The show opens today. 5-8. The Esther M. Klein Art Gallery
SOME INFORMATION ON OPEN SOURCE
Open Source
Eric S. Raymond ("Given enough eyeballs, all bugs are shallow")
The Cathedral and the Bazaar, Raymond's book
Linus Torvalds, the developer of the Linux kernel, on Charlie Rose
ARTISTS IN GIVEN ENOUGH EYEBALLS
Arnaoot, Ramsey and his project at The Philadelphia Institute for Advanced Study
Bocchino, A J
Bruns, Kendall: watch The Haircut.
DiGiuseppe, Joe
Sodeoka, Yoshi
FUN/RELATED STUFF
Kenneth Tin-Kin, an artist
Cory Arcangel, an artist
Conrad Bakker, an artist
Super Mario Bros. Air hack speed run
Mario clouds in reverse
Reverse Super Mario Clouds
Rhizome. org
Young-Hae Chang Heavy Industries, artists
Showing posts with label Esther M Klein Art Gallery. Show all posts
Showing posts with label Esther M Klein Art Gallery. Show all posts
Friday, March 14, 2008
Thursday, March 13, 2008
GIVEN ENOUGH EYEBALLS: JOE DIGIUSEPPE
Mr. DiGiuseppe is a young Philadelphia-based artist who also has a hand in running one of our city's best alternative spaces, Flux Space, which is hosting an opening for Extra Virgin this evening.
See Joe's project here.
Joe has lots of big ideas. I did a studio visit with him back in the beginning stages of Given Enough Eyeballs, and while I didn't see much in the area of concrete work, I was aware of his interest in internet-based art (there are some examples on his web-page) and I decided to chance it on the grounds of his ambition. He has created a truly beautiful piece of interactive sculpture for the exhibition called Entertainment Center #3 (along with several other working titles).
The technologies employed in Entertainment Center #3 are analog, the inquisitive nature of the piece speaks to the thesis of the exhibition. Plus, when you visit the Science Center, you'll see how rad it is to have a piece that calls for public interaction.
See Joe's project here.
Joe has lots of big ideas. I did a studio visit with him back in the beginning stages of Given Enough Eyeballs, and while I didn't see much in the area of concrete work, I was aware of his interest in internet-based art (there are some examples on his web-page) and I decided to chance it on the grounds of his ambition. He has created a truly beautiful piece of interactive sculpture for the exhibition called Entertainment Center #3 (along with several other working titles).
The technologies employed in Entertainment Center #3 are analog, the inquisitive nature of the piece speaks to the thesis of the exhibition. Plus, when you visit the Science Center, you'll see how rad it is to have a piece that calls for public interaction.
Tuesday, March 11, 2008
GIVEN ENOUGH EYEBALLS: YOSHI SODEOKA
Yoshi Sodeoka creates internet-based art, video art, design, and experimental noise. He's done pretty well at it, creating projects for websites like the Whitney Museum's Artport, rhizome.org and Wired.com, receiving grants from the likes of the Greenwall Foundation, and having works in the permanent collections of San Francisco MoMA and the Museum of the Moving Image.
A good many of his projects are available for your eyes to and ears to view on his website c505. You could spend all day on it, as I have done, and not be any closer to describing what you like about it and how you think it's relevant. Many of the articles on Yoshi like to point out that "he's a man of many hats" which makes it a little hard to pin-point a portrait of what his work is. He has many projects under many names and combined this makes for an awesome web experience.
The video on view in Given Enough Eyeballs is Let It Bleed (Left) Let It Be (Right), The Stones And The Beatles Getting Tweaked At The Same Time. It is a mash-up of documentation of The Stones playing Let It Be with The Beatles playing Let It Bleed. The audio of both songs has also been mashed, so what you have is an audio/visual portrait of what happens when you combine Let It Be with Let It Bleed. One reason Yoshi was drawn towards creating this frankenstein video is the history of similarities between the two songs and groups who wrote the songs.
Combing The Stones and The Beatles doesn't give us any new tangible information about a heated pop-culture discussion, but it may be the last word in discussing the discussion.
Monday, March 10, 2008
GIVEN ENOUGH EYEBALLS: A J BOCCHINO
Hey, welcome back.
If this is your first time visiting the blog this week let me fill you in; This Friday an exhibition I curated is opening at the The Esther M. Klein Art Gallery (3600 Market Street, Philadelphia 5-8pm). I'm taking the week to introduce the public to the artists in the show.
Today I'm sharing the work of A J Bocchino. Here are some pictures I took of A J's work as it appears in his studio during a recent trip to New York:
A J Bocchino seems to be most known for his New York Times Headlines pieces but he also makes prints of systems that involve flags, corporate logos, images, and other forms of data.
A J's work is different from most of the other pieces I have chosen to include in Given Enough Eyeballs, mostly because his work retains many of the properties of "traditional art". That is, it's on paper, you can hang it up, he creates large series of similar works, and you get more out of seeing the work in person then you do by looking at it on-line. The large, color-coded, images and headlines differ from our usual idea of a static work in that they are (usually) all on disk and A J can print them out to whatever scale fits best.
Two pieces by Mr. Bocchino, The New York Times Headlines (1976-1985) and (1986-1995), will be on view. They are just what the title makes them out to be, the headlines of the New York Times from the years in question, all laid out in order, and awarded a color that corresponds to a category (i.e. politics, war, entertainment, etc.). When looking at the pieces you feel as if you've been given the cliff's notes for a decade, and it's rather unsettling to see all the names and histories you have forgotten. Every time I encounter one of A J's works I can't stop looking at them, It's startling to have history laid out in a comprehensive way in front of you and the prints almost fool you into thinking you can figure it (meaning life and etc.) all out. The work has the added bonus of being lovely, if you unfocus your eyes or stand back far enough you can pretend you are looking at an abstract formation of random color.
You can familiarize yourself with some of A J's other projects by following the links below:
An article in Downtown Express.
A large wallpaper print.
A slide-show at neoimages
If this is your first time visiting the blog this week let me fill you in; This Friday an exhibition I curated is opening at the The Esther M. Klein Art Gallery (3600 Market Street, Philadelphia 5-8pm). I'm taking the week to introduce the public to the artists in the show.
Today I'm sharing the work of A J Bocchino. Here are some pictures I took of A J's work as it appears in his studio during a recent trip to New York:
A J Bocchino seems to be most known for his New York Times Headlines pieces but he also makes prints of systems that involve flags, corporate logos, images, and other forms of data.
A J's work is different from most of the other pieces I have chosen to include in Given Enough Eyeballs, mostly because his work retains many of the properties of "traditional art". That is, it's on paper, you can hang it up, he creates large series of similar works, and you get more out of seeing the work in person then you do by looking at it on-line. The large, color-coded, images and headlines differ from our usual idea of a static work in that they are (usually) all on disk and A J can print them out to whatever scale fits best.
Two pieces by Mr. Bocchino, The New York Times Headlines (1976-1985) and (1986-1995), will be on view. They are just what the title makes them out to be, the headlines of the New York Times from the years in question, all laid out in order, and awarded a color that corresponds to a category (i.e. politics, war, entertainment, etc.). When looking at the pieces you feel as if you've been given the cliff's notes for a decade, and it's rather unsettling to see all the names and histories you have forgotten. Every time I encounter one of A J's works I can't stop looking at them, It's startling to have history laid out in a comprehensive way in front of you and the prints almost fool you into thinking you can figure it (meaning life and etc.) all out. The work has the added bonus of being lovely, if you unfocus your eyes or stand back far enough you can pretend you are looking at an abstract formation of random color.
You can familiarize yourself with some of A J's other projects by following the links below:
An article in Downtown Express.
A large wallpaper print.
A slide-show at neoimages
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