View allAll Photos Tagged Recontextualization
Becky Forsythe has been making plans for a future exhibition inspired by the artist and naturalist known as Petra, who spent decades collecting stones and minerals from the mountains in Stöðvarfjörður, Iceland. Camila Sposati has been reflecting on the various “extractions” of a residency and exhibition that took place in the Amazon in 2004, gradually turning them into a script for a play. Becky and Camila are collaborating for this event on a procedural work using the library photocopier on the main floor (Receding Agate and Rhodochrosite). On the upper floor, they present two further collaborations via the media of “chairs and view” – Looking at the mountains and The mountain at my back – that recontextualize the interior space with respect to vistas of Mt Bourgeau, the Massive Range, Pilot Mountain, and so on.
Photo: Latitudes | www.lttds.org
More info: www.lttds.org/projects/geologictime/
Peter Goin says, ignorance is not the path to originality. This is why we research before every photography project. However, every so often, when I do my research I start feeling defeated. I think that everything has been done before, and that I have nothing new to contribute to the history of art. There have been so many artists throughout history, many of which have never even made it into the history books. For the most part I understand why the artists in my art history books are in there, but why were they canonized and not someone doing the same type of work, why aren’t there more women, and who chooses who makes it and who doesn’t? I feel like these canonized “masters” are put up on a pedestal and worshiped. With this project I want to show that these “masterpiece” paintings shouldn’t be taken so seriously and at the same time I want to elevate photography to the hierarchical level of painting. Since the invention of photography, photographers have been considered mere technicians of a machine and not artists. In an attempt to prove that I’m an artist I made my photographs more painterly and showed the hand of the artist by using body painting to recreate and recontextualize some of the canonized paintings that have really stuck out to me, done by artists that I respect.
The Crowd-Sourced Intelligence Agency (CSIA) is a creative research project that partially replicates an open-source intelligence (OSINT) system, including an interface that allows users to experience how intelligence agents surveil social media posts and two machine-learning classifiers for predictive policing. Like OSINT interfaces used by intelligence agencies and government contractors, the CSIA recontextualizes social media posts by removing them from their original context and reframing them as a potential threat to national security.
credit: Derek Curry
From the photo series, 'An Atlas of Scarborough'.
...At the Guild Inn, neoclassical columns from demolished banks are recontextualized in a sculpture garden, ironically becoming a civic graveyard of private institutional architecture...
Strobist Info: 1 SB600 thru softbox overtop; 1 SB600 w/ blue gel for background. Triggered using CLS.
At the Mozilla Drumbeat Festival I had the opportunity to spend some time playing around with the arduino. The Arduino is an open source prototyping platform that allows even the most inexperienced designer to make things interactive! Within about 15 minutes of touching this device for the first time I had made an LED light blink. The accessibility to this kind of software and hardware was just so liberating and it allowed me to think of things that up until this point I had put in the category of - well I need some geeky programming guy to help me with this and so I won't even touch that thought. But seriously, even though I didn't talk much about big ideas in this session, I think that having this mild entryway into physical computing really helped me to recontextualize the festival and think about what is possible for even youth in NYCLN to develop.
In the arduino hack lab, Alison Lewis was also demonstrating some of her girl-centric fashionable tech, from her book switch craft. Super cool accessible, DIY goodness.
To learn more about arduino click here:
To learn more about switchcraft, Alison's book click here:
Becky Forsythe has been making plans for a future exhibition inspired by the artist and naturalist known as Petra, who spent decades collecting stones and minerals from the mountains in Stöðvarfjörður, Iceland. Camila Sposati has been reflecting on the various “extractions” of a residency and exhibition that took place in the Amazon in 2004, gradually turning them into a script for a play. Becky and Camila are collaborating for this event on a procedural work using the library photocopier on the main floor (Receding Agate and Rhodochrosite). On the upper floor, they present two further collaborations via the media of “chairs and view” – Looking at the mountains and The mountain at my back – that recontextualize the interior space with respect to vistas of Mt Bourgeau, the Massive Range, Pilot Mountain, and so on.
Photo: Latitudes | www.lttds.org
More info: www.lttds.org/projects/geologictime/
So familiar... but what is this? Mixing comedy with tragedy, Nathan Mabry's "Process Art (B-E-A-G-G-R-E-S-S-I-V-E)" is a mash-up of Rodin's "The Burghers of Calais" with the heads of sports team mascots (mask-arts?). Mabry refers to this work as "recontextualized metaphor". Striking, alarming and humorous... See MY mash-up photo next door (stage left).
This installation is at the Savannah College of Art & Design Museum of Art: www.scadmoa.org/art/exhibitions/2014/nathan-mabry-sculptu....
Nathan Mabry's bio and examples of his other works can be found here: www.skny.com/artists/nathan-mabry/bio/..
More about Mabry and "The Burghers of Calais": www.cherryandmartin.com/content/File/NM_1304_StarTelegram....
(First video of a series)
The found footage is a word that depicts the creation of audiovisual pieces using other pieces originally designed for absolutely different aims.
It can be recontextualized from a subsequent edition that, among other things might be live, In which case we should start from material gathered from old cans of film showing Argentine family moments and fragments of super 8 mm film of the Home Movie day calling, section Argentina.
Please refer to:
homemovieday.com/
homemoviedayargentina.blogspot.com/.
This work is based on the generation of a piece based on material that was originally designed at least 30 years ago, when current technologies, poetics and resources were nonexistent or barely explored.
A reflection on audiovisual communication and presentation ways throughout the time is set out. At the same time, a public authorized sight and value is expressed by means of the film familar album on super 8 mm.
Project Maybach Concept (2021)
We saw this at the Mercedes-Benz Pebble Beach display.
The following text is from a December 1, 2021, Mercedes-Benz Media Group press release mourning the loss of designer Virgil Abloh.
“Mercedes-Benz is devastated to hear of the passing of Virgil Abloh. Our sincere thoughts are with Virgil’s family and teams. Now opening the world of our collaboration, and Virgil’s unique vision, to the public we want to respectfully celebrate the work of a truly unique design talent, who created endless possibilities for collaboration through his unbridled imagination and inspired all that knew his work.” Mercedes-Benz AG.
Introducing Project MAYBACH
A design unlike anything that has been developed by Mercedes-Benz, every element of Project MAYBACH has been built from scratch. Abloh, collaboratively with Gorden Wagener, has interpreted Mercedes-Maybach’s luxury identity with a new design language and pushed the boundaries of function, style, and collaborative creativity. Inspired by the great outdoors and recontextualizing a traditionally urban brand within a distinctly off-road environment, the 2-seater, battery-electric off-road coupé combines huge Gran Turismo proportions, large off-road wheels and distinctive attachments.
Key for both Abloh and Wagener was a responsible vision of future design. Complete creative freedom – untethered by production requirements - enabled the design teams to conceptualize what the future of electric travel could look like. Under the transparent surface of the show cars front hood for instance are solar cells that increase the imagined range of the Project MAYBACH.
Never afraid to spark conversation through provocative design, Project MAYBACH channels Abloh’s passion to challenge the status quo and re-write the rulebook of aspirational design. The X-Factor nature of Project MAYBACH results not only from its breathtaking size - almost six meters long - and characteristics, but above all from its unique contrasts; most notably through how naturally authentic Mercedes-Maybach design elements are harmoniously combined with a new Outdoor Adventure design motif.
The power of Abloh’s work is not only from the product design, but also the exploratory conversations that his work ignited. Whilst the Project MAYBACH show car was inspired by how one could explore nature within a uniquely luxury context with Maybach, the Mercedes-Benz teams thank Virgil Abloh for the inspiration to explore every day the power of cross-industry dialogue to imagine a better, more inclusive future.
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Mercedes-Benz vehicle exhibit. After some great auction viewing at Gooding & Company, we visited the nearby Pebble Beach Concours d'Elegance exhibit and vendor tents.
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Had a blast with our auto-enthusiast friend and neighbor, Fred, at Monterey Car Week 2022.
2006 | 17th Annual James A. Porter Colloquium
Art, Artists, and Activism: The Black Arts Movement Revisited, Recontextualized.
“Vessel of Duality”
Mixed media relief on digital terracotta
© Robert Goodman
In Vessel of Duality, Robert Goodman fuses classical form and symbolic abstraction in a stylized chalice that simultaneously reads as a human visage. Bisected into opposing hemispheres—light and dark—the work employs simple geometric color fields and celestial motifs to reference dualism: sun and moon, day and night, visibility and shadow.
The symmetrical balance is disrupted by expressive textures and tactile irregularities in the fired terracotta, emphasizing the tension between order and imperfection. The stem, a sharply flared pedestal in cobalt gradient, anchors the piece against its warm-toned backdrop, invoking altars, thresholds, and rites of passage.
Goodman’s iconographic treatment recontextualizes the vessel from a utilitarian object into a metaphysical mirror—suggesting identity as a chalice holding oppositional truths.
Ecopoetics addresses the environment in all of its complexity; it includes both the butterfly and the bulldozer. Although the term "ecopoetics" didn't exist when Bern Porter started writing poetry, it is a term that now helps us to better understand his projects. Porter started out as a scientist and worked on the Manhattan Project, which created the first atomic bomb. After the bomb was detonated, he quit his job and devoted his life to making art. Porter is perhaps best remembered for his founds, which were spare collages that recontextualized words one can find in everyday places like fashion magazines or junk mail. During the course of this event at Temple Gallery, participants will listen to Bern Porter poetry (read by CA Conrad), discuss entropy and recycling in relation to Porter's work, the idea of waste as an essential component of energy, and the notion of permaculture. Additionally, participants are asked to bring a non-precious piece of paper with text (from a magazine or newspaper, or perhaps selected randomly), which will be incorporated into a collective found and hung in the Temple Gallery at the culmination of the workshop.
ABOUT OUR GUESTS:
Jena Osman's latest book of poetry is The Network (selected for the National Poetry series in 2009 and published by Fence Books). Other books include An Essay in Asterisks and The Character. She co-edits the Chain Links book series with Juliana Spahr, and she teaches creative writing and literature in the English Department at Temple University. You can read Osman's essay Bern Porter: Recycling the Atmosphere by clicking here.
CA Conrad is a recipient of a 2011 Pew Fellowship in the Arts. He is the author of A Beautiful Marsupial Afternoon: New (Soma)tics, (Wave Books, 2012), The Book of Frank (Wave Books, 2010), Advanced Elvis Course (Soft Skull Press, 2009), Deviant Propulsion (Soft Skull Press, 2006), and a collaboration with poet Frank Sherlock titled The City Real & Imagined (Factory School, 2010). He has taught poetry at St. Mark's Poetry Project, CUNY Graduate Center, Naropa University, Goucher College, and elsewhere.
Becky Forsythe has been making plans for a future exhibition inspired by the artist and naturalist known as Petra, who spent decades collecting stones and minerals from the mountains in Stöðvarfjörður, Iceland. Camila Sposati has been reflecting on the various “extractions” of a residency and exhibition that took place in the Amazon in 2004, gradually turning them into a script for a play. Becky and Camila are collaborating for this event on a procedural work using the library photocopier on the main floor (Receding Agate and Rhodochrosite). On the upper floor, they present two further collaborations via the media of “chairs and view” – Looking at the mountains and The mountain at my back – that recontextualize the interior space with respect to vistas of Mt Bourgeau, the Massive Range, Pilot Mountain, and so on.
Photo: Latitudes | www.lttds.org
More info: www.lttds.org/projects/geologictime/
Ecopoetics addresses the environment in all of its complexity; it includes both the butterfly and the bulldozer. Although the term "ecopoetics" didn't exist when Bern Porter started writing poetry, it is a term that now helps us to better understand his projects. Porter started out as a scientist and worked on the Manhattan Project, which created the first atomic bomb. After the bomb was detonated, he quit his job and devoted his life to making art. Porter is perhaps best remembered for his founds, which were spare collages that recontextualized words one can find in everyday places like fashion magazines or junk mail. During the course of this event at Temple Gallery, participants will listen to Bern Porter poetry (read by CA Conrad), discuss entropy and recycling in relation to Porter's work, the idea of waste as an essential component of energy, and the notion of permaculture. Additionally, participants are asked to bring a non-precious piece of paper with text (from a magazine or newspaper, or perhaps selected randomly), which will be incorporated into a collective found and hung in the Temple Gallery at the culmination of the workshop.
ABOUT OUR GUESTS:
Jena Osman's latest book of poetry is The Network (selected for the National Poetry series in 2009 and published by Fence Books). Other books include An Essay in Asterisks and The Character. She co-edits the Chain Links book series with Juliana Spahr, and she teaches creative writing and literature in the English Department at Temple University. You can read Osman's essay Bern Porter: Recycling the Atmosphere by clicking here.
CA Conrad is a recipient of a 2011 Pew Fellowship in the Arts. He is the author of A Beautiful Marsupial Afternoon: New (Soma)tics, (Wave Books, 2012), The Book of Frank (Wave Books, 2010), Advanced Elvis Course (Soft Skull Press, 2009), Deviant Propulsion (Soft Skull Press, 2006), and a collaboration with poet Frank Sherlock titled The City Real & Imagined (Factory School, 2010). He has taught poetry at St. Mark's Poetry Project, CUNY Graduate Center, Naropa University, Goucher College, and elsewhere.
Очищение Пресвятой Девы Марии.
Geese Book Volume II - fol. 21v
geesebook.ab-c.nl/browse.aspx?v=2&p=42&l=english
In purificatione sancte Marie
Purification of Mary (2 February)
Geese Book, a lavishly illuminated liturgical manuscript in the Pierpont Morgan Library in New York (M. 905). This large, two-volume gradual was produced between 1504 and 1510 for the church of St. Lorenz in Nuremberg
geesebook.ab-c.nl/thumbs.aspx?v=2&l=english
Pierpont Morgan Library, M. 905
The broad goal of the project is to provide a critical model for both re-integrating the arts and recontextualizing them historically. A multimedia work from the late Middle Ages is being explored and (re-)presented through the multimedia technologies of our day. The book will be “opened” for today’s audiences using both the theoretical tools of our day and the historical specificities of its own time.
The endeavor focuses on one single work: the lavishly and whimsically illuminated, two-volume liturgical manuscript known as the Geese Book. Produced in Nuremberg, Germany between 1504 and 1510, this gradual preserves the complete liturgy compiled for the parish of St. Lorenz, as it was sung by the choir of school boys and young adults before the Reformation was introduced in the city in 1525. In 1962 the Samuel H. Kress Foundation gave this work to the Pierpont Morgan Library in New York, where it remains today. Measuring 65 by 44 cm, the volumes are the largest in the collection. Today they are particularly valued for their high quality illuminations, several of which employ fanciful and provocative satirical imagery. The book takes its name from an enigmatic, self-referential, bas-de-page illustration that shows a choir of geese and a fox singing from a large chant manuscript with a wolf as their choirmaster.
The project is composed of several products and events that are being released or taking place at various times. The centerpiece is a web site about the manuscript with a complete digital facsimile, sound recordings, high resolution photographs of the illuminations, annotations, explanations, commentary, and essays by several specialists on issues concerning the book’s production, function, history, and critical theory. Associated documents and photographs of related works of art will also be employed to gain a fuller picture of the various contexts of this book. Political, social, and economic issues are crucial to the study. Additional project components include an audio CD with 70 minutes of recorded chants, a concert on location in Nuremberg, and a radio broadcast.
The present undertaking is designed as an international interdisciplinary pilot project. To this end, a musicologist and an art historian are heading a team of experts that include digital specialists, musicians and musicologists, art historians and conservators, as well as scholars of medieval Latin and history. It is hoped that the end result will demonstrate how new electronic media can be employed for scholarly exploration of the multisensory art experiences of the past.
this animal was recently recontextualized for me in a very interesting way. C. pyrrhus are known to be very good substrate-matchers, and rattlesnake camouflage coloration is known to affect predation rates. the balance among possible mechanisms that achieve this at the meta-population, population, and individual levels is not explored; it could be behavioral, it could be evolutionary, (i think) likely it is a combination of those two. this individual was seen in an area where most animals are vibrantly yellow, and most animals that are not yellow are gray and tan, and this biphasic locality exists as a tiny unique pocket within a (much) larger, mostly-monophasic (the gray and tan phase) region, and this is at the western edge of the species's range (range edges are often where genetically-weird stuff happens, both because range edges tend to occur near to where tolerance limits occur, and because there's less convergent selection on subpopulations on edges relative to subpopulations that are receiving gene flow from all directions). this individual seems to me to be representative of the regional gray and tan phase, but in which something to do with the concentration of melanin in the ectoderm has been amplified, to cover the animal in black spots so dense that the animal looks black when received as a whole. this can probably happen by accident (it's not quite melanism or hypermelanism the way that that is usually expressed in snakes), and for a long time my interpretation was that it was just an accident... but last time i visited this site, i found out that less than 20 years ago, a very large area around the site had burned in a wildfire. burn scars still persist in the area; a visitor can see burn marks on old woody stems in the area, and ash stains on many rocks... 20 years later. 15 years ago? 10 years ago? maybe even 5 years ago? for a long time the dominant substrate color (i would guess soils and rock faces) was probably black. certainly this is not proof that the local subpopulation evolved or chose (or a combination of these) substrate matching to a black, wildfire-generated substrate, but the idea is thought provoking.
seen on Kumeyaay land.
Ecopoetics addresses the environment in all of its complexity; it includes both the butterfly and the bulldozer. Although the term "ecopoetics" didn't exist when Bern Porter started writing poetry, it is a term that now helps us to better understand his projects. Porter started out as a scientist and worked on the Manhattan Project, which created the first atomic bomb. After the bomb was detonated, he quit his job and devoted his life to making art. Porter is perhaps best remembered for his founds, which were spare collages that recontextualized words one can find in everyday places like fashion magazines or junk mail. During the course of this event at Temple Gallery, participants will listen to Bern Porter poetry (read by CA Conrad), discuss entropy and recycling in relation to Porter's work, the idea of waste as an essential component of energy, and the notion of permaculture. Additionally, participants are asked to bring a non-precious piece of paper with text (from a magazine or newspaper, or perhaps selected randomly), which will be incorporated into a collective found and hung in the Temple Gallery at the culmination of the workshop.
ABOUT OUR GUESTS:
Jena Osman's latest book of poetry is The Network (selected for the National Poetry series in 2009 and published by Fence Books). Other books include An Essay in Asterisks and The Character. She co-edits the Chain Links book series with Juliana Spahr, and she teaches creative writing and literature in the English Department at Temple University. You can read Osman's essay Bern Porter: Recycling the Atmosphere by clicking here.
CA Conrad is a recipient of a 2011 Pew Fellowship in the Arts. He is the author of A Beautiful Marsupial Afternoon: New (Soma)tics, (Wave Books, 2012), The Book of Frank (Wave Books, 2010), Advanced Elvis Course (Soft Skull Press, 2009), Deviant Propulsion (Soft Skull Press, 2006), and a collaboration with poet Frank Sherlock titled The City Real & Imagined (Factory School, 2010). He has taught poetry at St. Mark's Poetry Project, CUNY Graduate Center, Naropa University, Goucher College, and elsewhere.
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
Ecopoetics addresses the environment in all of its complexity; it includes both the butterfly and the bulldozer. Although the term "ecopoetics" didn't exist when Bern Porter started writing poetry, it is a term that now helps us to better understand his projects. Porter started out as a scientist and worked on the Manhattan Project, which created the first atomic bomb. After the bomb was detonated, he quit his job and devoted his life to making art. Porter is perhaps best remembered for his founds, which were spare collages that recontextualized words one can find in everyday places like fashion magazines or junk mail. During the course of this event at Temple Gallery, participants will listen to Bern Porter poetry (read by CA Conrad), discuss entropy and recycling in relation to Porter's work, the idea of waste as an essential component of energy, and the notion of permaculture. Additionally, participants are asked to bring a non-precious piece of paper with text (from a magazine or newspaper, or perhaps selected randomly), which will be incorporated into a collective found and hung in the Temple Gallery at the culmination of the workshop.
ABOUT OUR GUESTS:
Jena Osman's latest book of poetry is The Network (selected for the National Poetry series in 2009 and published by Fence Books). Other books include An Essay in Asterisks and The Character. She co-edits the Chain Links book series with Juliana Spahr, and she teaches creative writing and literature in the English Department at Temple University. You can read Osman's essay Bern Porter: Recycling the Atmosphere by clicking here.
CA Conrad is a recipient of a 2011 Pew Fellowship in the Arts. He is the author of A Beautiful Marsupial Afternoon: New (Soma)tics, (Wave Books, 2012), The Book of Frank (Wave Books, 2010), Advanced Elvis Course (Soft Skull Press, 2009), Deviant Propulsion (Soft Skull Press, 2006), and a collaboration with poet Frank Sherlock titled The City Real & Imagined (Factory School, 2010). He has taught poetry at St. Mark's Poetry Project, CUNY Graduate Center, Naropa University, Goucher College, and elsewhere.
A flick before the opening.
Experimental Jetset exhibition curated by Lydia Ortiz, Kate Koeppel, and Zachary Gibson. Part of Jon Sueda's Wider White Space.
Experimental Jetset is a graphic design collective based in Amsterdam
that is made up of three people: Marieke Stolk, Danny van den Dungen
and Erwin Brinkers.
Experimental Jetset is Marieke, Danny and Erwin, but it is also Danny,
Marieke and Erwin, and of course, Erwin, Danny and Marieke. They have
collaborated since 1997.
The Making of… is a video exhibition exploring the playful, often
talked about, sometimes secretive, mystique that surrounds the
collaborative work-style of Experimental Jetset. The videos, shot with
three cameras, by three design students, shown on three monitors,
explores the three individuals behind the work, their personae, their
approaches, and their quirks.
Experimental Jetset describes their work as transforming language into
objects. This exhibition recontextualizes the graphic design objects
of Experimental Jetset, and turns the objects back to language, and
the language into objects on film.
Like Experimental Jetset, this exhibition may, or may not be a
paradox. Graphic design as language and as object. This is graphic
design in the context of an exhibition, under glass, and on film.
This is The Making of Experimental Jetset.
2006 | 17th Annual James A. Porter Colloquium
Art, Artists, and Activism: The Black Arts Movement Revisited, Recontextualized. Photos by Barbara F. Wallace. www.portercolloquium.org/schol_2006.htm