Selected Media Works by Recent D|MA MFA GraduatesNovember 14, 2006, 5:00 pm »
Curated by Silvia Rigon
Tuesday, November 14, 5 - 8 PM
November 14 - 18, 2006
Tuesday through Saturday, 12 - 5 PM.
Eli and Edythe Broad Art Center
EDA, room 1250
Los Angeles, CA 90095-1456
This event is free and open to the public. Light refreshments will be provided. Parking is $8 all day, and is available in structure 3, adjacent to the building. Enter the campus at Hilgard Avenue and Wyton Drive and drive north on Charles E. Young drive to enter the parking structure. For more information, call 310.825.9007.
Works in the exhibition:
Peter Cho: Money Plus, 2003
Money Plus looks for money on the Internet by querying the Google search engine in real time. This piece revisualizes and recontextualizes a simple web search into a dynamic, dimensional typographic space. Viewers can ask for money + another term, for example, 'money and the meaning of life.' These new searches appear instantaneously in the reimagined 'web space' of the piece.
Aaron Koblin: The Sheep Market, 2006
The Sheep Market is a web-based artwork that appropriates Amazon’s Mechanical Turk (MTurk) system to implicate thousands of online workers in the creation of a massive database of drawings. From one simple request, submitted to the MTurk system as a 'HIT' or Human Intelligence Task, workers create their version of “a sheep facing to the left” using simple drawing tools. The artist responsible for each drawing receives a payment of two cents for his or her labor.
The first 10,000 sheep collected through the system were placed online to be resold as collectable plate blocks of stamps. In addition to images of the sheep, the drawing process was recorded as an animation which can be reviewed to observe the creation process. The website www.TheSheepMarket.com is an online marketplace and exhibition for browsing, sharing, and purchasing the sheep.
The inspiration for The Sheep Market project comes from the urge to cast a light on the human role of creativity expressed by workers in the system, while explicitly calling attention to the massive and insignificant role each plays as part of a whole.
Sean Patrick Dockray: A Presumption of Collectivity, 2006
Muzak Corporation, the best-known supplier of elevator music, has lost money for 11 straight years - about the same time span the public has been using the Internet. Decades before Muzak was founded, Erik Satie wrote compositions (musique d’ameublement) and asked the public to ignore them while they were performed. The music was supposed to be like furniture, or even light. There and not there. The United States military is playing a similar game in reverse: they drop rocks into the landscape that
listen for footsteps and transmit their location to headquarters. These same rocks play smooth jazz and uncomplicated electronic music to theme parks and restaurants everywhere on this side of enemy lines. Who knows what William Shenstone would have thought? Shenstone in his posthumously published notes "Unconnected Thoughts on Gardening" (1764) focuses on "landscape" or "picturesque gardening," meaning the creation of a phsyical scene in a manner similar to painting. Whereas Rousseau wouldn't tolerate anything man-made in his wilderness, Shenstone's rural landscape wasn't complete without the touch of man - a little building, a ruin.
Kim Hager: Ox-Born Bee, 2005-Ice Storm, Big Gust, and You, 2004-The Borametz, 2003
The Ox-Born Bee
To some of our ancient cultures, bees formed a bridge between the natural world and the underworld. The ox-born bee is a recurring legend that a swarm of bees originated from the carcass of an animal, bearing some remnant of its soul. In this video, a bee hive instigator melds with the swarm, heading back to the underworld.
Ice Storm, Big Gust, and You
A girl in a new land searches for a hiding place with the help from some friends. Music by Tilly and the Wall.
The legend of the Borametz, or tree-lamb, thrived in medieval Europe as a rare, vulnerable creature who spent its life at the head of a stalk, eating itself to death. Borametz pods were fabricated, traded and sold, and kept as valuable objects of the day. In this video, the bo peep character hopelessly tries to cultivate a healthy Borametz.
Osman Khan & Daniel Sauter: We Interrupt your Regularly Scheduled Program…, 2003
We interrupt your regularly scheduled program… is a media installation that explores the social condition of the television and our relationship to it.
The installation wishes to investigate the very nature of television with its numerous channels, its ubiquity and its perpetual flow.
Television has become the dominant medium of mass communication and entertainment. But is also has become both the new hearth, as well as storyteller around which new social constructs have emerged. It works as companion, as illumination and even as a mind-numbing drug.
The installation setup is as follows:
A television is placed facing the wall, its flickering glow reflecting off the wall and its sound echoing in the space. Its broadcast signal is simultaneously sent to a computer, where customized software processes the broadcast in real time by collapsing every frame of the television image into a one pixel-wide slice. These slices are horizontally arranged in sequence and projected back onto the wall next to the television set, showing an abstracted history of the broadcast signal.
Cinematic cuts are transformed into clear vertical sections. Zooms become visualized as curves. Commercials and music videos are seen as vibrant vertical patterns and hectic splashes of color, while News programs are calming studies of horizontal smears.
Visitors are encouraged to switch channels with the remote control and explore the relationship between the broadcast, its sound and the projection.
In disconnecting the sound with the expected visuals and replacing it with an abstracted projection, the work oscillates the visitor’s focus. Where the sound emitting from the television points to its sometimes triviality, the projection exposes the seductive nature of its images. This juxtaposition reveals the nature of television, at once both mesmerizing and banal.
Anne Niemetz: Stretching L.A., 2003
Stretching L.A. is a performance in which four performers create music by stretching their suspenders. The suspenders have built-in bend sensors that trigger Larry King statements taken from his TV-show. Why Larry King? Because the gesture of “suspender-stretching” is a habit Larry King has become known for, and he is a celebrity honored by Los Angeles. He is, in short, "the man with the suspenders". The performers have the possibility to select, scratch and replay Mr. King’s statements, in much the same way a DJ can while playing records. The choice of sampled words and sentences allows the performers to converse with each other and ask questions addressing Los Angeles, its people and the political situation.
Eitan Mendelowitz: Little Red..., 2002
"Little Red" reminds us of technology's dual nature. Its potential for repression and liberation, by repurposing technologies used for censorship. Little Red is anti-censorware. Armed with a list of obscenities allegedly used by AOL in censoring their chat rooms, "Little Red" reveals the vulgar and prurient subtext in the classic children's tail "Little Red Riding Hood."
In "Little Red," the Grimm fairytale of "Little Red Riding Hood" is progressively typed out across the top third of the screen. Letters from the story organize and rearrange themselves into censored obscenities on the bottom of the screen.
Broad Art Center
240 Charles E. Young Drive, Room 1250
Los Angeles, CA 90095
|+Parking is $12 all day, and is available in structure 3, adjacent to the building. For more information, call 310.825.9007.|