Sunday, November 28, 2010

Final Artist Review: Theo Jansen and Dan Roe

Theo Jansen

           Theo Jansen was born 1948 in Scheveningen, Netherlands.  He attended Delft University of Technology and chose to focus his studies mainly on physics.  Jansen first began his career as an artist through paintings and drawings, and then decided to take his art in a different direction and somewhat simultaneously utilize his degree in physics that he obtained.  He built a flying saucer in 1980 that he proceeded to fly over Delft University, which as one could likely guess, essentially freaked out the townspeople. 

Though his breaking work of the flying saucer was essential to his development as a new style of artist, it wasn’t until he conjured the idea what is known as the Strandbeest that he was able to define his conceptual career.  In 1990, Jansen began the development of his new creation which is comprised of animal skeletons made up of anything from plastic bottles and tubing to cable ties, nylon strings, adhesive tape and plain old plywood, all powered by wind.   These “animals” have progressed into several generations over the past twelve years.  

The creatures are able to “walk” solely through the raw power of wind and are very large in size; so large, in fact, that unfortunately they are not able to be displayed in a gallery setting.  One must visit the beaches the animals live on in order to see them up close and in action.  He has built them increasingly stronger, and over the years and they are now more able to stand against the forces nature has to throw at them while on the beaches.  The multi-legged walking creatures that have been designed solely to roam the Dutch coastline have become increasingly intricate in their constructions and movements as well.  They have even been able to flap their “wings” through the power of the wind and make themselves “lay” on the sand in order to avoid an approaching storm.  Eventually, Jansen’s goal is to place the kinetic animal sculptures out in herds on beaches, where they would “live their own lives.” 

The role that Theo Jansen has taken on is somewhat godlike in the sense that he has created animals to be able to live freely on their own.  Jansen’s role as a present-day creator has certainly lead him to face some likely problems that a god would in that he is required to make so many intricate decisions regarding his animal creations.  However, Jansen’s techniques are purely of the scientific nature.  He has dealt with all of the blueprints of the creatures in a computer program he designed that allows him to calculate the most effective construction concept possible, but as of late, he feels he knows the ins and outs of the creatures basic designs and has done many through trial and error. Each of Jansen’s kinetic animal sculptures are comprised of 375 replaceable tubes, yet each creature has its own “genetic code” in a sense.  This particular code affects the way in which it is allowed to walk through wind power.

Works by Theo Jansen

Dan Roe

Dan Roe grew up on a small family farm where he was constantly getting his hands on machinery that was laying about, and was able to use his repairing and designing skills to implement his own take on functional art pieces later on in his life. 

While attending Western Michigan University, Roe focused his studies on psychology and neuroscience.  He was particularly interested in the various biological bases behind brain injuries, disease states, and normal cognitive aging.  Roe states that he also was able to develop an interest in artificial intelligence, the mathematics of networks, graph theory, as well as other assortments of current ideas pertaining to the cognitive sciences.

Through Roe’s Ph.D. studies at Washington University in St. Louis, Missouri, he was able to focus mainly on the theories and areas of cognitive neurosciences.  He gained a strong background in the intricate understandings of the sites and mechanisms of action of antipsychotic drugs, which eventually landed him the position as an instructor of abnormal psychology.

Though his career was taking off in a very scientific direction, Roe still possessed the simple longing for creating what he dubs as “artful machines.”  He quickly began to discover that his interest in the natural sciences and his drive to create these machines very much complimented each other.  The way he perceived it, designing and building the technologies were simply a new mode of study of the scientific factors he loved.  Once this realization came about, his exploration began to take on a very new path of its own.

One of the main states of mind that Dan Roe chooses to live his life by is the idea that “how we deal with our challenges defines the sort of people that we are.”  He says, “as for me, I increasingly turned to old interests, skills, and habits.” 

Dan Roe says he began constructing works “from the remnants of a world that I increasingly felt estranged from, paradoxically, I found my place within a community.”  He essentially had started to finally realize that others had certainly come before him that had the same frame of mind in the same sense.  Roe, as well as many others like him, referred to their ways of finding discarded technology and using them in new and innovative ways as “dumpster divers.”  Many of the ways he acquired the bits and pieces he used to make up his artful machines were truly recovered from dumpsters at the Massachusetts Institute of Technology (MIT).

The collision collective is one group Dan Roe was able to showcase his works in this field with.  The collision collective is basically as an offshoot of the MIT student art group, ATat (Arts and Technology at tech), whose charter was to host events showcasing art incorporating technology.

Once Roe felt he had finally discovered his niche, he began to experiment with working with the sun’s energy. He viewed solar power as providing a unique advantage to any kinetic work (things you don’t have to plug in.)  A challenge simultaneously presented with this particular type of use of power is that one must use what little energy is provided more thoughtfully than if you did simply plug it in.  In order to achieve this, Roe had to spend a significant amount of extra time optimizing the overall design concept to maximize the efficiency of the power being utilized.  Roe realized that the key to solar power utilization was to efficiently store up energy and use it in bursts.  “We are often the most innovative when we are challenged to make do with what we have.”

He began his building experimenting with brass and low temperature lead alloy welds in order to connect together the wires between the main pieces.  However, a colleague then suggested the use of steel wire paired with various bending techniques that began to shape a more useful and inexpensive method of shaping as well as protecting the sculptural pieces from damage.  Through simply varying the length and gauges of these steel wires, Roe was now able to place electrical components in a controlled manner relative to one another.  He could now draw the geometry and flexion characteristics of the electromechanical inventions with the simple steel wire. 

This synthetic form of art in which Dan Roe chose to focus on creating has become a way to explore the world in which he lives in and has lived in in the past.  According to him, “it is also a delightful waste of time.”  His machines are designed according to his particular conceptual basis that is meant to emphasize his idea of minimalist design elements.

Dan Roe’s main concept in creating these solar powered machines is to make a statement on the advances in information technologies and how it is increasingly a part of one’s everyday life.  In producing more organic sculptures such as his solar powered flower piece, he has developed a new way of making good use of old and easily discarded materials to make something worth looking at.  He specifically states that he is not interested in finding solutions to practical problems, like others in his field, but simply wishes to produce his kinetic designs to create “flowing, graceful movement, and that are increasingly autonomous in control and energy acquisition generation after generation.”

Works by Dan Roe

In essence, both Theo Jansen and Dan Roe are creators of a new media form.  They have different techniques in that Jansen constructs his animal sculptures of simple plastics, tubes and wood, and Roe chose to comprise his robotic sculptures of discarded technologies and wires.  The two artists deal with kinetic sculptural pieces, meaning that the art can simply move without having to be plugged in or battery operated.  This technique for sculptural pieces is certainly an innovative way to utilize various technologies that are often overlooked, such as the simplicities of wind and solar powers to drive an object to move.  

Artist Lecture: Mark Tribe

Mark Tribe is essentially an artist in the area of public performances that are designed to make specific comments on society.

One of the main projects he embarked on was his series of six public re-enactments of historically relevant speeches.

He has put together speeches by Coretta Scott King, Howard Zin, Paul Potter, Cesar Chavez, Angela Davis, and Stokey Carmichael.  These re-enactments are comprised of all actors in various public locations throughout the U.S.  The actors dress as the person whose speech they are portraying, and deliver it as they would. He also shows videos of these performances in galleries for more people to be able to experience.

I think what he is trying to get across is the idea that history does repeat itself; and in more ways than one.  He says that “we observe performances for the media, but we also perform for the media.”

Another project he produced was a compilation of various musicians performing the Star Spangled Banner using any instrument or style they chose, placed in a gallery setting.  This performance allowed anyone a chance to be a part of a live art statement; it was a great way to portray emotion simply through the strength and importance of the particular song. 

Saturday, November 27, 2010

Artist Lecture: Matteo Bittanti

Italian-born Matteo Bittanti may not classify himself as an “artist;” more as a professional procrastinator, however, his works show otherwise.

A lot of what he does in his current town of San Francisco, CA is acting as a curator.  He finds artists who have works inspired by video games as well as various other forms of digital media and brings them all together in a gallery installation.

Bittanti truly makes a living on what he loves and finds interesting; he successfully combines obsessions with things he likes such as video games, and uses them to make a comment on society, not just for pure entertainment value.  He even considers video games “the ultimate form of art,” because they combine a variety of art forms such as video games, sound, as well as interaction. 

As far as his own work that truly makes him an artist, there is one in particular that stands out.  Bittanti composed a video of himself playing a parkour video game, making himself in the view of the “runner” in the game.  His reason for this is to be able to replay what was probably one of the most horrible things that has happened in his life.  The character he was simulating in the video demonstration was that of one of his best friends, Bruno who essentially stood at the top of a building for about four minutes before leaping to his death.  Bittanti also used music by Bruno himself as background sound in the video demonstration.  Everything about this makes it such a strong and compelling piece that is simultaneously heart-wrenching. It’s amazing to see the power a simple video game segment can hold.

The idea of replaying the incident was certainly a strong message to convey in a video game setting; and it certainly made an comment on the impact the art form can have.  He was very brave to re-live the event and form it into something that most would not consider making into such a strong statement.

Another project he put together was a direct comment to the idea of President Obama’s campaign advertisements inside actual video games on billboards and such.  What Matteo decided to do was make a parody of the bold act and proceeded to place these “Obamads” into more unlikely games such as Grand Theft Auto as a bumper sticker on a car. 

The works that Bittanti has produced, I feel, successfully impact the viewers’ outlook on certain issues that he brings up in the video game setting.  

Friday, November 26, 2010

Exhibition Review: Paho Mann

The main focus of Paho Mann’s “North Gateway Transfer Station Project” is to essentially raise environmental awareness in such as way that it was able to come across as a beautiful form of art.  He photographed nearly 6000 images of recyclable solid waste materials in Phoenix, Arizona.  The images were then entered into a database where they were paired with specific keywords based on the type of object as well as various color categories. 

                In the gallery, the images were placed according to color in a grid pattern below the main large photo of all of the images combined.  The visual esthetic created in the combining of such a vast amount of images is unbelievably beautiful for it being photographs of everyday recyclable things people throw out without a second thought.  This produced a sense of an idea that despite the images being of such unwanted, no longer usable items, they still are able to possess a strong beauty when placed in the right ways. 

                Paho Mann’s exhibition was paired with Lauren DiCioccio, whose work, I feel, very much compliments each others.  DiCioccio’s works are mostly comprised of objects that have been sewn which are made to look as if they are real.  Various objects include anything from milk cartons to even a newspaper clipping.  Both of their art forms are meant to make a comment on the way we perceive the everyday items we throw away and how they can actually be of beauty and splendor when placed in the right setting.

Thursday, November 18, 2010

Final Projects

Johnny Cash
This was on the Johnny Cash Project website.  Anyone is able to contribute their interpretive drawing of a randomly selected screen shot of the Johnny Cash video.  I chose to contribute two different frames of the video in order to try out different styles and ways of composing the picture.

Freckle Constellations has set up a series of fun tasks for anyone to produce and submit to their site.  One of these tasks is to create your own "constellation" through freckles.  I made this photograph of an animal constellation on a shoulder because I feel the intricate muscles add to the overall effect of the project.

Photographic Essay
I chose this photo of my own and wrote a story/poem behind it.

I wear a mask. 
My mask has become a part of me,
and I do not wish to remove it.
 I fear it will reveal me.  
The me that grows in the shadows.
And that shadow has taken on a life of it's own.
I dare not remove my mask.

Hang a wind chime
The "learning to love you more" website posed a variety of different projects for anyone to embark on.  You would choose a topic from their list of activities, do it or make it, then post your work on their site.  I chose to hang a wind chime on a tree in the middle of a parking lot.

Monday, September 20, 2010

Triptych Photoshop Montage: Surreal Settings



For this photoshop montage project, I was inspired by the vintage look, and was able to find a photographer on that represented the stylistic view I enjoy.  I used these photos to create a surreal scene in each third of the triptych.  I experimented with various sizes and skewing of the images to create this particular look.

Sunday, September 19, 2010

Analog Montage: An Overgrown World

In order to create this, I browsed thrift stores for a framed photograph.  I knew I wanted to make a montage of nature-based concept, so I chose this one.  I then composed a collage of various buildings to create the idea of "every building."  By using newspaper for clouds and integrating blackened birds as well as the yellow "city face" and the scared worm, I produced a picture of what our world has come to.  With all the pollution and population growing into the forests, this has become a scary reality.