Color Field Paintings (Browser)

Browser windows

Included in:
Rhizome Curated ArtBase (New Museum, New York).

Exhibited at:
"HTML Color Codes" curated exhibition, Rhizome at the New Museum, New York, NY.
“Zeros + Ones: The Digital Era” exhibition, Climate Gallery, Long Island City, NY (Featured Artist Selection).
Arteria “Internet Livre” invitational exhibition, SESC Ribeirão Preto, São Paulo, Brazil.
 "PixelPops!2013" juried exhibition, Isaac Delgado Fine Arts Gallery, New Orleans, LA.
The Wrong - Digital Art Biennale: Homeostasis Lab, São Paulo, Brazil.

Website visitor generates a series of browser windows, each with a randomly assigned color based upon parameters established for each piece.

Click here to generate the Color Field Paintings.

From Carolyn Kane, Rhizome Curatorial Fellow:

"Color Field Painting ('Where,' after Morris Louis) consists of a series of vertical browser windows that appear consecutively across the screen from left to right. Each browser is set to 800 pixels high, 100 pixels wide, making each window a broad stripe of color. Each stripe is filled with a different color. JavaScript is set to randomly determine which color will be loaded, but the set of possible colors is determined by the artist. The piece plays on the codification of online color in the context of art history. Morris Louis’ painting "Where" (1960), also consists of a series of multicolored bands that run vertically on the composition, and all of Demers’ color are digitally sampled from this palette. However, where Louis’s composition consists of hand-painted lines, and fluid and continuous brush strokes that gently converge at the bottom, Demers’s color bars are all formed according to the same rectangular dimensions and orientation. They are also animated in time; after all of the bars have appeared, they disappear after ten seconds, making his appropriation of the original a commentary on the grid-like structure of HTML code, and the ephemeral character of internet art."

The Ghost of Vannevar Bush Hacked My Server

Browser window

Included in:
Rhizome Curated ArtBase (New Museum, New York).

Exhibited at:
“Zeroes + Ones: The Digital Era” exhibition, Climate Gallery, Long Island City, NY.
“Appropriation Art 2” juried exhibition, Zagreb AKC Medika, Zagreb, Croatia.
“Sight.Sound [Interaction] 5” invitational exhibition, Maryland Institute College of Art, Baltimore, MD.
"Binaries" juried exhibition, Idea Lab, Athens, GA.
 "PixelPops!2013" juried exhibition, Isaac Delgado Fine Arts Gallery, New Orleans, LA
The Wrong - Digital Art Biennale: Homeostasis Lab, (São Paulo, Brazil).

Click here to see what Vannevar has done.

Vannevar Bush was an engineer and science administrator best known for his role in the development of the atomic bomb and the memex, an adjustable microfilmviewer which laid the foundation for the structure of the Internet. He believed in technological innovation as the path to economic and geopolitical security, but at the height of the Cold War his feelings shifted when he saw that technology lead away from understanding and toward destruction. He died in 1974.

On October 28, 2009 an image appeared to flash on a web server. Comprised of 0s and 1s (binary code -- the elemental language of computers), the image closely resembled that of Vannevar Bush. The code from that page was copied and pasted into a blank page, effectively “capturing” this ghost of Vannevar Bush. He appears at random, having hacked my server he now haunts it for all of eternity...

The Sky Is Falling (A Day in the Life...)
Elder Scrolls IV: Oblivion / 12:00am to 11:59pm, Heartfire 11, 3E433

Digital video, 24 two-minute segments

Exhibited at:
“post_space” solo exhibition, Conant Gallery, Groton, MA.
“Future Learning Spaces,” DOEL, Aalto University, Helsinki, Finland.
The Wrong - Digital Art Biennale: Homeostasis Lab, São Paulo, Brazil.
"Beep Bop Boop" juried exhibition, FATVillage Projects, Ft. Lauderdale, FL.
"Anthropocene" juried exhibition, Fuse Factory, Pearl Conard Art Gallery, Ohio State University, Mansfield, OH.

Click here to launch the work.

This work consists of captured Sony PlayStation3 video from Elder Scrolls IV: Oblivion, edited to reflect the seamless passing of game time and "real" time. One minute of "real" time equals approximately 30 minutes of game time. The resulting 24 two-minute videos record the passing of one game day.

References to playable characters, AI characters, and accompanying sound effects have been edited from the video in an effort to focus on the notion of a virtual space with the possibility of non-virtual habitation, defined in part by the passing of game time during the observers "real" time. The health meter, magic meter, stamina meter, weapon and magic selections and the game compass have been unedited as a digital referent in the hyperreal environment of the game engine.

The footage was captured using the Haupauge HD PVR, and edited on a MacBook Pro using Final Cut Pro. The 24 html pages were built in Adobe Dreamweaver, and use javascript to call a specific page (and the embedded video) based upon the users local time (ex: If someone is viewing the page at 3:40pm local time, video15, containing footage from 3:00 to 3:59pm game time, will be played). An additional piece of javascript tells the browser to refresh itself every two minutes, to ensure that subsequent videos will load appropriately.

Made possible by the "Terminal: Internet Based Artwork" grant, Austin Peay State University.


Live streaming video of the projected space behind digital billboards