10 10 / 2014

10 10 / 2014

artchipel:

Conor Harrington - Death on the Doorstep. Oil and spray paint on canvas, 152x182 cm (2011)
[with Monday’s Curator devidsketchbook]

artchipel:

Conor Harrington - Death on the Doorstep. Oil and spray paint on canvas, 152x182 cm (2011)

[with Monday’s Curator devidsketchbook]

10 10 / 2014

artchipel:

Conor Harrington - The Three Wise Men. Oil, spray paint and gold leaf on canvas, 200x250 cm (2011)
[with Monday’s Curator devidsketchbook]

artchipel:

Conor Harrington - The Three Wise Men. Oil, spray paint and gold leaf on canvas, 200x250 cm (2011)

[with Monday’s Curator devidsketchbook]

10 10 / 2014

angrywhistler:

Conor Harrington

angrywhistler:

Conor Harrington

(Source: conorsaysboom.wordpress.com)

10 10 / 2014

artchipel:

Conor Harrington - Dinnertime Bandit. Oil and spray paint on Canvas, 122x108cm (2007)
[with Monday’s Curator devidsketchbook]

artchipel:

Conor Harrington - Dinnertime Bandit. Oil and spray paint on Canvas, 122x108cm (2007)

[with Monday’s Curator devidsketchbook]

10 10 / 2014

vdjango:

Conor Harrington

vdjango:

Conor Harrington

10 10 / 2014

Park Bench
Acrylic on paper, approx 24 x 33 in

Park Bench

Acrylic on paper, approx 24 x 33 in

10 10 / 2014

Documentation of studio space over the project and progress photos of the final painting.

10 10 / 2014

GEORGE CONDO

30 9 / 2014

I took photos of park benches, signs and railings reflected in shiny PVC. These are objects which are uniform and exactly the same wherever you go. The warped image in the plastic shows how the individual sees this environment in a different way, we can occupy the same space but experience it differently.

30 9 / 2014

22 9 / 2014

exhibition-ism:

Swiss artist Andy Denzler applies analog glitches to classical portraiture in his series of glitch paintings 

22 9 / 2014

blckanubis:

anubi$ - Untitled-053-b

blckanubis:

anubi$ - Untitled-053-b

22 9 / 2014

luisantoniosantos:

Luis Antonio Santos
Untitled (Ulysses), 2014
Oil on canvas, 5 x 5 feet

luisantoniosantos:

Luis Antonio Santos

Untitled (Ulysses), 2014

Oil on canvas, 5 x 5 feet

22 9 / 2014

yearoftheglitch:

Thursday Reading: Breaking Things on Purpose by Doug Bierend
On Glitch Art and the work of Sabato Visconti
(image by Visconti)
Notes:
There’s a whole breed of artist out there, who are not only concerned with using tools, but with their making as an integral practice of critical engagement with the material and conceptual content of their process and work. Tool making is necessarily social and political in its scope.
Glitch Art generated through algorithmic means is a bit like a painter experimenting with the application of paint on the canvas. The canvas is taken as default, the paint is taken as default, but the process of application and its results are of primary concern. The image is default, the fact that it is simply a matrix of color values is taken as default, the algorithms are selected or crafted as processes which “push pixels” around the screen. Where this variant of glitch art departs from its edgier cousins is in its lack of critical engagement with the materials underlying or informing the conditions necessary for digital images in the first place.
A good example of a deeper glitch oriented practice can be found in the work of Kim Asendorf. Though not strictly a glitch artist, Asendorf engages with the materials, practices, and concepts of glitch art quite broadly in his work. His exploration of pixel sorting touches upon the evocation of error and the surface characteristics of visual glitches which happens, paradoxically, as a consequence of ordering all the pixels according to their numeric value. This form of pixel pushing, deals with the image as a matrix of pixels, touching upon our perception of the image as such, revealing the arbitrary nature in which images can be conveyed through a screen.
In Extra File, Asendorf takes up the task of writing his own file formats and image compression schemes. The result is not only a new family of formats for shrinking and sharing images, but a collection of artifacts waiting to be discovered and explored, accessible through data bending or otherwise manipulating, or corrupting the image data.
One step further: something I would like to add to my wishlist is a image viewing application which allows for the real-time interpretation of mis-compiled image rendering algorithms. It’s one thing to bust a JPG, and a whole other to bust the algorithm used to render the JPG. Evidence of the potential for tweaking with rendering algorithms can be found in Nick Briz’s Glitch Codec Tutorial. Though it deals with re-writing and compiling the source code for video algorithms, the same basic idea should be applicable to just about any media.

yearoftheglitch:

Thursday Reading: Breaking Things on Purpose by Doug Bierend

On Glitch Art and the work of Sabato Visconti

(image by Visconti)

Notes:

There’s a whole breed of artist out there, who are not only concerned with using tools, but with their making as an integral practice of critical engagement with the material and conceptual content of their process and work. Tool making is necessarily social and political in its scope.

Glitch Art generated through algorithmic means is a bit like a painter experimenting with the application of paint on the canvas. The canvas is taken as default, the paint is taken as default, but the process of application and its results are of primary concern. The image is default, the fact that it is simply a matrix of color values is taken as default, the algorithms are selected or crafted as processes which “push pixels” around the screen. Where this variant of glitch art departs from its edgier cousins is in its lack of critical engagement with the materials underlying or informing the conditions necessary for digital images in the first place.

A good example of a deeper glitch oriented practice can be found in the work of Kim Asendorf. Though not strictly a glitch artist, Asendorf engages with the materials, practices, and concepts of glitch art quite broadly in his work. His exploration of pixel sorting touches upon the evocation of error and the surface characteristics of visual glitches which happens, paradoxically, as a consequence of ordering all the pixels according to their numeric value. This form of pixel pushing, deals with the image as a matrix of pixels, touching upon our perception of the image as such, revealing the arbitrary nature in which images can be conveyed through a screen.

In Extra File, Asendorf takes up the task of writing his own file formats and image compression schemes. The result is not only a new family of formats for shrinking and sharing images, but a collection of artifacts waiting to be discovered and explored, accessible through data bending or otherwise manipulating, or corrupting the image data.

One step further: something I would like to add to my wishlist is a image viewing application which allows for the real-time interpretation of mis-compiled image rendering algorithms. It’s one thing to bust a JPG, and a whole other to bust the algorithm used to render the JPG. Evidence of the potential for tweaking with rendering algorithms can be found in Nick Briz’s Glitch Codec Tutorial. Though it deals with re-writing and compiling the source code for video algorithms, the same basic idea should be applicable to just about any media.