View allAll Photos Tagged Recontextualizing
by Messor Frog
recontextualized
pylon prawy polnoc
Posted by Second Life Resident Torley Olmstead. Visit Golden Gate.
From Identity Euler:
Golden Gate Bridge was build by Messor Frog and NewBee Wasp. Messor and NewBee are members of *CrEaTiViTy* team which is helping people to develop their skills and creativity in Second Life.
There is second bridge which was built by Messor Frog - Bay Bridge. It was built in Second Life ealier than in RL! In RL is still under construction - baybridgeinfo.org/. You can visit it also in San Francisco: maps.secondlife.com/secondlife/San Francisco Marina/195/10/43. This is great example how sometimes SL is ahead of RL.
on KSE, Texas: kendrasteinereditions.wordpress.com/2014/07/22/new-from-a...
Including sound sources from:
Cheng Xu, Jun-Y Ciao, MaiMai, Yi Tao, A23H (Shanghai Quintet),
Alok, Dickson Dee, Sherman Ho, Sin:Ned (Hong Kong),
Duo Goebbels/Harth LP Frankfurt/Peking + Otomo Yoshihide’s / Ground Zero’s Revolutionary Pekinese Opera Ver.1.28 (Peking Opera Remix III), Albrecht Kunze
The ambitious and audacious CHINA COLLECTION is proof that A23H has no peers in the international underground. This 70+ minute assemblage is truly epic in scope and dense in texture, while still having room to breathe — in the tradition of Pynchon’s Gravity’s Rainbow or Melville’s Mardi or Moby Dick, it’s got EVERYTHING in it, and something else comes into focus with each listening. It’s also full of references and allusions and mirrorings that keep the mind swimming…
From recontextualized slice-and-dice opera to riveting improvisational sequences to electronics to string passages to disembodied voices to turntabling to lyrical reed passages to every imaginable permutation of a seemingly limitless collection of sound sources, the CHINA COLLECTION is a massive release, and every copy comes with a liner-note insert where Mr. Harth discusses the overall project and each track in detail. It’s not just a comprehensive “sampler” of Harth’s China-related activity the last few years; it’s also a sound-sculpture created FROM those pieces of activity. Although this is Harth’s 6th release for KSE, it is totally different from each of the others, and as someone who has been listening to experimental music since my teenage years, I can say that I’ve NEVER heard anything remotely like this. You could isolate any two minute chunk of this album and spend a day getting into its construction and its juxtapositions and the world it creates.
Bill Shute
Secure the Bag, Mint the Soaps and Throw the Bones is a site of exchange that aims to recontextualize the intricate histories of the brown paper bag and Hispano cuaba soap while inviting the audience to play a game of dominoes. This is based on the artist’s ongoing examination of these items found in private and domestic settings. Nonetheless, their combined racialized, colonial and social complexity reverberates in the customs and dynamics of collective space within a black diasporic subjectivity and imagination. To learn more visit www.recessart.org/francheskaalcantara/
Copyright Kapitan Curtis
University Of Manitoba
Beautiful Sarah
This project was for a fine art class (Visual Language Studies) assignment involving the recontextualization of art. I chose the element of time as my aspect to rethink. Somewhere in this series the element of time is altered, I'll leave that to the viewer to discover. Additionally, on a technical note these portraits have been colored and airbrushed similarly to how Disney studios would prepare actors for a feature film. This is a form of concept art.
Nikon D70s & Carl Zeiss Lenses
Adobe Lightroom 2
Golden Nica u19 – CREATE YOUR WORLD
“Femme Chanel – Emma Fenchel” is a video that very elegantly sequentializes and recontextualizes found footage—that is, elements of previously existing films. The points of departure were “Night Train,” a commercial for Chanel No. 5 perfume, and feature films starring actress Audrey Tautou. “Emma Fenchel” consists primarily of cuts interconnecting formally well-matched sequences from other motion pictures.
Credit: tom mesic
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
TodaysArt
Theater aan het Spui, Den Haag 2012
TodaysArt presenteert in samenwerking met Nippon Television Europe (NTVE) een Japans gericht programma binnen het festival. Naast ‘Open Reel Ensemble’ presenteert Ei Wada ook zijn solo ‘Braun Tube Jazz Band’, een unieke audiovisuele performance waarin hij gebruik maakt van zijn lichaam en 12 oude CRT-televisies. Hij gebruikt het elektromagnetische veld van de TV’s om licht in geluid te veranderen en manipuleert het geluid door de TV’s te transformeren in percussie instrumenten en synthesizers.
In collaboration with Nippon Television Europe (NTVE), TodaysArt has created a program that focuses on Japan. After composing a number of musical pieces Ei Wada (b. 1987) subsequently switched his attention to outmoded electrical appliances, interested in their supposed obsolescence. He recontextualized and modified them to be played as musical instruments. In addition to ‘Open Reel Ensemble’, Ei Wada presents his solo ‘Braun Tube Jazz Band’, a unique audiovisual performance in which he uses his body and 12 old CRT televisions. He uses the electromagnetic field of the TVs to change light into sound and manipulates the sounds by turning the TVs into percussion instruments and synthesizers. Braun Tube Jazz Band won the 'Art Division Excellence Prize' at the 13th Japan Media Arts Festival.
“Femme Chanel – Emma Fenchel” is a video that very elegantly sequentializes and recontextualizes found footage—that is, elements of previously existing films. The points of departure were “Night Train,” a commercial for Chanel No. 5 perfume, and feature films starring actress Audrey Tautou.
Credit: tom mesic
Zine article for Intermedia 1 at Concordia University.
Vector Image made in Adobe Illustrator and layout made in Adobe Indesign
Text:
Rabbi Yisroel Bernath and his wife opened up Chabad of NDG & Loyola Campus, located at 5690 Monkland Avenue in Montreal, in 2008. Before Chabad’s existence in Monkland, the nearest Jewish place of worship was a large synagogue catering to families in Côte Saint-Luc. Thanks to Rabbi Bernath, hundreds of young professionals and students in Notre-Dame-de-Grâce were given the opportunity to stop by the Chabad House to learn, socialize and actively practice Judaism in a non-judgmental, intimate setting. If one happens to pass by on a Friday evening or Saturday morning, known to observant Jews as Shabbat (Sabbath), he or she would notice the sounds of congregated singing and praying claiming their presence on Monkland.
Rabbi Bernath explains that “the point of having a Chabad House visible on Monkland Avenue is to create a visual act of Jewish presence in NDG” (Bernath).
Unfortunately for Chabad, this ‘visual act of Jewish presence’ is not visible on Google Earth. The Chabad House, tucked amongst cafes and boutiques, is situated under a kosher café, where the restaurant Oh La La! previously resided. When searching for 5690 Monkland Avenue on Google Earth, however, this is not the image that one sees. Unfortunately, Google Earth does not automatically give the view of Chabad on its own - instead one is shown the view of the intersection at the corner where Chabad stands. Alan MacEachren, an American geographer, notes that “if we accept the premise that maps can ‘work’[...] we have an obligation to facilitate their use as information sources” (MacEachren 11). It is impossible to facilitate Google Earth as an information source when the location shown is not the address being searched for. To find the Chabad House on Google Earth, one has to maneuver around and look for either the street number or the Chabad sign. This leads to a second problem, however; Chabad cannot even be found on Google Earth Street View. Because the images were taken before Chabad was implemented, it does not exist in Google Earth. This presents problems for newcomers to the area who need to visualize their route before getting there. This also creates difficulties for Rabbi Bernath, who is doing his best to create a strong Jewish presence in NDG.
If one heads down to Monkland’s Chabad House today, he or she would immediately notice the oversized Menorah standing in front of the building, marking its territory. Jason Farman explains that users can aid in the recontextualization of the master representations that appear on Google Earth (Farman 883). As members of Chabad of NDG & Loyola Campus, we created an updated panoramic image of 5690 Monkland Avenue. We have done so in the hopes that this addition to Google Earth’s representation will make clear that Chabad is in fact existent on Monkland, and visible to the Google Street View ‘passers-by.’
By Haley Firkser and Ben Cohen
Made with Adobe Illustrator and InDesign
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/
Play Offs, Installation view I
works by Dario Escobar
Dario Escobar is known for his sculptural recontextualization of everyday objects. Born in Guatemala, his Catholic background and interest in local history became sources of inspiration for a body of work that combines mass-produced objects, craft techniques, and religious iconography. Born in Guatemala, he lives and works in Guatemala City. He has exhibited widely in galleries, museums and biennials in Latin America, North America and Europe, recent exhibitions include: Poetics of the Handmade, The Museum of Contemporary Art, Los Angeles, CA (2007); La Linea Interrumpida, Centro Cultural Metropolitano, Guatemala City, Guatemala (2007); The Hours: Visual Arts of Contemporary Latin America, Dublin Museum, Ireland (2005) and Museum of Contemporary Art, Sydney, Australia (2007). He will have a solo exhibition at Josée Bienvenu gallery, New York in spring 2008. In summer 2008, he will also be included in the group exhibition World Histories at the Des Moines Art Center, Des Moines, IA.
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.
This is an examination into the potential of an integration of the methods of landscape architecture and architecture into design to create a sense of place.
The thesis project is set within East - Central Illinois, using the program of housing. How can suburban housing and landscapes be affected by a process that integrates architecture and landscape architecture?
Recontextualizing this for the present, this project at the time was a critique of Neo-traditional development and is now a critique of sustainability - both for being too abstract to respond to the local.
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 2X).
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....
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.
From the museum label:
Love, Queen, Adam Pendleton's (b. Richmond, Virginia, 1984; lives in Brooklyn, New York) first solo exhibition in Washington, DC, brings together recent works to highlight the centrality of painting, as well as the translation and transformation of the handmade mark, in his practice. Since he began making art in the early 2000s, Pendleton has developed an expansive approach to art-making that employs gesture, fragment, text, and image to recontextualize histories of painting, abstraction, Blackness, and the historical avant-garde. Deploying collage as model and method, Pendleton places traditionally separate ideas and processes in close proximity, creating a fluid state that opens up new spaces for seeing and thinking.
Love, Queen includes paintings from five bodies of work: Black Dada, Untitled (Days), WE ARE NOT, Composition, and Movement. Challenging convention through their blurring of distinctions among painting, photography, and drawing, Pendleton's visually active and spatially complex paintings give visual form to what the artist describes as the "complex real"—the onslaught of sensory phenomena and often contradictory information that defines contemporary experience.
His painting process begins on paper by exploring the full breadth of mark-making. He layers paint, spray paint, ink, and watercolor, integrating fragmentary text and geometric forms through stenciling techniques. These works on paper are photographed and then layered using a screen-printing process. The resulting paintings—simultaneously expressionistic, minimal, and conceptually rich—feature both stark contrasts and subtle variations in tone and finish. They are a tangible manifestation of his belief in painting as a powerful "visual and conceptual force."
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/
The pilot stage of Actors of Urban Change has come to an end, and yet it is the beginning of a beautiful friendship since Actors has already become a vivid network of commited people.
From May 8 to 11, the Participants of the first generation and local guest from the participating cities came again to Berlin to celebrate and show their achievements during the Closing Ceremony in the representative office of the Robert Bosch Stiftung.
This was following in depth workshops, evaluating the respective developments within the teams, projects and the program, which were carried out on the premises of the ZKU - Zentrum für Kunst und Urbanistik.
Getting back to real urban challenges, May 10, was filled with three field trips in different districts of the city to recontextualize the Berlin experience.
More information at actors-of-urban-change.eu.
Photo by Panos Georgiou
Play Offs, Installation view II
works by Dario Escobar
Dario Escobar is known for his sculptural recontextualization of everyday objects. Born in Guatemala, his Catholic background and interest in local history became sources of inspiration for a body of work that combines mass-produced objects, craft techniques, and religious iconography. Born in Guatemala, he lives and works in Guatemala City. He has exhibited widely in galleries, museums and biennials in Latin America, North America and Europe, recent exhibitions include: Poetics of the Handmade, The Museum of Contemporary Art, Los Angeles, CA (2007); La Linea Interrumpida, Centro Cultural Metropolitano, Guatemala City, Guatemala (2007); The Hours: Visual Arts of Contemporary Latin America, Dublin Museum, Ireland (2005) and Museum of Contemporary Art, Sydney, Australia (2007). He will have a solo exhibition at Josée Bienvenu gallery, New York in spring 2008. In summer 2008, he will also be included in the group exhibition World Histories at the Des Moines Art Center, Des Moines, IA.
Play Offs, Installation view III
works by Dario Escobar
Dario Escobar is known for his sculptural recontextualization of everyday objects. Born in Guatemala, his Catholic background and interest in local history became sources of inspiration for a body of work that combines mass-produced objects, craft techniques, and religious iconography. Born in Guatemala, he lives and works in Guatemala City. He has exhibited widely in galleries, museums and biennials in Latin America, North America and Europe, recent exhibitions include: Poetics of the Handmade, The Museum of Contemporary Art, Los Angeles, CA (2007); La Linea Interrumpida, Centro Cultural Metropolitano, Guatemala City, Guatemala (2007); The Hours: Visual Arts of Contemporary Latin America, Dublin Museum, Ireland (2005) and Museum of Contemporary Art, Sydney, Australia (2007). He will have a solo exhibition at Josée Bienvenu gallery, New York in spring 2008. In summer 2008, he will also be included in the group exhibition World Histories at the Des Moines Art Center, Des Moines, IA.