Archive for the 'Video Sculpture' Category

Tent, 2009

The following is a proposal for my Video Sculpture final and possible entrant for the 2009 Winter Show:

During the peak of the recession of 2008 and into early 2009, ad hoc tent cities began to pop up in cities around the country. These proto-shanty towns, a known phenomenon in other urban areas of the world, were now taking root in the richest country in the world. The tent, almost always a symbol of recreation in this country, a superficial structure designed to minimally shield us from the elements, had now become home to hundreds if not thousands of individuals who had become migrants within their own borders, no more shielded from the harsh elements of the urban experience than a camper hoping to stave off interaction with the “known unknowns” of the wilderness.

“After Goldsworthy”

“After Goldsworthy” is a video sculpture by Marco Castro and Ari Joseph. A tent-like structure serves as a projection surface for mapped video projections. The viewer inside the tent is immersed in a synthesized natural environment, akin to being enveloped by the construction of an Andy Goldsworthy piece. 

The piece was created for Video Sculpture, a class at New York University’s Interactive Telecommunications Program (ITP). 

Music: Ted (Bibio Remix) by Clark.

Viewing Rothko Test #1

This is a test for a project I am thinking of developing throughout the semester for Gabe Barcia-Colombo’s Video Sculpture class and Greg Shakar and Hans-Cristoph Steiner’s NIME class involving synasthetic visualizations of intricate pieces being performed by live ensembles. It is heavily based on Mark Rothko’s bars, and the music is Debussy’s Sonata for Violin and Piano in G Minor.

Transact

Neon is a medium well-explored by artists in the 20th century, with many drawn to its immediate, almost innate connotations of commercialism. Neon signs are almost universally associated with retail stores, where simple messages of business draw consumers eyes to pertinent information: OPEN, CLOSED, FOR SALE, LIVE SEX, etc. The messages are overt in and of themselves, but the communication of these messages in the medium of neon adds an equally overt layer of almost subliminal communication to the interaction between consumer and retailer. Because of this, it makes a certain amount of sense that artists would be drawn to subverting the medium by appropriating it for their own purposes, be they explicitly anti-commercial or not.

As neon as an almost impossible medium to work with after it has been fabricated by industrial means, neon in an artistic context must be conceived of and executed as a custom fabrication. Therefore the artist must be ready to justify their use of the medium by virtue of the fact that any message rendered in neon will be immediately scoured for meaning and interpretation by a viewer, maybe even more so than other media. And in many ways, the medium of neon is highly constricted by the fact that it is so closely associated with the elements of commerce, so every message becomes examined in this context.

A pioneer of the use of neon in art is Bruce Nauman, whose works often challenge the banality of the messages normally associated with neon. Sometimes Nauman’s pronouncements in neon are dramatic, possessing grandeur and profundity, as with his piece The True Artist Helps the World by Revealing Mystic Truths, displayed below. Other times, his works provide almost a comical vanity that is accentuated by the medium, as displayed by the second piece below.

For our first assignment for Video Sculture, building a light sculpture, Li Li and I (Ari Joseph) were interested in recycling a fully-functioning neon sign that I came across last year, to respond to the tradition of using neon in sculpture. The sign, brightly illuminating the words “BUY SELL TRADE”, seemed ripe for reinterpretation. Working with the sign brought the added challenge of transforming a piece of found neon, rather than having a custom message fabricated.

The resulting work, Transact, is a response to the explicit nature of the message portrayed sign. Ironically, the sign came into our possession through a transaction that seems outside the universe of possibility given the initial intentions for the sign. When we found the sign, there were three possibilities: buying, selling and trading. Li Li and I worked to obfuscate the original sign by frosting it over, and hiding its original message on the backside of the piece. When viewed from the front, the viewer is left with one transaction option they were not initially presented with, “FREE.”

transactions