Those of you who enjoyed Peter Burr and Porpentine’s labyrinth IMG MGMT are gonna love this: “Cave Exits” An immersive video installation on view Thursday May 7th through Tuesday May 12th at 3DL Art and Technology Center (opening Wednesday May 6th 6-8). Burr tells us the installation is directly related to the essay—and I for one, can’t wait.
Imagine it’s 2009. Addressing “digital color” was still a new concern. In HTML Color Codes(2009), an online exhibition curated by Carolyn Kane for Rhizome, each digital artist was assigned a color to interpret in its vastness. Kane says at the time it was widely assumed that “artists working with the internet are in fact limited to a ‘ready-made’ color palette.” Well, as we can see with a work like Jacob Broms Engblom’s “Gold,” digital color isn’t a limitation; it’s an asset.
I get that people get their rocks off to different shit, but is there any way anyone, anywhere finds Michael Green’s genital-less, 3D-rendered barbie bodies even vaguely erotic? They aren’t fucking so much as they are twitching and waddling near each other.
“BODYWORKS I-IX” is an exploration of the unconventional, though, which I guess explains why the guy above moves his mouth in the same way a fish might. For an inside look at the artist’s intentions, the online exhibition space Digital Sweat generously provides a statement.
BODYWORKS I-IX examines the nature of sexuality, exploring new methods of sexual expression, and asks, what can be erotic? Two conditions were applied to the construction of the objects:
1. Sculpt one male and female into a sexual arrangement until the sexual act appears “unconventional.”
2. Position in detail the movements of the body until the artist becomes mentally/physically aroused.
These two compositional methods deconstruct the traditional cultural sexual positions that we are accustomed to, displaying the complex range of human sexual nature’s penetrating erotic form, in its primal state of unconscious desire.
Good fortune rains from the sky. A windfall of impeccably rendered silicone GIFs, arranged in a Jenga like tower, plummet to the ground. Original video here. Artist: Paul-Simon. Hat tip: Paul B. Brown.
Protesters burn a police officer’s hat. Stills from a video by Madi Shapiro.
We’ve been glued to CNN today watching the clashes between the Baltimore Police Department and residents of Baltimore who’re protesting the death of Freddie Gray. We made this GIF out of a video Baltimore musician Madi Shapiro shot at demonstrations in the heart of the city; protesters burned a police officer’s hat on the tracks of the city’s light-rail line. It’s a powerful image coming out of a city that’s currently coping with widespread unrest following decades of tense relations between the city’s residents and police force.
Paddy’s visit to the Whitney Museum of American Art’s new building prompted a discussion about what makes a good splatter painting; in her slideshow, there’s a so-so drip-and-pour piece by Jackson Pollock. Trying to understand what makes a Pollock a Pollock has prompted any number of artists to try out his technique (for reference, see the Saatchi Art “Inspired by Jackson Pollock” collection). Count Yoshi Sodeoka among them. Though none of his Pollock GIFs look or feel exactly like a Pollock, there’s still that goal of unabated movement, of which a GIF can capture better, and perhaps more so, than a strip of paint.
Is it more appropriate to call this the GIF of the Day or the Font of the Day? These are the hard questions we ask ourselves over at the AFC HQ. What you’re looking at are letters that spell out Art F City in Rollin Leonard‘s “Liquid Diet Font.” The font is available in the “meat,” “glitter,” and “Rollin” motifs—above you get a sampling of all three.
Not that anyone asked, but my preference is “glitter,” at least for the AFC logo. I think I speak for everyone here at the blog when I say we’d rather be associated with a party, rather than shiny beef or the uber-creepy distortions of Leonard’s own body. Download the font here.