Future Past: Interactive Art Inspired by Art History (2016+)

Art history is often a source of inspiration for contemporary artists, even those who make their work using code and contemporary technologies. The works in this gallery reference well-known artists and movements from history from Van Gogh to Pollock to Op Art. Daniel Shiffman’s 2002 work Swarm is the earliest piece in the exhibition. Utilizing Processing, then a new tool for digital art development, Shiffman created an interactive software mirror that draws inspiration from both nature and abstract expressionist painting. The same movement is the inspiration for Pollock, an interactive canvas that you can spatter digital paint on with your body movements. Like Pollock, Gallerie Interactifwas designedby Physical Computing students at the Savannah College of Art and Design. This work consists of interactive projections on canvases, each based on a famous painting from art history. Unlike the real master paintings, these canvases may be touched to trigger whimsical animations. 

I’ll Be Your Mirror: Interactive Reflections (2016)

I’ll Be Your Mirror featured new media artists whose work projects the viewer’s own image back at them, making them both a subject of the art and a collaborator in its creation. The exhibition included two of artist Daniel Rozin’s celebrated mechanical mirrors, including Trash Mirror No. 3 that shows a shadowy reflection of the viewer created from 500 individually motorized pieces of trash. Acclaimed artist Rafael Lozano-Hemmer’s work, Level of Confidence, utilized face-mapping technology to try to match the viewer’s face to the faces of 43 missing Mexican university students in a powerful and heartbreaking search for the disappeared. 

Format No. 1: Interactive Sound Installation by Foo/Skou (2016)

Danish-born Louise Foo and Martha Skou are both musicians and visual artists who share a fascination with the study of sound vibrations. Using digital technology and analog techniques, they are currently exploring the potential of visual interfaces as a means for the audience to interact intuitively with sound. Their work Format No.1 consists of a black and white mural that creates a visual score, which visitors play using a custom iPhone app.

KATJA LOHER: BEEPLANET (2015)

A featured exhibition for the 2015 PULSE Art + Technology Festival focused on the work of the Swiss-born artist Katja Loher, a leader among the next generation of video artists. Loher’s work takes video out of conventional modern contexts and into wall-mounted video portals and hand-blown glass bubbles. By peering into these orbs, viewers enter a parallel universe of performances by costumed dancers, entirely scripted, choreographed, and filmed by Loher. Environmental themes play a large role in the artist’s recent works, touching on endangered species, bee colony collapse, and speculation on whether humans can fulfill the essential roles that these creatures play.

GIF Studio: Web Animation and Studio Art (2015)

The animated GIF (Graphics Interchange Format) has risen in recent years from a crude adornment of early websites to an emerging contemporary art form. Alongside rising popular appeal, GIFs have also made the leap into both web-based and physical art exhibitions and installations. This small exhibition highlights the GIF in relation to traditional studio art practice, including the work of artists who use traditional art methods to create GIFs, bring web animations into physical gallery space, or recreate traditional art spaces (studio, museum, gallery) in browser space. Artists include T.S. Abe, Anthony Antonellis, Carolyn Frischling, Vince McKelvie, Eva Papamargariti, Nicholas Sassoon and Drew Tyndell.

CUPPETELLI AND MENDOZA: NOTIONAL FIELD (2014)

Detroit-based artists Annica Cuppetelli and Cristobal Mendoza combine fiber art with high definition video in a series of mesmerizing interactive works. In Notional Field, vertical parallel lines of elastic cord are illuminated with a computer-generated video projection of lines. The motion of the projected lines is controlled by software which makes them act like soft ropes which bend and sway in response to the movements of the viewer. The interference of projection and shadow also creates moiré patterns, which result when parallel lines overlap in variation. This effect speaks to the artists’ interest in perception and influences from the “Light and Space” art movement of the 1960s, Kinetic Art, Venezu­elan and digital technologies. Annica Cuppetelli (USA) and Cristobal Mendoza (Venezuela) began their artistic collaboration in 2010. Their work has been exhibited in the Denver Art Museum, Scopitone Festival (France), FILE (Brazil), and Video Dumbo at Eyebeam Art and Technology Center, New York.

Gabriel Barcia-Colombo – For Those Who Wait (2014)

New York-based artist Gabriel Barcia-Colombo’s works focus on the act of leaving one’s imprint for the next generation, and reflect the digital age obsession for personal archiving and the collecting of friends and contacts in social media. In For Those Who Wait, an interac­tive video sculpture about the physicality of time, Barcia-Colombo presents a collection of projection-mapped clocks. At first the clocks hang motionless in the gallery. By turning an old fashioned hand crank, visitors may bring the clocks to life. The clocks function according to a predetermined schedule, ultimately spin­ning out of control and self-destructing in a variety of animations. Barcia-Colombo received a B.A. in Film Studies at USC and a Masters from the Interactive Telecommunications Program at NYU, where he is currently an instructor. He was a 2012 TED fellow and 2013 Open Studio Artist at the Museum of Arts and Design New York. His work has been shown at Ars Electronica (Linz, Austria), Scope Festival (NY), and Volta (Basel, Switzerland).

Looking at Something: Selected Work by Rafaël Rozendaal (2014)

This extended installation originally organized for the 2014 PULSE Art and Technology Festival features the work Rafaël Rozendaal. A Dutch-Brazilian artist based in New York, Rozendaalintroduces himself as “a visual artist who uses the internet as his canvas.” The first artist to sell websites to private collectors, Rozendaal attracts international attention for his ability to transition internet art into physical settings and objects. At Telfair, Rozendaal presents an installation version of the website Looking at Something, which allows users to change the weather from sunshine to a thunderstorm in a window-like projection. The exhibition also includes selected interactive websites from the past dozen years which “research the screen as pictorial space” and suggest imagery from animated cartoons to abstract painting. Rozendaal’s work has been shown internationally in venues including the Centre Pompidou, Paris, the Venice Bienalle, and Seoul Art Square. His work has been covered extensively in media including Time Magazine, the Wall Street Journal, Wired, Flash Art, Vogue, and the Creator’s Project. Rozendaal is also the creator of BYOB (Bring Your Own Beamer), a rapidly expanding series of curated projection exhibitions.

Game Change: Videogames as Art Medium and inspiration (2013)

Since their development and beginnings as cutting-edge technology, videogames have provided fertile ground as both a medium and inspiration for artists, particularly within the last decade. Contemporary artists have continued to modify existing games or game technology, design new games, create videos within game worlds, and employ the visual vocabulary of videogames in other media. Game Change: Videogames as Art Medium and Inspiration brings together visual artists utilizing these strategies, changing gaming and art in the process.