Tag Archives: World of World

World of World (large)

WorldOfWorld-5flat-web

12 ft x 2 ft, archival print face-mounted to plexiglass in four contiguous sections.

Edition of 10 signed and numbered by the artist, $9000. A few still available; email me if interested.

 


opening of "WOW: Emergent Media Phenomenon"

opening of “WOW: Emergent Media Phenomenon” (photo courtesy of Eric Stoner)

“World of World” was originally created in a special limited edition of 10 signed, numbered, and mounted digital prints for the 2009 Laguna Museum show “WOW: Emergent Media Phenomenon” curated by Grace Kook-Anderson. (More information about this project and its open editions can be found on this page.)

World of World (panel A)

World of World (panel A)

Each work in this edition consists of four 2×3-foot panels printed on Fujicolor Crystal Archive paper and face-mounted to plexiglass on a backing of acid-free Sintra. When these panels are hung contiguously, the images flow together to make up a single, seamless 2×12-foot work.

The modular design means that the panels can also be hung individually instead.


“World of World” is also available as:

Posted in 2010, prints | Also tagged , , , , |

World of World (A)

World of World (panel A)

World of World (A):  16 x 20″, on archival paper stock: $175

This is the lefthand of the four panels that make up the full World of World print. It is a standalone glimpse into the world of the player and the avatar.


“World of World” is also available as:


Posted in 2016, prints | Also tagged , , |

webcamophilia

rainy gateway webcam

random webcam image

I’ve been in love with webcams practically since they were invented. The protoypical webcam, at Cambridge University, was aimed a coffeepot, setting the basic theme for all subsequent webcams: the melancholy of the banal. Tethered to one spot (or at least to a computer), located according to dictates of convenience rather than, say, aesthetics or drama, their images archived and then ignored, they epitomize the most reflexive qualities of the present information deluge.

Their complement is the cameraphone: free-roaming, relentlessly chasing drama, chaos, and rebellion, and demanding from us at least a passing moment of attention. I am interested in cameraphone images too, but I find them easy to assimilate to an already well-developed history of personal snapshots, travelogues, street photography, and photojournalism.

pet rabbit webcam

random webcam image

Webcam images are much more perplexing: they sit uneasily in the landscape and still life genres, asking the same question in a thousand shades of meaning: why this picture? why would anyone bother to capture this particular image? They require us to try to construct an explanation, often of a very labored kind; whereas the typical cameraphone image is culturally self-explanatory (of course they snapped that picture when they had the chance).

I am reminded of this line from Gary Zukav’s Dancing Wu Li Masters:

“The importance of nonsense hardly can be overstated. The more clearly we experience something as ‘nonsense’, the more clearly we are experiencing the boundaries of our own self-imposed cognitive structures.”

When I look at the images that issue from webcams, what I see is the boundary where our self-imposed mandate to Take Meaningful Pictures runs up against infinity.

Empire State Building webcam interface

Empire State Building webcam interface, looking south towards the 9/11 cleanup site in 2001

My first project using webcams was The Roman Forum Project 2003 at the Beall Center for Art + Technology in Irvine. I was in California on 9/11, having just moved there two years before from New York. So in the aftermath of that terrible day I felt like an exile, needing not just to follow the events there as all Americans did but to reconnect in some more direct sense to what I still thought of as my city. One day I went searching for webcam views of New York and stumbled on the fact that there are two user-controllable webcams at the top of the Empire State Building, one pointed south and one north. The south-facing camera could be aimed at the 9/11 clean-up site, and for many weeks I logged on regularly to check out what was happening and to collect screenshots. (The Empire State Building site archives its webcams, but even though my first visit was only a couple of weeks after 9/11, the archives from that day had either auto-expired or been removed. I wonder if those images are now stashed in some federal archive.)

"Repubocracy", 2003

still from "Repubocracy", 2003

I used these stills as a green-screen style backdrop to a video monologue segment of The Roman Forum Project entitled “Repubocracy” [play video] that is an intense spew covering the history of Euro-American use and abuse of the terms ‘republic’ and ‘democracy’. It begins:

“Junk now this Earth this noisy globe this spinning where no eyes are minute lump of congealed dust where I see from this vacuum I see Athens city of Athena city-state giver of democracy pure democracy by which I mean a society consisting of a small number of citizens who assemble and administer the government in person one man one vote women are not men slaves are not men the poor are not men not yet… [more]”

"Chronvacuum", 2009

still from "Chronovacuum", 2009

Following this, I did three projects involving webcams, all of which I’ve posted about elsewhere on this site:

Noxiterra in 2008, which I’ve posted about here;

Chronovacuum in 2009, which I’ve posted about here; and

World of World in 2009,  which I’ve posted about here.

For both Noxiterra and World of World I used webcams to generate new imagery rather than working with found images. I suspect I’m not done with webcams yet.

Posted in 2010, latest | Also tagged , , , , , |

opening day

Ghost Gallery #1

a low-rez test for the "Ghost Galleries" series

Today I added the first purchasable editions to this site—you’ll find them under the headings “open editions” and “books” in the menu above. I started with several projects that are fairly recent, including a couple (“TriHexals” and “Ghost Galleries”) that have scarcely seen the light of day outside my studio. So putting them up on the web gave me a vivid sense of publishing as an act of  ‘making public’.

There is a page on the background of each project because art is story as much as it’s object or process. This may be especially true for those of us who don’t really know what we’re going to do when we embark on a project. At the outset, all I usually have is an idea, perhaps as little as a phrase or a shadowy mental image. “Ghost Galleries” began when I was looking at museum exhibition photos in an art magazine and found myself putting my thumb down over the art as I examined the images. “World of World” began with the question: what do things look like from the avatar’s point of view?

I always seem to end up a good long distance from where I started, but the threads that lead back to the beginning of the labyrinth remain strong however elongated. Part of the importance of the story for me is the knowledge that art is always a specific response to a set of circumstances. What makes it unique is not just that I am an individual creator, but that even for me the piece is unrepeatable because wholly contingent on events.

Posted in 2010, latest | Also tagged , |