Wishful Reading: Art as Art, Electronic Media, Theory, Generatif

Step One: Invent time machine with comfortable reading situation.
Step Two: Acquire the following.

Art and Electronic Media

Walter Benjamin, Art in the Age of Mechanical Reproduction

Walter Benjamin, The Arcades Project

Marshall McLuhan and Quentin Fiore, The Medium is the Massage, 1967

Edward Shanken, Art and Electronic Media, Phaidon, 2009

Edward Shanken, Art and Electronic Media Online Companion, 2013

Lev Manovich, Software Takes Command, 2008-2013

Lev Manovich, Soft Cinema, 2002-2005

Lev Manovich, The Language of New Media, 2001

New Media Art, Mark Tribe, 2006

New Media: A Critical Introduction, 2nd Edition, 2009, Martin Lister

Domenico Quaranta, In Your Computer, 2011

Domenico Quaranta, Beyond New Media Art, 2013

Domenico Quaranta, The F.A.T. Manual, 2013

Expanded Internet Art and Information Milieu, Cici Moss, Rhizome, 2013-12-19

Curating in the Time of Algorithms, Christian Nagler and Joseph del Pesco, Fillip, Issue 15, 2011

Links

Preparation readings from DMA, UCLA and BCNM, UCB

Generative

Design By Numbers, John Maeda

Computational Information Design, Ben Fry, 2004, Dissertation, MIT

Form+Code In Design, Art, and Architecture, Casey Reas, Chandler McWilliams

Generative Design; Visualize, Program, and Create with Processing, Hartmut Bohnacker, Benedikt Grob, Julia Laub, 2012

Visual Grammar, Christian Leborg, 2004

Carsten Nicolai, Fades

Carsten Nicolai, Static Fades

Carsten Nicolai, Moire Index

Grapefruit, Yoko Ono, 1964, 1971

Acorn, Yoko Ono, 2013

Examples

Earth Wind Interactive Graphic

FlowingData

Inkjet is the New Black Painting

Scott Rothkopf discussing Wade Guyton’s eight-panel painting Untitled (2008), 2013-01-11, WhitneyFocus on YouTube

Andrew Fisher and Christine S. Kim discuss Wade Guyton’s painting, 2013-02-28, WhiteneyFocus on YouTube.

“James Kalm” aka Loren Munk on video walkthrough of Wade Guyton’s OS show at the Whitney Museum, 2012-10-05.

Visual Culture, Aesthetics, Perception

James Turrell: A Retrospective, Michael Govan, Christine Y. Kim, Prestel, 2013

Emblemata, James Turrell, 2000, Segura Publishing Company, Tempe, AZ

Emblemata Sacra: Spe, Fide, Charitate, Guilelmus Hesius, 1636

Heraldry Symbols and Meanings, ThemesAchievement Elements, Animal Attitude, List of Heraldic Charges, Variations of the Field, Heraldic Phantasy Creatures

Light and the Artist, Thomas Wilfred, The Journal of Aesthetics and Art Criticism, June 1947

Marcel Minnaert, Light and Color in the Outdoors, 1995, ISBN 0387979352

Marcel Minnaert, Light and Color in the Open Air, 1954

Maurice Merleau-Ponty, Phenomenology of Perception, 2013, ISBN 1045834333

James J. Gibson, The Ecological Approach to Visual Perception, 1986, ISBN 0898599598

James J. Gibson, The Senses Considered as Perceptual Systems, 1966

ABC Art, Barbara Rose, October 1965, Art in America

Art and Objecthood, Michael Fried, Artforum, Summer 1967

Robert Morris, Notes on Sculpture, Part 3, Artforum, Summer 1967

Rudolf Arnheim, A Plea for Visual Thinking, Critical Inquiry, Vol. 6, No. 3 (Spring, 1980), pp. 489-497

Rudolf Arnheim, The Power of the Center, 1988

Rudolf Arnheim, New Essays on the Psychology of Art, 1986. Esp. “The Double-edged Mind: Intuition and the Intellect”, “The Tools of Art-Old and New”, “Emotion and Feeling in Psychology and Art”

Agnes Martin:Writings, Agnes Martin, 2005, ISBN 3775716114

Agnes Martin: Paintings, Writings, Remembrances, Arne Glimcher, 2012, ISBN 3775716114

Hal Foster, Vision and Visuality, 1988, Dia Art Foundation

Free is the Only Option

The GNU Manifesto, Richard Stallman, 1985-2014

Guerilla Open Access Manifesto, Aaron Swartz, 2008

Copy Culture in the US and Germany, 2013, ISBN 978-1481985925

Piracy is the Future of Television, Abigail De Kosnik, Convergence Culture Consortium, 2010

Online Piracy And China’s American TV Drama Fanatics, Ousha Yang, Disintermediators, 2013-05-01

In Praise of Copying, Marcus Boon, 2010, ISBN 978-0-674-04783-9

Peter Lunenfeld, The Secret War Between Downloading and Uploading, 2011, MIT Press

Copyright, Permissions, and Fair Use among Visual Artists and the Academic and Museum Visual Arts Communities: An Issues Report, A Report to the College Art Association, February 2014

Pew Internet Libraries, Pew Internet & American Life Project. See: The Rise of E-Reading, 2012. E-Reading Rises as Device Ownership Jumps, 2014.  Reading Habits in Different Communities, 2012. Library Services in the Digital Age, 2013. From Distant Admirers to Library Lovers and Beyond: A typology of public library engagement in America, 2014

Simon Parkin, The $5.7 Million Magazine Illustration, The New Yorker, 2014-02-20

Randy Kennedy, Richard Prince Settles Copyright Suit With Patrick Cariou Over Photographs, NYT, 2014-03-18

Randy Kennedy, Court Rules in Artist’s Favor, NYT, 2013-04-13

Anne Burdick, Johanna Drucker, Peter Lunenfeld, Todd Presner, Jeffrey Schnapp, Digital Humanities, 2012, MIT Press

Virtueel Platform Research: Born-Digital Kunstwerken In Nederland, English summary and recommendations, 2012 Project Conservation Media Art Collection, Netherlands.

Institutional Critique, Commodity Fetishism

Institutional Critique: An Anthology of Artists’ Writings, Alexander Alberro and Blake Stimson, 2009, MIT Press

Thoughts on Art Education, Rudolf Arnheim, 1990

Alternatives, Coco Fusco, Brooklyn Rail, Feb 5, 2013

Race in the Land of MFA, Alex Gallo-Brown, May 28, 2013

Art Schools: A Group Crit, AIA, 2007

An Artist’s Education, Thomas Lawson, The Core Program, catalogue, Museum of Fine Arts, Houston, 2008

9.5 Theses on Art and Class, Ben Davis, 2013

After Art, David Joselit, 2013, ISBN 978-0-691-15044-4

What Is a Warhol? The Buried Evidence, Richard Dorment, NYT, June 20, 2013

Red Obsession: The vintage of the century in the year of the Dragon, 2012

The Global Contemporary and the Rise of New Art Worlds, Hans Belting/Andrea Buddensieg/Peter Weibel, 2013, MIT , ISBN 0262518341

Michael H. Miller, Ways Forward: What’s Next for the Dia Art Foundation?, 2014-02-04, galleristny

Michael H. Miller, Philippe Goes to Hollywood: With Vergne In Place as New Director, L.A. MOCA Looks to the Future, 2014-02-05, galleristny

Visual Forms of Gentrification vs. Ruin

Rosalyn Deutsche, Evictions: Art and Spatial Politics, 1996, MIT press

The Fine Art of Gentrification, Rosalyn Deutsche and Cara Gendel Ryan, October, Vol. 31, Winter 1984

Rebecca Solnit, Get Off the Bus, London Review of Books, Feb 20, 2014.

Kim Velsey, It’s Not About Yuppies Anymore: Gentrification Has Changed and So Has New York, New York Observer, 2014-02-06.

How to Write About Tax Havens and the Super-Rich: An Interview with Nicholas Shaxson, Longreads, The Atlantic, 2014

Andy Rachleff, You Need Equity To Live In Silicon Valley,May 22 2013

Mission 20th Street Neighborhood Group, various email correspondence

The Embedded Landscape of Gentrification, Jason Patch, Visual Studies, October, Vol. 19, No. 2, 2004

Residues of a Dream World: The High Line, 2011, Michael Cataldi, David Kelley, Hans Kuzmich, Jens Maier-Rothe and Jeannine Tang, Theory Culture Society, 2011

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周年のプロジェクト

2013 + 10 = 2023

2013 + 50 = 2063

2013 + 100 = 2113

記載

二枚の添付垂直象徴がある水平作。和紙の大判スクリーン印刷。

それぞれの作は少なくとも一つの独特の記念印があります。この記念印は一周年、二周年、十周年、50周年、百周年のが選ばれます。あるのは多い印があって、例えば50周年の印と百周年の。10、50、100の交われた周年。十周年等の入道雲。二周年印の壊れた格子。

理論的には、これは七五三の根柢にある数霊術と似合っていますが、大人とより広い複数年や世代の為です。ですので、あるバージョンは100−10−2で、もう一つのは100−50−10です。

ジョン・ケージの誕生百周年記念。好み道場の創立50周年記念。結婚十年記念。東日本大震災と津波の二周年。シリア騒乱の二周年。子供の一歳の誕生日。

2_cali_contrails_installed

カリフォルニアの青い地平線印刷、2013年

二 枚の側面にある狭い二部作。二枚の短冊が中心で交われて一枚の狭い垂直ひもになって、二面の壁があう所に掛かっています。お好みならば、両方の隅で合う平 面が合流点で少し異なる印がありえます。一枚の短冊の広さは90ミリ、 長さは965.2ミリですので、全表面積は90ミリx1930.4ミリです。リサイズした表面のがんぴで手動供給型のインクジェットです。

含めたコンポジションの要素:

  • 10、50、100周年の印
  • 月の絵
  • 夕焼けのかけら
  • フェード

カリフォルニアの飛行機雲、2013年

広 い二部作。四枚の不規則な大きさの短冊が中心で交われて一つの広い水平面の切り取りが見えるひもになります。一枚の短冊の広さは431.8ミリ、長さは 965.2ミリですので、全表面積は863.6ミリx970ミリです。リサイズした表面のがんぴで手動供給型のインクジェットです。

含めたコンポジションの要素:

  • 10周年の印、雲クラスター
  • 2周年の印、明るい格子
  • サンフランシスコからロスまでの飛行機雲
  • サメのひれの帆
  • フェード
  • 結び目の飛行機雲
  • 回帰シミュレーション等

1_a_future_technique_installed

カリフォルニアの青い月の印、2013年

狭 い二部作。二枚の短冊が中心で交われて一枚の狭い垂直ひもになって、二面の壁があう所に掛かっています。お好みならば、両方の隅で合う平面が合流点で少し 異なる印がありえます。一枚の短冊の広さは90ミリ、 長さは965.2ミリですので、全表面積は90ミリx1930.4ミリです。リサイズした表面のがんぴで手動供給型のインクジェットです。

含めたコンポジションの要素:

  • 100周年の印
  • 月の絵
  • 100対1のフクロウ
  • フェード

未来の技術、2013年

広 い三部作。三枚の長い短冊がへりで交われて、一枚の水平面のひもになります。その三枚の中に一枚は部分が切り取られました。一枚の短冊の広さは431.8 ミリ、長さは965.2ミリですので、全表面積は1295.4ミリx970ミリです。リサイズした表面のがんぴで手動供給型のインクジェットです。

含めたコンポジションの要素:

  • 1、2、10、50、100周年の印
  • 100対1の要素
  • 100対1のフクロウ
  • 月の絵
  • カリフォルニアの夕焼けのかけら
  • フェード
  • 太陽の閃光

上に示すように

第3回NBCメッシュテックシルクスクリーン国際版画ビエンナーレ展

受賞者展

宮寺雷太、曽我彩華、わべ まい, ベンジャミン ・デ・ コズニク

Galleryうぇすと

東京都中央区銀座1丁目3番地3号 銀座西ビルヂング

開催資料

会期:4月22日(月)~27日(土)

製造ノート

紙は高知の和紙です。KM-04 Surface Gampi Naturalはカリフォルニア州サンタモニカ市のHiromi Paper International会社から調達しました。

カリフォルニア州サンフランシスコ市Capp通りのDevastation Pacificビルで印刷されました。

English language version of this page: The Anniversary Project.

Notes on The Anniversary Project

2013 + 10 = 2023

2013 + 50 = 2063

2013 + 100 = 2113

Description:

Two horizontal pieces, each with accompanying vertical ensigns. Large format screenprints on Japanese paper.

Each piece contains at least one unique mark indicating an anniversary year. There are one, two, ten, fifty, or hundred year anniversary year marks to choose from. Some of the pieces contain multiple marks: a joint hundred-and-fifty year anniversary. A combined ten-, fifty-, and hundred-year anniversary. A massed cloud of ten-year anniversaries. A broken grid of two year marks.

In theory, this is similar to the numerology behind the Japanese festival Shichi-Go-San (7-5-3), but for older people and spanning much wider spans of years, including multiple generations. So, one version is 100-10-2.  Another version is 100-50-10.

The hundred-year anniversary of John Cage’s birth. The fifty-year anniversary of the favorite dojo opening. A ten-year wedding anniversary. Two-year anniversary of Tohoku tsunami, the two-year anniversary of the Syrian uprising. A child’s first birthday.

2_cali_contrails_installed

Cali Blue Horizon Ensigns, 2013

Two narrow diptychs, flanking. Two strips of paper, joined in the middle to form one narrow vertical band and hung where two walls meet. If desired, both planes that meet at the corner can each have a slightly different ensign at the meeting point. Size is 90mm x 965.2mm for each strip, so a total surface area of 90mm x 1930.4mm. Hand-fed inkjet on re-sized surface gampi.

Composition elements include:

  • 010, 050, 100 anniversary elements
  • moon painting
  • sunset fragments
  • fades

Cali Contrails, 2013

Wide diptych. Four irregularly-sized sheets of paper, joined in the middle to form one wide horizontal band with visible cuts. Size is 431.8mm x 965.2mm for each sheet, so a total surface area of 863.6mm x 970mm. Hand-fed inkjet on re-sized surface gampi.

Composition elements include:

  • 010 anniversary element, cloud clusters
  • 002 anniversary element, radiant grid
  • San Francisco to Los Angeles contrails
  • sharkfin sails
  • fades
  • knot line contrails
  • type regression simulations

1_a_future_technique_installed

Cali Blue Moon Ensign, 2013

Narrow diptych. Two strips of paper, joined in the middle to form one narrow vertical band and hung where two walls meet. If desired, both planes that meet at the corner can each have a slightly different ensign at the meeting point. Size is 90mm x 965.2mm for each strip, so a total surface area of 90mm x 1930.4mm. Hand-fed inkjet on re-sized surface gampi.

Composition elements include:

  • 100 anniversary elements
  • moon painting
  • 100-to-1 owls
  • fades

A Future Technique, 2013

Wide triptych. Three long sheets of paper, one with a section cut out, joined at the edges to form one wide horizontal band. Size is 431.8mm x 965.2mm for each sheet, so a total surface area of 1295.4mm x 970mm. Hand-fed inkjet on re-sized surface gampi.

Composition elements include:

  • 001, 002, 010, 050, 100 anniversary elements
  • 100 to 1 element
  • 100 to 1 owls
  • moon painting
  • cali sunset fragments
  • fades
  • sunglint

As shown:

Awards Winners Exhibition
The 3rd NBC MESHTEC TOKYO INTERNATIONAL SCREEN PRINT BIENNIAL
Miyadera Raita, Soga Sayaka, Wabe Mai, Benjamin De Kosnik
April 22-27, 2013
Gallery West, Ginza 1-3-3, Chuo-ku,Tokyo, Japan.

Production Notes:

Paper is from Kochi, Japan. “KM-04 Surface Gampi Natural” sourced via Hiromi Paper International in Santa Monica, CA.

Printed at Devastation Pacific, Capp Street, San Francisco, CA.

Japanese language version of this page: 周年のプロジェクト.