Jeanne Kelly

Archive for 2011|Yearly archive page

Google Art Project | As an Artist

In Thesis Research, Wow on February 14, 2011 at 12:27 pm

I think this is brilliant, wonderful.

Who ever gets to see these works of art this up close?

Very few people are allowed to study these collections in this way. And rightly so. Too many visitors getting as close as Google Art Project does would destroy a work of art in no time. Yet it’s one of those many things I want to do in museums that’s not allowed; getting up close and studying the hand of the artist.

I learn a lot from being up close. I used to look at engraving stones and etching plates with a magnifying glass. But that was my own work. I love that I can now see these in this works of art way.

But I’m interested to hear what the museums and galleries have to say. There will never be a replacement for the original, but when the original isn’t avalible and certainly can’t be examined this closely by a million people all the time. [that would surely destroy it]   A certain distance is important for the life and health of the work and the viewer. In a way, the fragility of the piece, the unique nature of it being a one of a kind, gives it a life we must protect. There will never be another van Gogh’s The Bedroom and I may never be able to get it.

If museums get really desperate, they could sell personal viewings to a few people to help them pay the rent. But a few other people might get angry over that, maybe the people who couldn’t afford it.

Seems to me a double edged sword. A museum’s greatest competition can be the wealthy elite. They drive and sustain the price of art; they are who the museums bid against.  At the same time, they provide free labor, funding and donate entire collections to museums. Tricky, tricky. I understand that I’m oversimplifying a complex problem, but I think it has a simple relevance here. Who gets what kind of access?

And, what’s in the best interest of the work?  Should everyone, no one, only a few people a year, be allowed to get breath on Rembrandt’s Self Portrait. Whatever the right answer, Google says it’s everyone.

For now the following museums are included in the project:

  • Alte Nationalgalerie, Berlin – Germany
  • Freer Gallery of Art, Smithsonian, Washington DC – USA
  • The Frick Collection, NYC – USA
  • Gemäldegalerie, Berlin – Germany
  • The Metropolitan Museum of Art, NYC – USA
  • MoMA, The Museum of Modern Art, NYC – USA
  • Museo Reina Sofia, Madrid – Spain
  • Museo Thyssen – Bornemisza, Madrid – Spain
  • Museum Kampa, Prague – Czech Republic
  • National Gallery, London – UK
  • Palace of Versailles – France
  • Rijksmuseum, Amsterdam – The Netherlands
  • The State Hermitage Museum, St Petersburg – Russia
  • State Tretyakov Gallery, Moscow – Russia
  • Tate Britain, London – UK
  • Uffizi Gallery, Florence – Italy
  • Van Gogh Museum, Amsterdam – The Netherlands
Here’s a little more about it in Google’s own words:
What is the ‘Art Project’?
A unique collaboration with some of the world’s most acclaimed art museums to enable people to discover and view more than a thousand artworks online in extraordinary detail.

  • Explore museums with Street View technology:virtually move around the museum’s galleries, selecting works of art that interest you, navigate though interactive floor plans and learn more about the museum and you explore.
  • Artwork View: discover featured artworks at high resolution and use the custom viewer to zoom into paintings. Expanding the info panel allows you to read more about an artwork, find more works by that artist and watch related YouTube videos.
  • Create your own collection: the ‘Create an Artwork Collection’ feature allows you to save specific views of any of the 1000+ artworks and build your own personalised collection. Comments can be added to each painting and the whole collection can then be shared with friends and family.
Are the images on the Art Project site copyright protected?
The high resolution imagery of artworks featured on the art project site are owned by the museums, and these images may be subject to copyright laws around the world. The Street View imagery is owned by Google. All of the imagery on this site is provided for the sole purpose of enabling you to use and enjoy the benefit of the art project site, in the manner permitted by Google’s Terms of Service.The normal Google Terms of Service apply to your use of the entire site.
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The Hyrtl Simulacrum on Kick It!

In Thesis Research, Wow on February 13, 2011 at 6:46 pm

A few days ago I started getting a few more hits and pledges on the Kickstarter page and was wondering what was going on.  Whatever was happening, I liked it and wanted to make sure it kept happening. So I did a little digging. I found out that a collaborative group had picked up my project and was helping to promote it on their website.  Alright. {!} The group is really a creative conference called Kick It! and is associated with Lab 24/7, an “underground space and incubator for creative projects and events” operating from the cellar of an old brownstone in BedStuy. They have the project prominently featured on their front page under “Projects We Like.”   Wow!   A very humble Thank You to you folks.

But let me let them tell you about the conference in their own words …

“KICK IT! is an afternoon of presentations, performances and exercises focused on getting projects off the ground. KICK IT! is about motivating and connecting people who want to get things done.  If that sounds like you, then keep reading… At the heart of KICK IT! is a series of demo’s by individuals and groups that are actively starting up a project, business or community effort.  The projects could be an album release, a cookbook, the invention of a new water gun, or a conference around a cause.  Based on the demo’s, the audience will vote for their favorite project, who’ll receive a cash prize. Getting things done requires learning from the mistakes, and successes, of others. So you’ll also hear advice from people who’ve hit the nail on the head, and others who miscalculated. And if you have an idea, we’ll give you an opportunity to pitch it, and match you up with other people who may want to help *you* KICK IT! That will take the form of concept lightening pitches, followed by team matchmaking. So if you have an idea that you want support on, bring your one minute schpiel. Get ready for a collaborative experience that will inspire you to cross that chasm between procrastination and action.  Because the time is now for entrepreneurs, artists, and creatives to take hold of the 21st century.  The time is now to Kick It!”

I’d received a comment/compliment from one of the folks from a group a few days ago but the link to the site wasn’t working at that time. I tried to fine it myself on the interwebs, but I had no luck and it kind of got placed on the back burner.  But not anymore!  I applied to present on March 19th, so we’ll see how it goes.  Until then: Thanks Jonathan Landau for the props. 🙂

A Recent Show I Entered

In Thesis Research on February 13, 2011 at 3:44 pm


Digital art defines the contemporary. The Los Angeles Center For Digital Art is dedicated to the propagation of all forms of digital art, new media, digital video art, net art, digital sculpture, interactive multimedia, and the vast panorama of hybrid forms of art and technology that constitute our moment in culture. We are committed to supporting local, international, emerging and established artists through exposure in our gallery.”

LACDA 2011 INTERNATIONAL JURIED COMPETITION

Jurors:
Edward Robinson, L.A. County Museum of Art (LACMA)
Rex Bruce,
L.A. Center for Digital Art

All styles of artwork and photography where digital processes of any kind were integral to the creation of the images are acceptable. The competition is international, open to all geographical locations.

The winner of this competition will be the inaugural exhibit for the new 4,000 square foot gallery at 102 West Fifth, directly across from our current location! The selected winner receives 10 prints up to 44×60 inches on canvas or museum quality paper (approximately a $2,500-$3,000 value) to be shown in a solo exhibition in the main gallery from March 10-April 2, 2011. The show will be widely promoted and will include a reception for the artist.

Second place prizes: Ten second place winners will receive one print of their work up to 24×36 inches ($150-$200 in value) to be included in upcoming group exhibits. Second place winners will be scheduled into a group shows within twelve months of announcement of winners. Consideration is given to placing these works in shows appropriate to their style, genre and/or content. These shows will be widely promoted and will include a reception for the artists.

Artist’s Reception: March 10, 7-9pm. The artist’s reception will be the opening gala at our new expanded location in conjunction with the Downtown Art Walk which is attended by up to 20,000 gallery goers.

Deadline for entries: February 15, 2011
Winners Announced: February 21, 2011
Exhibit Dates: March 10-April 2, 2011

I entered The Rope Walker and Our Child Murderer:

Submedia | Concentric Zoetrope

In Uncategorized on February 8, 2011 at 1:15 am

A concentric zoetrope is essentially a cylinder within a  cylinder. The inner cylinder consists of images facing outward. The outer cylinder is solid except for small slits cut in evenly spaced increments around its circumference, like murder holes in the siege tower. These slits are what allow you to not just see the images on the inner cylinder, but they help to create the illusion animation.

For the second construction I needed to improve on the construction. I used much more flexible material.  I also enclosed the gaps along the bottom to create a solid backdrop in case I might want to use this for a standard zoetrope in the future.

The inner cylinder is supported by pressure.  I used the same images as in the first zoetrope for the reasons I stated in the first post, I want to concentrate on the mechanics. I recalculated the size of these images to fit the smaller cylinder and printed them out on the plotter. After taping the images into shape I measured the circumference of this new cylinder and cut to precise circles from foamcore to hold the cylinder rigid.

What I found to be as crucial in a concentric search rope as in the regular ones is lighting. Whereas the first one I made did not have enough light duty to its solid ceiling the second one seemed to have first have to much. Again I found that it was crucial not to have the outside of the mechanism lit.

http://vimeo.com/moogaloop.swf?clip_id=19691830&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=ffffff&fullscreen=1&autoplay=0&loop=0

I think the second one was pretty successful after watching the video and that doesn’t really do the piece justice. I really do think a lot of it is the lighting. And I am going to try and make the Tron face.

Also, here are a few of the “animation” from the Museum of the Moving Image.
http://vimeo.com/moogaloop.swf?clip_id=19692479&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=ffffff&fullscreen=1&autoplay=0&loop=0

Update on the Seton Hall Symposium

In Thesis Research on January 31, 2011 at 11:39 am

The symposium “Modern/Contemporary Art and the Curiosity Cabinet” is being present in conjunction with  a new exhibition called “Working in Wonder” at the Walsh Gallery at Seton Hall University. Here’s a bit of the press release:

Paul Stout, The New American Landscape

“Working in Wonder” includes artwork in various media by artists that have been inspired by the Curiosity Cabinet, a historical era of collecting occurring between 1500 and 1700. The exhibit explores the connection between man-made and natural objects or artificialia and naturalia.

A symposium, Modern/Contemporary Art and the Curiosity Cabinet, will take place in conjunction with the exhibition. Lawrence Weschler, author of Mr. Wilson’s Cabinet of Wonder, will give a keynote speech on “ A Natural History of Wonder.” Other speakers will discuss topics such as Joseph Cornell, The Morbid Anatomy Library, and the work of Damien Hirst. The symposium will be held on the first floor of the Walsh Library in the Beck Room directly across from the Walsh Gallery.

The Walsh Gallery is located on the campus of Seton Hall University, 400 South Orange Avenue, South Orange, NJ 07079. For more information call 973-275-2033 or jeanne.brasile@shu.edu. Gallery hours are Monday – Friday, 10:30am to 4:30pm.

Please RSVP for the symposium by calling 973-761-7966 or emailing museumgrad@shu.edu. All events are free and open to the public.

There was a bit of confusion  (on my part)  as to whether or not the gallery would be open  during the symposium. Their normal operating hours do not include Saturdays. I confirmed with the University today that the Walsh Gallery and the “Working in Wonder” exhibition will indeed be open to the public during the symposium.

I thought I should also mention, that although I’ll be attending the entire symposium, anyone who would like to sit in for only one or two of the lectures, or would simply like to go to the gallery show, please  feel free to join us join us.

In Spring 2010, Thesis Research on January 31, 2011 at 11:39 am

The symposium “Modern a/Contemporary Art and the Curiosity Cabinet” is being present in conjunction with  a new exhibition called “Working in Wonder” at the Walsh Gallery at Seton Hall University. Here’s a bit of the press release:

“Working in Wonder,” a group exhibition, curated by Erin Gray, Danielle Schallom, and Edward Stapley-Brown, will be on view at The Walsh Gallery at Seton Hall University from January 18 through February 11, 2011.

“Working in Wonder” includes artwork in various media by artists that have been inspired by the Curiosity Cabinet, a historical era of collecting occurring between 1500 and 1700. The exhibit explores the connection between man-made and natural objects or artificialia and naturalia.

A symposium, Modern/Contemporary Art and the Curiosity Cabinet, will take place in conjunction with the exhibition. Lawrence Weschler, author of Mr. Wilson’s Cabinet of Wonder, will give a keynote speech on “ A Natural History of Wonder.” Other speakers will discuss topics such as Joseph Cornell, The Morbid Anatomy Library, and the work of Damien Hirst. The symposium will be held on the first floor of the Walsh Library in the Beck Room directly across from the Walsh Gallery.

The Walsh Gallery is located on the campus of Seton Hall University, 400 South Orange Avenue, South Orange, NJ 07079. For more information call 973-275-2033 or jeanne.brasile@shu.edu. Gallery hours are Monday – Friday, 10:30am to 4:30pm.

Please RSVP for the symposium by calling 973-761-7966 or emailing museumgrad@shu.edu. All events are free and open to the public.

There was a bit of confusion  (on my part)  as to whether or not the gallery would be open  during the symposium. Their normal operating hours do not include Saturdays. I confirmed with the University today that the Walsh Gallery and the “Working in Wonder” exhibition will indeed be open to the public during the symposium.

I thought I should also mention, that although I’ll be attending the entire symposium, anyone who would like to sit in for only one or two of the lectures, or would simply like to go to the gallery show, please  feel free to join us join us.

Modern | Contemporary Art

In Spring 2010, Thesis Research on January 29, 2011 at 8:43 pm

And the Curiosity Cabinet

It was mentioned in “On Display” that there would be extra credit given for attending  “Modern/Contemporary Art and the Curiosity Cabinet” at Seton Hall next Saturday, Febuary 5th.  Since I already had plans to go I thought I’d put a call out to anyone who’d like to go with me.

I’ll be taking 8:11 AM NJ Transit – Morris & Essex – Morristown Line Train from Penn Station to South Orange. For anyone who wants to go with, just message me. We can meet at Penn around 7:40 or so. It’s about a 2 hour trip I think.
You have to RSVP for the symposium by calling  (973) 761-7966 or email museumgrad@shu.edu.

I am not the best blogger in the sense that I am not a great original writer at times.  Sometimes I’m better at passing information on that someone else has done a better job at putting together.  That’s the case here.  And to give credit where credit is due, this conference breakdown originated with Joanna Ebenstein at Morbid Anatomy and Observatory in Brooklyn. She’ll be presenting at the conference as well.

Modern/Contemporary Art and the Curiosity Cabinet

10-10:30: Coffee

10:30: Welcome (Petra ten-Doesschate Chu, Seton Hall University)

10:45-11:45: Lawrence Weschler, Keynote address: “A Natural History of Wonder.”

11:45-12:15: Kirsten A. Hoving, Middlebury College, “Thinking Inside the Box: Joseph Cornell’s Cabinets of Cosmic Curiosity.”

12:15-1:15: Lunch

1:15-1:45: Melissa Ragain, University of Virginia, “Wonder as a Way of Seeing: Gyorgy Kepes and the Center for Advanced Visual Studies

1:45-2:15: Matthew Palczynski, Philadelphia Museum of Art, “Organizing the Curious Damien Hirst”

2:15-2:45: Patricia Allmer, Manchester Metropolitan University (UK), and Jonathan Carson & Rosie Miller (artist collaborators), University of Salford (UK), “Playing in the Wunderkammer”

2:45-3: Break

3-3:30: Joanna Ebenstein, Morbid Anatomy Library, “To Every Man his Cabinet or The Morbid Anatomy Library and Cabinet and the Revival of Cabinets of Curiosity.”

3:30-4: Roundtable with artists, led by Jeanne Brasile, Seton Hall University

4-5:30: Reception

You can find out more here and get directions by clicking here. This symposium is being produced in conjunction with a new exhibition called Working in Wonder at the Walsh Gallery at Seton Hall University; You can find out more about that by clicking here.

Photo from the collection of Tim Knox and Todd Longstaffe-Gowan, Private Cabinets Series by Joanna Ebenstein.

Thanks again JE for the info.

Kickstarter Video

In Spring 2010, Thesis Research on January 29, 2011 at 6:48 pm

I wanted to make a video for the project home page on Kickstarter. There is so much to read on there already that it was suggested something a little more dynamic would be nice. And sometimes it’s just nice to be told a story while you look at pictures.  🙂 So I finally got it completed, up and running. click on the image below to watch the video.

 

Submedia | The First Zoetropes

In Spring 2010 on January 27, 2011 at 9:14 pm

To truly understand how zoetropes work you have to just make one or two.   (or twenty 🙂

I started with a simple copypaper prototype fashioned after Josh Spodek’s small plastic example. Not so successfully though; the material was too flimsy and there was no smooth way to spin it quickly.  The breakdown of space and time however did work. The slots, although being slightly various in width, seem to work well. Ideally I think they should be completely uniform. So, by the end of class it seemed to be just a matter of better materials and better images.

On my subway ride home I began to think about how analogous zoetropes are to animated gifs, each containing very few frames and usually viewed in the loop.  Although the two mediums are vastly different, the images and optical effects they create are very similar.

The example Josh showed us, and the one I created in class after that (the first image above/with new and improved dots),  both had 12 images and 12 slits between them. I knew that a few of my favorite gifs also have only 12 frames. I decided to rotoscope one, print the images and use them to test the next zoetrope construction.  Some of you will recognize it. If not, then go to I Am Not An Artist to check out a few other little gems along with the original of the one above.

I have to say that usually when I’m learning a new technology, medium or skill I try to focus on learning just that. Creativity, for me  at least, can sometimes get in the way of  learning the left brain stuff. So I try to stick with something simple in concept, that way I’m less likely to get distracted by being creative. I find this method works best for me. Once I know and understand the technology then I can go crazy in the creative department, no holds barred.

Next up, Muybridge’s Galloping Horse.

I chose this series of stills to also test the zoetrope.  It’s a reference I’m familiar with and I know that it works as an animation in several formats. So my reasoning goes: if these images don’t work then it will mean that it is the fault of the mechanism more than likely, not due to poor rotoscoping or poor animation on my part. This makes a good measure against the machine.

Using the lazy susan that serves as my spice rack from my kitchen cabinet as the spinning mechanism, I could concentrate on the aspects of the outside cylinder: deciding on the slats, how many I would need, and how wide each opening needed to be. I use  black foam core I had on hand to construct the outer cylinder.

Because foamcore can’t be bent into a smooth circle I instead

cut “planks” and evenly spaced them around a circumference of the lazy susan.  I had to create a way to keep the “planks” together at the top however; they had a tendency to spread open as soon as the lazy susan was spun. Again I used materials I found on hand, straightening out paperclips and punching them through the slats to attach to an inner ring at the top.

This solution caused its own problems,  blocking out most of the light needed to see the animation.  I attempted different forms of lighting to compensate for this “ceiling” as you can see in the video below but nothing was quite successful enough in my opinion.

http://vimeo.com/moogaloop.swf?clip_id=19663037&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=615b80&fullscreen=1&autoplay=0&loop=0

Another thing I discovered in constructing this first zoetrope was the slats had to be closed when the images were. Meaning no light should be allowed to breakthrough between the images. As you can see in the video, what your eye is most drawn to is the flash of light coming through the back of the zoetrope.  this is easily fixed by wrapping the outside in a sheet of black paper. For my next construction I will simply only cut the slots halfway down.

Submedia | Zoetropes

In Spring 2010 on January 27, 2011 at 9:14 pm

For the warm up to really understanding how the Zoetropes work I’m making one or more.  I started with a simple copypaper prototype fashioned after Josh Spodek’s simple plastic one. Not so successful because the material was too flimsy and there was no smooth way to spin it quickly.  The breakdown of space and time however did work, so now it’s just a mater of better material and better images.

I was thinking about how similar zoetropes are to some animated gifs.  The example Josh showed us and the one I created after that one both had 12 images and 12 slits between them. I knew that a few of my favorite gifs have only 12 frames. I decided to rotoscope one, print it and use it as test images for the next zoetrope construction.  Most of you will recognize it. If not, then go to I Am Not An Artist and look at a few other great little animated gifs. You’ll find the original there.

Next up …

Muybridge’s Galloping Horse