REBECCA ALLEN exhibiting new works titled INSIDE and The Tangle of Mind and Matterin Berlin
Beginning June 1st 2018, Rebecca Allen will be exhibiting her two recent VR art installations, titled INSIDE and The Tangle of Mind and Matter, in the exhibition “Very Real - Permanent Virtual Reality Installation” at DAM Gallery in Berlin, Germany.
KRISTIN McWHARTER won an Ars Electronica Honorable Mention
Kristin McWharter won an Ars Electronica Honorable Mention in the Interactive Art + Category for her piece Conspiracy: Conjoining the Virtual.
p5.js Receives Ars Electronica Honorary Mention in the Digital Communities Category
p5.js is a community built around an open-source platform that empowers artists, designers, students, and anyone to learn to code and express themselves creatively online. It is a continuation of the original goals of Processing, reinterpreting them for the web. It enables users to quickly prototype interactive applications, data visualizations, and narrative experiences, and share them easily. p5.js is more than just a web programming language; its primary mission is to create an inclusive, diverse, and accessible creative community of users and contributors.
p5.js was initiated by Lauren McCarthy, and involves many DMA collaborators including Sarah Brady, Hye Min Cho, Andrés Colubri, Alice M. Chung, Eric Fanghanel Adam Ferris, Carlos Garcia, Stalgia Grigg, Johanna Hedva, Kate Hollenbach, Zoë Ingram, Chelly Jin, Lilyan Kris, Chandler McWilliams, Casey Reas, Elana Sasson, Rhazes Spell, Tyler Stefanich, Lee Tusman, David Wicks, Xin Xin, Christina Yglesias, Tyler Yin, and Faith Yu.
JUSTIN LUI new sculpture Poly-Mer reviewed in the Daily Bruin
Justin Lui’s optometrist switched his monthly disposable contact lenses to daily ones a few years ago.
The ensuing plastic waste inspired a multimedia project aimed to convey the importance of environmental sustainability.
Lui, a design media arts and architechture alumnus, spent more than three years creating “Poly-Mer,” a structure made primarily out of contact lens trays set in front of low-resolution videos of Southern Californian waves. Although his disposable lens trays are recyclable, Lui said the recycling process is never 100 percent efficient, contributing to the pileup of plastic waste in our oceans.
“With this piece, I’m not waving an (activism) placard necessarily, but hopefully it can inspire some thinking,” Lui said. “Hopefully it gives people pause to see what’s essentially here – this wasted material.”
The name of the project itself – “Poly-Mer” – refers to both the large polymer molecules that make up plastics as well as the French word “mer,” meaning “sea.” Lui said the name serves as a literary representation of the ocean’s relationship with plastic. Since the ocean is an integral part of our natural surroundings, highlighting its relationship with plastic can help people understand the importance of reducing plastic consumption, he said.
PETE HAWKES invites you to SLIMSHADER at OBLONG!!
Wednesday, June 13th
6-9pm in the arts district
We've been running a meetup at Oblong in LA—monthly on Wednesdays in the Arts District. No need to know/understand shaders; it's enough to want to mingle near them and those who wield them. We've been getting traffic from game industry folks, graphics engineers, vr/ar nerds, artists. One part social, one part shader.
We meet at Oblong's warehouse at the end of Factory Place, near LA Boulders and the Gun Club. It's a bit of a slog from the west side, but we'll make it worth your while. Come early for some food or a climb, then join us! Lots of pixels to play with.
Info here: http://www.slimshader.com/
Slack invite here:
CHAEYOUN LILY KIM placed 3rd in pageant outcome with Miss Korea USA
Chaeyoun Lily Kim has placed on the top 3 to represent as a Miss Korea USA 2018. Carisse Zepeda, also a DMA student designed Chaeyoun's swimsuit for the competition.
Chaeyoun will to fly out to Korea Monday night for the training center for the Miss Korea Pageant that will be taking place in Korea.
DMA faculty, staff and students wish her all the best luck.
DAHN GIM in "It’s Snowing in LA" at AA|LA
It’s Snowing in LA
June 9 - 14
Opening Reception June 9 | 6 - 9pm
AA|LA is pleased to present It’s Snowing in LA, a group exhibition by Dahn Gim, Sejin Hyun, Kang Seung Lee, Haena Yoo, Minha Park, and Min ha Park. Employing a diverse range of media from video and drawing, these artists—all of whom have lived in Korea and Los Angeles—reframe the historical and personal significance of these cities in order to reflect aesthetic, social, and political exchange. By exploring how a city is constructed, fabricated, and imagined, It’s Snowing in LA navigates cultural identities rooted in transience, remembrance, and a redefining of space.
In the video A Story of Elusive Snow, Minha Park curiously searches for snow in Los Angeles as a means of reconnecting with Korea, but is ultimately unsatisfied by her discovery of synthetic snow on a Hollywood set. Sejin Hyun replicates an Ikea catalogue in Borrowing Art From Ikea, in order to investigate the nature of fabricated domestic settings irrespective of geographical or cultural context.
Min ha Park’s abstracted day scapes and nightscapes reflect the familiarity of natural and electric lights in Seoul and Los Angeles. Drawing upon the iconography of Southern California, Not So Muffled, a sculpture by Dahn Gim, features a female voice mimicking the sound of an automobile engine, as soft whispers humanize the cacophony of noise typically associated with freeway culture.
As the center of the Korean-American community, the Koreatown neighborhood serves a focal point for reflecting on the evolution and history of place. In the installation Under Construction, Haena Yoo models a Koreatown construction site to which she adds video clips from local restaurants and Korean advertisements from the past three decades alongside broadcast coverage of the 1992 Los Angeles Uprising. This exploration of the transforming neighborhood compliments Kang Seung Lee’s use of news imagery from 1992 Los Angeles Uprising. His prints reimagine these featured sites of violence as ghostly memorials to traumatic pasts.
7313 Melrose Ave, Los Angeles, CA
MATT MANOS named 1 of 100 of the Most Talented and Influential Creatives Working Today
Matt Manos, the founder of verynice http://verynice.co/, named 1 of "100 of the Most Talented and Influential Creatives Working Today" by HOW Design.
SARAH ROSALENA BRADY'S Coyotes in Two Directions at CSNI
Coyotes in Two Directions is a new body of works by Sarah Rosalena Brady. Coyotes in Two Directions examines the signifier of the trickster and shapeshifter as a symbolic metaphor to create techno-hybrid forms. Coyotes are symbolic in mythology and present in Western urban landscapes as one of the most successful animals surviving the Anthropocene. Emergent forms are employed through sculpture, automata, and 3D scans.
-June 7th 2018
5:00pm to 7:00pm
CNSI Building at UCLA
Art | Sci Center Gallery, 5th Floor
JENNIFER STEINKAMP in Open Spaces, Swope Park and the Nelson Atkins, Kansas City, Missouri
August 25 - October 28, 2018
Open Spaces, Swope Park and the Nelson Atkins, Kansas City, Missouri, curated by Dan Cameron.
JENNIFER STEINKAMP at the Clark Institute
June 30 - October 8, 2018
The Clark Art Institute, Williamstown, Massachusetts, curated by Esther Bell, 2018.
JENNFIER STEINKAMP As You Like It - C'est Comme Vous Voulez, Praz-Delavallade Los Angeles
June 23 - August 19, 2018
As You Like It - C'est Comme Vous Voulez, Praz-Delavallade, Los Angeles, California, curated by Bruno Delavallade and René-Julien Praz.
In Memorium Prof. Emeritus Mitsuru Kataoka
Mitsuru Kataoka RIP
It is with great sadness that UCLA's5 department of Design Media Arts announces that Professor Emeritus Mitsuru Kataoka passed away on the morning of May 24th, 2018. A designer and entrepreneurial visionary, Mits Kataoka was a true Bruin, holding both his bachelors and his masters from UCLA. He taught generations of students in Westwood, and was a mentor not only to them but also to other luminaries in the fields of design and new media, including John Maeda, former MIT Media Lab professor and then president of the Rhode Island School of Design.
Prof. Kataoka was also instrumental in expanding the focus of department to include the media arts. He was the Founder & President of Imageland, and his professional clients included XEROX Corporation, Mitsui & Co., Toppan Printing, and the Brookings Institution. Over the years he collaborated on experimental work with figures as diverse as Marshall McLuhan, William Wegman, Man Ray, Nam June Paik, and Buckminster Fuller.
Prof. Kataoka was an early adopter of new technologies. Beginning in 1969, he introduced video, computer and interactive media research and courses into the Design program. Prof. Kataoka was able to connect artists, designers and educators with technology companies, successfully getting cutting edge equipment and funding to build up departmental facilities and research labs. In the early 1970s, he led the department in experimenting with video as a medium, as well as pioneering experimentations with interactive 2-way cable and satellite video. The Design department's labs were also the incubator that allowed John Whitney Sr. to teach his first computer graphics class at UCLA. In the 1980s, Prof. Kataoka was instrumental in guiding the department to expand its computer graphic infrastructure. By the early 1990s, Prof. Kataoka was instrumental in recruit new faculty to integrate interactive media and the Web into the curriculum.
DMA IT coordinator Maroun Harb remembers: “Mits was a mentor to many of us faculty, students and staff, his contributions to the department will be remembered by the people he touched, he is part of our department's history and it's DNA.” Professor Emeritus and long-time colleague Vasa notes that Prof. Kataoka “was a great inspiration for me in better understanding the changing issues in graphic design and media arts.” Rebecca Allen, professor and former chair, sums up the fondness with which we remember Prof. Kataoka and the importance of his legacy: “Mits was a unique character and with his foresight, the one who moved the Design department to what we are today.”
If you have any reminiscences that you would like to share, please send them to Brenda Williams, Assistant to the Chair of Design Media Arts.
SILVIA RIGON : Trypophobia and Other Epithelial Reveries
May 26th - June 3rd; Tuesday through Saturday; Hours: 12:00 pm to 5:00 pm
Artist Reception, Saturday, June 2nd 6:00 - 8:30 PM
Keystone Art Space Main Gallery |
338 S. Ave 16,
Los Angeles, CA 90031
THEO TRIANTAFYLLIDIS project TINY TSUNAMI at The Depart Foundation in Malibu
Theo is excited to announce slimetech's summer 2018 programming - broadcasting chill vibes ::
🌊 tiny tsunami, a summer solo show at the Depart Foundation in Malibu, CA. Featuring live simulation and interactive works, including a new installation for "Pin Pon", ceramics and a lot of cables! The public opening will be held on 26 May, 6-9 PM and the show will be up through June 29.
SARAH ROSALENA BRADY recipient of 2018 Steve Wilson Grant
A 2018 fellowship has been awarded to Sarah Rosalena Brady, a 2018 UCLA Media Arts graduate.
The grant to Leonardo for the Scientific Delirium Madess residency program is named in honor of the late media art pioneer Steve Wilson. The fellowship is made possible by Generative Systems artist Sonia Sheridan who noted, "It is my great honor to recommend a fellowship in Steve Wilson's name. It is a fellowship that I hope will do justice to his belief that artists and scientists working together will enrich the creativity in each field."
The residency is supported by Leonardo, Sonia Sheridan, Djerassi Resident Artists Program donors Anne & Rodney Pearlman, and the National Endowment for the Arts.
Chandler McWilliams in Relative Space at Elevator Mondays
ELEVATOR MONDAYS is pleased to announce Relative Space curated by Asha Bukojemsky opening Saturday, May 26th, 8-11pm. The exhibition will be on view Mondays 7-10pm and by appointment through June 25th.
Curated by Asha Bukojemsky
Look again at that dot. That’s here. That’s home. That’s us.
- Carl Sagan, Pale Blue Dot, 1994
In 1977, a man and a woman go for a lakeside picnic in Chicago. They bring with them the usual provisions: blanket, pillows, picnic basket, and reading material including Scientific America and The Voices of Time. Music plays, and a narrator begins to describe the scene as a mathematical lesson. This is, after all, a short film produced by Charles & Ray Eames to explain “the relative size of things in the universe”. In Powers of Ten, the lens zooms away from the picnic and deep into the galaxy, only to race back to earth and end up as a DNA particle floating in another expansive internal space. While the film served as a visual tool for mathematical and scientific learning, what it really taught us was about the relativity of self.
Unifying the distant cosmos and depths of our own bodies into one vast, imagined space, Ray & Charles Eames produced a film that was as much about phenomenological imagination as it was about math. Taking a similar approach, the exhibition Relative Space brings together six artists that each investigate the power of perception and the relativity of self, adopting a zoom in/zoom out method that analyzes the spaces of our perceived reality and the structures that determine them.
I am the space where I am. 
In LeRoy Stevens' video Cosmos, the artist takes the soundtrack from Carl Sagan’s iconic show (Cosmos: A Personal Voyage) and plays it over muted commercials that aired during an episode of the 2014 remake (Cosmos: A Spacetime Odyssey). Separating the cosmic music from its designated source, Stevens reveals how this acousmatic sound gives weight and sensation to an otherwise silent space. Stripping away the commercial’s original sound, Stevens exposes the advertising systems in place, as well as our own ability to fill in what we can’t hear. The very same language used to illustrate the cosmos by Sagan is used to describe a Samsung device and a Carls Jr burger, while Red Bull promises to “gives you wings” and skittles lets you “touch the rainbow.” By contrasting the epic scale instilled by the soundtrack against vapid depictions of a life better lived, Cosmos presents a sum that is better than any of the individual parts.
In Upside Down, Inner Ear 2 Alison O’Daniel takes the silicon casts made for hearing aids from the ears of Deaf and Hard of Hearing individuals who see the same audiologist as the artist, and plates them in bronze. In doing so, the artist bears physical and metaphorical weight to that which was previously concealed. Separating the inner ear from its place of origin and rendering it as a visual object, O’Daniel presents the manifestation of a certain experience of sound within a field of vision. O’Daniel, in turn, materializes sound and demonstrate the power of “hearing oneself seeing… hearing ourselves listen.”
Illuminating the negative, Mungo Thomson’s Dark Matter presents a reverse image of a nighttime sky. Printed on photo-luminescent ink, the work recalls glow-in-the-dark stickers placed in childhood bedrooms, yet in this case it is not the stars that glow but the mass of space that surrounds them. Here the stars recede, and Dark Matter illuminates an otherwise dark space with a negative version of night. Presenting a starry sky like a map to our subjective unconscious, Thomson ironically plays with both subject and object, recalling nighttime fears and the cheap tricks our parents used to make us feel safe.
In Points Prized Open, Chandler McWilliams examines the space between language and imagination. Using unlit, clear neon’s, the artist places two words - Almost Nothing - one on top of the other. Playing with language, McWilliams investigates the invisible power of words to both transform and transport our sense of the world. In remaining unlit, the neon’s spectacle is removed and reveals that which is barely there, while also calling attention to the power of light & color to sway our innermost desires.
Mimicking video projections onto a wall, Victoria Fu’s Large Circle 4 plays to our perceptive powers and the imagined spaces of digital reality. As if taking a photograph from one of her video projections, Fu presents an oval gradient color field within the corner of two walls. Like a passing light, the work is both fleeting while also immobilized. In positioning the work in-between, Fu presents this blurred image both temporally and spatially. This corner, a “symbol of solitude for the imagination” allows for the mundane extracted digital image to capture a moment unto itself, as though to communicate a sense of individuality within a stream of visual data.
In the Eames’s Powers of Ten, space is measured in seconds. With each ten seconds the square that frames the picnic produces another square, on and on until the lines of demarcation become mere drawings in space. In The Letting Go, Debra Scacco applies a similar process of repetitive amplification to chart her personal trajectory through time and space. Using metallic ink on black paper the artist draws 19 lines within seven groupings that each refer to a boundary significant to her history. Resembling computer-generated images of constellations, the drawings read like spatial maps, reducing time and space to singular lines.
While Relative Space presents a reconsideration of the Eames’s Powers of Ten, the title for this show is in no less an homage to the very space it inhabits- an elevator. A device used to transport and deliver. With exception to the occasional fleeting act of fantasy, the elevator is not a meeting place, a safe space, a designated space or a particularly pleasurable space. If an elevator is a space at all it is a relative one, where its own references and lack of designation simultaneously call to mind the corners and “outside” spaces referred to by Bachelard, as well as conjuring the cosmos and digital realities we embrace.
Asha Bukojemsky is an independent curator living in Los Angeles. Current projects include MARATHON SCREENINGS, a monthly salon-style presentation of video and conceptual film, and LA Transcendental Listenings, a series of conceptual walks throughout the LA region in collaboration with the artist David Horvitz. Recent exhibitions include Labor Day at Chicken Coop Contemporary, Portland, OR, and PARATEXTUAL at Samuel Freeman Gallery, Los Angeles.
ELEVATOR MONDAYS is an artist-run curatorial project inside a converted freight elevator founded by Don Edler. The project focuses on bringing together working artists in a social exhibition space to foster dialogue and community through exhibitions and special programing. ELEVATOR MONDAYS is open Mondays from 7PM-10PM and by appointment.
 Gaston Bachelard, The Poetics of Space, trans Maria Jolas (New York: Penguin Books, 2014), p156
 Gaston Bachelard, The Poetics of Space, trans Maria Jolas (New York: Penguin Books, 2014), p199
 Gaston Bachelard, The Poetics of Space, trans Maria Jolas (New York: Penguin Books, 2014), p154
SARA DRAKE in NOR HEAT NOR GLOOM OF NIGHT : Exhibition
NOR HEAT NOR GLOOM OF NIGHT : Exhibition
Tiger Strikes Asteroid Los Angeles is excited to announce NOR HEAT NOR GLOOM OF NIGHT, an Austrian / American exchange exhibition curated by Johanna Braun and Lisa Stuckey. The show runs from May 26 to June 17, 2018 with an opening reception on Saturday, May 26th, from 7 to 10 PM.
Tiger Strikes Asteroid Los Angeles
The Bendix Building
1206 Maple Avenue, 5th floor, #523
Los Angeles, CA 90015
Sara Drake + Nina Sarnelle’s video Let us know if yr free (2017) relates to the concept of digital post, putting the ‘post’ past tense into contemporary digital communications. The video tutorial explains how to encrypt email into whale song, exploiting the humpback whales to safely transmit messages across the sea. The project brings up issues of privacy in electronic communication, while also translating the effortless and instantaneous digital post into this labor-intensive, convoluted process, that, if applied, might disturb an ecosystem already in sonic distress.
SARAH ROSALENA BRADY selected as Artist in Residence at Djerassi
This unique residency is a collaborative initiative of Leonardo/The International Society for the Arts, Sciences and Technology (ISAST) and Djerassi Resident Artists Program. The goal of the project is to explore and expand how the creativity of scientists and artists are connected.
-June 11- July 9
LANDER and the Shanghai Museum of Contemporary Art present the “Zengineerz Guide to Making FUN!!!” Workshop
Come play the larger-than-life Zengineerz “Game of Games” to learn basic ideas behind table top games design and how to make fun. Sit and play games in the museum. Design your own prototype games with provided common game materials. Chat about game design with Lander on Saturday afternoons.
2018-5-26 through 2018-8-28
Shanghai Museum Of Contemporary Art