.
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