I am a big fan of art created through glitches, overload and feedback loops (I think the first thing I ever put up on Pinterest was an image of the distortion resulting from scanning an iPad). I’m just discovering the work of artist Phillip Stearns, but I’m already a big fan of the fantastic list he’s put together of glitch art tools, techniques, writing, theory, and practitioners.
See the full list of Phillip Stearns’ Glitch Art Resources here.
I came across an old link this week while cleaning out old emails, a Slate write-up of an exhibit of “not art:” that is to say, damaged artwork for which the cost of repair exceeds the market value of the piece. The state of “permanent devaluation” is assigned by an insurance agency, after which many pieces so designated are archived by the Salvage Art Institute. The show (at Columbia University’s Arthur Ross Architecture Gallery) exhibited work from this archive; since it wasn’t art, visitors were permitted to touch or even pick up the broken sculptures and slashed paintings. Paradoxically, the writer found that peering inside a shattered Jeff Koons sculpture ended up exposing the craft behind the work—exposing the path by which an idea became art in the first place:
…the most powerful impression was that of the presence of the artists. Through the damage, the seams of the works were opened—the rivets in the dog balloon were now visible—and a viewer had a vision of the act of creation, which is primary to art, while market-value is not.
-John Reed in Slate, This is Not an Artwork, Nov. 23, 2012
It’s a snowy day here in Boston, so here’s some thematic artwork: artist Andy Mattern‘s photographic treatments of dirty snow, isolated and presented as found objects. His statement indicates the chunks of snow he captured are the ones that broke free from the build-up in the wheel wells of cars during one of Minnesota’s snowiest winters on record.
See more Driven Snow on Mattern’s website (book available)
…if something caught my eye, I stopped and asked myself what it was. When I was clear in my own mind what was attracting me I took the photograph.
~ Robin Whalley, the Lightweight Photographer
This rings true to me. I took up photography last year for two reasons: ok, sure, it was partially for the fun gadgetry, but more importantly I wanted to learn another way of seeing. I’m currently taking an evening class at the New England School of Photography, where we just received an assignment to photograph random things in our kitchen. The goal was the same: let your eye be caught, then understand why.