Exhibited by Streaming Museum
Collect art by 3 pioneer digital artists – Carla Gannis, Ursula Endlicher, Mark Amerika, featured in Streaming Museum exhibitions in NYC
A reception, exhibition and meet-the-artists event with Carla Gannis, Mark Amerika and Ursula Endlicher takes place on July 7 at Governors Island, Nolan Park building 8a, 3-5 pm, in collaboration with Harvestworks where they have exhibitions scheduled during the summer and fall.
Read about Carla Gannis’s August 1-31 exhibition at Times Square Midnight Moment; Mark Amerika’s July 6-31 TECHNE Lab exhibition program at Made in NY Media Center by IFP; and Ursula Endlicher’s “Input Field Form #2” that’s upstate this summer.
The Garden of Emoji Delights, 2014
Triptych animation, 1080p and 4K video formats. Duration 5:00, looped moving image. Edition 3/3
Archival C-Print mounted on plexiglass, semi-gloss front lamination, 13′ x 7′. Edition 1/3
The Garden of Earthly Delights, Hieronymus Bosch’s most ambitious work, embodies the conflicts, humor, darkness and absurdity of human, earthly and cosmological conditions. The intention of Gannis’s The Garden of Emoji Delights, 2014, was to mash up popular historic and contemporary sign systems, and to diversify and expand the Emoji lexicon through this process. Emoji are a contemporary glyph system which offer an emotional shorthand for virtual expression. The pleasurable stylizations are ubiquitous worldwide and across generations. Translating iconography of an earlier era using Emoji seems to makes perfect “nonsense.” Gannis produced both a 2D print and moving image version of the “emojified garden.” The static work is a direct homage to Bosch — deeply tied in scale and physicality to the original. The moving image version allowed Gannis to be more dynamic with a hybrid visual vocabulary.
CARLA GANNIS lives and works in New York City. She received an MFA in painting from Boston University, and is faculty and the assistant chairperson of The Department of Digital Arts at Pratt Institute. Upon her arrival to New York in the 1990s, Gannis began incorporating digital elements into her painting-based practice. Since then she has eclectically explored the domains of “Internet Gothic,” cutting and pasting from the threads of networked communication, googleable art history, and speculative fiction to produce dark and often humorous explorations of the human condition.
Gannis’s work has appeared in numerous exhibitions and screenings, nationally and internationally. Recent screenings, commissions and solo exhibitions include “Sunrise/Sunset,” Whitney Museum of Art, NY; “Until the End of the World,” DAM Gallery, Berlin; “A Subject Self-Defined,” TRANSFER Gallery, Brooklyn; and “The Garden of Emoji Delights,” Hudson River Museum, Yonkers. Gannis’s work has been featured in press and publications including ARTnews, The Creators Project, Wired, FastCo, Hyperallergic, Art F City, The Wall Street Journal, The New York Times and The LA Times. She has participated in numerous panels and workshops regarding intersections in art and technology, including “Let’s Get Digital” (2014), and “Artists’ Choice” (2016) both at the Metropolitan Museum of Art, New York.
In 2015 Gannis’s speculative fiction writing was included in DEVOURING THE GREEN:: fear of a human planet: a cyborg / eco poetry anthology, published by Jaded Ibis Press, and her augmented reality artist book The Selfie Drawings was awarded the Founder’s Award from the 2016 Lumen Prize. Gannis is represented by Transfer Gallery, New York, and DAM Gallery, Berlin.
Input Fields Forever, 2014-16
PHP, Real-Time Data, Digital Images, Customized
Aluminum Frame and Shadow Box
Frame: 17.5” x 15” x 1.4” (Screen: 6.3” x 4.7”)
Edition of 3
Digital Images, Customized Aluminum Frame and Shadow Box
Frame: 17.5” x 15” x 1.4” (Screen: 6.3” x 4.7”)
Edition of 3
HTML <input> fields that ask for personal data build the entry points to almost every activity and interaction on the Internet. User data is collected and submitted to servers to be stored there forever. In Input Fields Forever Input Fields are “freed” from this original task and transcend their usual format – by not taking but giving back to their users: They feed their visitors with visual poetry composed by real-time data.
In Bullseye I, thirty US-based news sites are constantly queried in real-time for keywords such as “kill”, “shot”, or “gun”, and written into the appropriate section in the target. By continuously filling out themselves the Input Fields in Flower reward their visitors with visual, absurd and poetic answers instead. Teeth makes data ornamental and news feeds poetic…with a twist. Thirty international news websites are constantly queried for key symbols such as “#”, “@”, or “©”. The real-time value attached to these signs is written into the smile of the artist, delivering a Koan-like summary of the current news.
URSULA ENDLICHER turns code into physical form. A pioneering media artist who has worked since the mid ‘90s with the Internet, she has translated the structural components, systems and interfaces of our Internetworked world into material formats. Combining her background in Fine Art, Theater Studies and Computer Art, she has built frameworks for Internet art, installations, objects and performances, with real-time data and code determining their layout and choreographies.
Among her most well known pieces is html_butoh, an Internet Art work and movement database for the HTML language, commissioned by one of the first leading websites supporting Internet Art, Turbulence.org. Light and Dark Networks, part of the Whitney Museum of American Art’s permanent collection, populated the museum’s website with different “data performances” driven by changes in New York City’s weather and air quality.
Endlicher’s performative installation FAR-FLUNG’s (fx) form – Module 2, presented at Eyebeam in NY in 2017, an “intelligent” space rewarded the audience with a re-enactment of their collective data. In her most recent and ongoing installation Input Field Form #2 she transformed the Artist Residency application form – the HTML form that gathers user information through Input Fields – into an agricultural field at ChaNorth in Upstate NY during the “Process Park” residency. In 2017 Input Field Form #1 took place during agrikultura in Malmö, Sweden.
Selections from 8-Bit Heaven series, 2016
Digital prints, unframed 40″ W x 26.5″ H Each print, Edition of 10 with 2 A.P. Signed certificate of ownership Other sizes available
8-Bit Heaven (Carioca 12)
8-Bit Heaven (Rio 20-E5)
8-Bit Heaven (Rio 21-E4)
8-Bit Heaven (Soho, London, #5)
8-Bit Heaven (Soho, London, #11)
8-Bit Heaven (Soho, London, #2)
While making his UK-commissioned artwork Museum of Glitch Aesthetics, Amerika’s 8-Bit Heaven series of images were composed by capturing and manipulating street view imagery off of the Internet through an 8-bit filter. The resulting street images are reminiscent of old video games that remix the look and feel of past computer animation imagery with contemporary scenes from street life in cities such as Rio de Janeiro, Sao Paolo and London. In the 8-Bit Heaven series, Amerika is able to show us how retro-aesthetics can become fashionable again while inventing a new form of image making he refers to as “Internet photography.”
Digital prints from the 8-Bit Heaven series have been exhibited at Amerika’s gallery shows in London, Honolulu and Denver and were recently featured at his 2017 survey show, Glitch Mix: not an error, in Havana, Cuba.
Over the course of three decades, MARK AMERIKA is best known for creating Internet and video narratives that explore the relationship between digital images, electronic forms of writing, and sound art. Amerika uses his background as a published novelist and filmmaker to create works of art that function as literary and philosophical commentaries on digital pop culture and technology. Among his most well known pieces is GRAMMATRON, one of the first works of Internet art selected for the 2000 Whitney Biennial of American Art. His new media artwork, FILMTEXT, was originally commissioned by the ICA in London as part of his retrospective exhibition, How To Be An Internet Artist. His work Immobilité was the first long-form work of video art shot entirely on a mobile phone and was included in his mid-career retrospective at the National Museum of Contemporary Art in Athens. In his recent work, such as Lake Como Remix, Amerika explores the formal properties of the Internet as a space for what he terms “glitch aesthetics.”
Other works by Mark Amerika are available including
Lake Como Remix, 2012 Digital video 9’48” 1/3 with 1 A.P.
Amerika’s Lake Como Remix video art work is a playful reminder of the virtual and networked world we live in. In the video, the artist experiments with the Google Street View online mapping program to create a rich field of morphing glitch aesthetics accompanied by a cinematic soundtrack.
The work is reminiscent of early video art experiments by artists like Nam June Paik but puts a contemporary Internet spin on the images. One of the most widely exhibited works in Amerika’s series of works focused on glitch aesthetics, Lake Como Remix reveals the way online technologies stitch new forms of reality into what passes as a representation of the real while documenting an alternative and experiential “head trip” suggestive of both time-travel and teleportation.
Collectors can send inquiries to firstname.lastname@example.org