prosthetic knowledge

Rhizome: Prosthetic Knowledge Picks: nOdalisque 

From the archive, a brief look at a classic Fine Art archetype in today’s world, from glitchy machinima, 3D animation, Kinect pornography, and the concept of the “opsieme” with the aid of eye-tracking.

Read the whole piece at Rhizome here

ARart by Kei Shiratori

Augmented Reality project brings classic art to life in charming ways (as well as book illustrations and musical records - video embedded below:

ARART from kei shiratori on Vimeo.

ARART is an application that breathes life into objects. When overlaying ARART onto a well-known masterpiece, a new story will unfold, as if time trapped inside the painting had been stirred alive.
The system of ARART detects the picture which analyzed the image and was registered beforehand at the same time it displays the image of a back camera on a screen as it is.
And display it that a picture of the reality world transforms it by putting a different image on top of one another depending on the image which a system detected.
The pictures to detect are natural drawings, such as not a mark like QR Code but a photograph, and an illustration.
Enjoy a whole new experience by overlaying ARART onto various objects that make up this world.

I thought I encountered this piece independently, but no, Creative Applications found it first, because, well, they’re brilliant … and they have a few more details:

The app was created using Vuforia Augmented Reality SDK and is available from the AppStore for free.

In theory, then, you could try this app out on reproductions you may have.

You can check out the project’s site here (in both English and Japanese) - also, Kei has a Tumblr blog here

[Also, I know designboom created a gif to accompany their entry on this work, pretty much identical to the top one I have made here. No intention of ripping them off, but the guy who posted it {rodrigo db} imitated my post on the Hyper-Matrix post - we’re even]

Machina by Claudia Hart

Framed digital art piece is a 3D animation of a sleeping female nude subject in the classical pose of Venus / Odalisque - a two minute example of the twenty minute work:

“Machina” (2008) by Claudia Hart from bitforms gallery on Vimeo.

“Machina” is a 3D animation portraying the compressed time and space of painting, shows a dreaming character whose slow, drowsy movements articulate all of the minutia of a single moment. “Machina” uses the most advanced techniques of virtual reality simulation, and a series of animations that result in a representation that is sensual and organic. Occasionally, Machina opens her eyes to gaze at the viewer, in a moment of transformation, allowing the object of our gaze to subject us to hers. Based loosely on works such as Titian′s Venus and paintings by the Baroque artist Peter Paul Rubens, “Machina” is meant to introduce sensuality into the virtual realm by employing an idea of beauty as defined by a woman.

More about the artist’s work at Bitforms Gallery here

Related - earlier this week I discovered a similar (though glitchier) idea in Georgie Roxby Smith’s piece “Uncompossed” [link]

Paintings of Kristoffer Zetterstrand 

Artist whose work (since 2002) combines space, perspective, historical fine art and the presentation of video games:

I work with painting. For some years I have experimented with virtual still lifes, often in the form of stage design in which I explore how two-dimensionality (and painting) relates to computer-generated 3D worlds. I am interested in visual spaces created online, in computer games and 3D programmes, and especially in what happens when the illusion is shattered and the underlying construction emerges -like when there is a bug in a computer game. I am interested in visual failures, which I try to use in my painting. Among other things, I have produced paintings based on the landscapes that you can see only if you are “dead” in the online game Counter-Strike, and paintings with motifs created by crashed landscape generators used in film and computer game production. Presently my work process is like this: I start by sketching the motif in 3D on the computer, where I can move the scene about, rearrange pictorial elements, redirect the light, reposition the camera, and so on. I sculpt the architecture and the various parts of the environment and dress the parts in different textures, which I often sample from images of my own earlier paintings, from pictures I have found on the net and screen dumps from computer games. I also use a lot of material from my art archives, which comprises some sixty-thousand paintings. While working with a sketch on the computer, the simpleness of the tools means that I can follow my impulses and try out new angles, change backdrops and pictorial elements, redirect the light, rearrange the shadows, etc. For me, the 3D programme is a tool that I use intuitively when I construct my motifs. The scenes are often influenced by the dramatic composition of computer games, where familiarity with some kind of mythology is essential in order to play the game, in a similar way as an artist relates to art history. That the end result is painting is a prerequisite of my work. The physical aspect of painting and the space it allows for improvisation and painterly reformulations of the motifs are the most important parts of the process. You could say that when it comes to the painterly part of my work process, I improvise on a theme that I have determined on the computer. 

Artist’s website here

Googlegeist 

Tumblr blog / art project by Chadwick Gibson, exploring the line where digital art and Google image data merge.

More Here

Art of Kong Byung Hoon (공병훈)

Artist creates series of oil paintings of various cartoon character figurines (both Eastern and Western) which re-enact scenes from classic fine art.

Google Translated Artist Statement:

I am a masterpiece of classical art of four trillion figures by incorporating a comic book character will work. This classic image of each character and the story of the conflict is in order to screen the configuration of the elements of the classics, and several characters in comics Figures consist of this noble and solemn, based on the classic story of the story deals with the light of modern common.

  Cartoon movies we see mainly the configuration of each character’s personality is made by the story, but the character’s history, spatiality and time when the province changed the nature can not evolve any yiyagideun I will use these points. For example, in one of my work with American cartoon characters from Disney’s Tinker Bell Smurfs, Donald Duck, Mickey Mouse cartoon Sonic and Crayon Japan, South Korea Pororo cartoon, game Angry Bird character and appearance of the character will range from the contents of a classic encounter. I ‘peuraedeurik Jameson’ means, according to neutral or critical pungjana motives and goals of their own, without any historical nonsense by a desire to work, so my work belongs to the pastiche.

  A canvas of classic and contemporary stories in the stories are different, each very different from each other, the subject of the story and characters, even the markedly different backgrounds can see that, so any story by story of the conflict can not be completed, original meaning is lost. one side of the story when you try to deploy the other side the same way that the story is interrupted, or when one of these two stories at the same time, not just as concentrated. Thus in the works increases, the story becomes more and more incomprehensible. a story that clearly will not be able to deploy. personality is too strong to bring up stories to one story every single one you can not deploy properly, or from where, do not know what the story was going to while everything is meaningless, ie the inner personality of each character is that the lack of.

More at the GAGA Gallery here (Korean)

Shadows Reflections and All That Sort of Thing 

Photographic collection by Jorma Puranen featuring historical portraits including real-world light reflection as part of the composition:

Within museum photography, dramatic use of light and shade were avoided; rather, light was used to give uniformity to a series, regardless of difference of photographed objects. My emphasis, however, is not placed on the relation of the original and copy, a ‘rhetoric of substitution´, but drawing attention to the photographic process itself, complexity of gaze, to convey arresting sense of presence, to evoke an exalted attention. With intensive raking light I wish to bring to our attention the surface of the painting, with its shiny areas, its hidden colours and its craquelure.

More Here (via All My Eyes)

Want to be a Bi-gwang, don’t you? by Dan-bi Kim

Love these - classic western fine art rendered as Hanafuda / Go-Stop card illustration.

Part of the ASYAAF 2011 student art show. ‘Bi-gwang’ is, as far as I can tell, a highly desireable set of card to collect in the Korean card game Go-Stop.

ernst haas: color correction via Atlas Gallery + Minimal Exposition

Fine art photography exhibition at the Atlas Gallery, London:

atlas gallery presents an exhibition of the celebrated, late austrian photographer ernst haas (1921 – 1986), to coincide with the long awaited steidl publication ‘color correction’. the exhibition includes many unseen works alongside rare, vintage dye-transfer prints from the 1950s and ‘60s. theses photographs reveal a side of haas’ work that was almost entirely hidden from view during his lifetime. in the introduction to the book, william ewing who searched through over 200,000 of haas’ pictures held in the getty archive in london, describes these works as ‘…far more edgy, loose, enigmatic, and ambiguous than his celebrated work. most of these pictures he never even printed, let alone published, probably assuming that they were too difficult to be understood.
(excerpt from artdaily.org)

More photos and info can be found here + here