Connecting real space and virtual images.
Interrogating the whiteness of the user interface.
Translating the human to the digital.
Like his older compatriot Mark Leckey, Atkins deftly utilizes syncopated montages of sounds and filmic images to create disturbing and disorienting virtual realities.
“Oh no, this is sounding too beautiful, too seamless, and too much like it was planned. I have to unravel it.”
“A good part of our work is about giving materiality to things that aren’t visible.”
The title Surround Audience evokes the ceaseless ambient noise of the digital age: not only social media but the Internet at large as the general virtualization and modification of human experience, physical bodies, and social interactions.
Choreography, hip-hop, and cricket in New York.
Invented by Ryder Ripps, DUMP.FM is an online image-share platform with the rising reputation as one of the primary breeding grounds for young digital artists. One of them is Glass Popcorn. And he needs a date to the dance.
Amanda Means on how Corban Walker’s intricate prints celebrate both the human mind and the technique of the machine.
John Phillip Santos on painter Rolando Briseño’s cosmic scale and his use of “color in motion.”
“I Too Am …”
I dream of my house on the Gianicolo
near Villa Pamphili,
Artist Matthew Ritchie’s “project”—his paintings, sculptures and website—fuses myth, science and a host of funny-headed characters into a brave, new interactive world.
Calligraphy drawn from the age of satellites beaming and technology blaring, Keith Sonnier’s sculptures, urban neon and country trash, fuse the detritus of popular western culture with the suggestiveness of eastern imagery.
Keith Tyson explains his “Artmachine” computer program, which pulls pieces of information from a reservoir of different sources and matches them at random to create project proposals which are then considered for construction.