messing around
was hoping that if isaiah, jeff, and i got together, and we got in the studio, something interesting might happen. we were all tired and got a very late start but still i think we laid the foundation for a piece i hope we can explore together.
applications
http://confluxfestival.org/2009/
------------------
PROJECT NAME (will be displayed on Conflux website)
How to Enjoy Traffic Cones
------------------
LOCATION For the map of ConfluxCity. If moving, please provide starting location. ConfluxCity will not be able to provide space nor allow projects to be located at Conflux HQ.
Starting location: West entrance of Tompkins Square Park (Avenue A
between St. Marks & 9th Street)
Date: Sunday, September 20, 2009
Meet-up times: 11:00am, 2:00pm, 4:00pm, rain or shine.
------------------
PROJECT DESCRIPTION - SHORT (max 35 words)
Traffic cone viewing is as valid and rewarding an aesthetic experience as visiting an art museum. I will lead three hour-long traffic-cone viewing tours and share fundamental principles and methods of traffic
cone appreciation.
------------------
PROJECT DESCRIPTION - LONG (max 200 words)
Traffic cones are almost art. Like paintings, their primary purpose is to be looked at. Every traffic cone is unique, and provides an opportunity to speculate about its story. While manufactured characteristics (such as color, size, material, and angle of cone) vary, more intriguing is the frequently-mysterious placement of the cone. While New York City has an abundance of cones compared to many places in
the world, it is also a rough environment for traffic cones. The wear and tear apparent on most traffic cones invites speculation.
I've been photographic traffic cones for about fifteen years and am committed to fostering traffic cone appreciation. After a brief talk about why traffic cones are important and worthy of attention, and how gratifying I have found the pursuit of traffic cone aesthetics, I will lead a walking tour of select East Village streets, inviting participants to discuss and photograph the traffic cones we encounter.
This project is made possible in part with public funds from the Manhattan Community Arts Fund, supported by the New York City Department of Cultural Affairs and administered by the Lower Manhattan Cultural Council.
http://www.eriksanner.com/
http://www.eriksanner.com/
http://www.eriksanner.com/
http://www.eriksanner.com/
------------------
LOGISTICAL CONSIDERATIONS Indicate any permits, equipment, participant limits, etc. your project will need. ConfluxCity will not be able to assist with logistics, we will want to see that you have taken your own needs into account.
Participants will need to sign liability waivers. Groups will be limited to ten participants. Everyone will be provided with an orange reflective safety vest (so they will be visible to motorists), and encouraged to remain on sidewalks and cross the street carefully at all times.
------------------------------------
http://www.fluid.localproject.
http://www.eriksanner.com/2009_for_blog/090813_fluid_application.pdf
------------------
Abstract (50 words max.)
Blue and Orange Painting consists of non-linear layered footage of a painting being painted projected onto the completed painting. A ghostly silhouette of the artist working is visible, and the new marks created with the brush appear in the video projection on top of the painted marks on the canvas. Original computer software continually recomposites footage chosen at random points in time. The viewer is constantly exposed to a new composition.
Blue and Orange Painting is an homage to de Kooning, who frequently painted and drew layer upon layer.
------------------
Artist information (50 words max.)
New media artist Erik Sanner has been exhibiting in New York and Tokyo for over a decade. He was recently awarded a Manhattan Community Arts Fund grant for his public art project "How to Enjoy Traffic Cones," which includes traffic cone viewing tours and collaborative artmaking by artists and non-artists alike. Sanner's goal in all his work is to expand the definition of painting by embracing technology.
got a commission
thought i might be uncomfortable making art "for someone" (one of the reasons i make art is to do exactly whatever it is i want to do or think should be done, no compromises) but i wouldn't have pursued it if i didn't want to make the piece and frankly enjoyed both the conception and the work i've done so far - so, excited. video stills (just started):
studio=functional
over the past few days two big finishes.
one: blue and orange painting, have been working on it for a while and wasn't quite sure how to get it where i wanted it to be. here's a still:
two: seems like almost everybody hates moving. if you tell someone you hate moving, they often say "yeah but i really hate moving" as if it's extra hard for them. anyway i figure most of us don't like moving. but once you're settled in - i love having moved! here are some pictures of my new studio. it's multi-functional, i can create and project computer graphics at the same time as i paint, go back and forth between different media... very pleased that i can get the projector closer or farther from the easel depending on how large an area i want to use.
continuing leatherwood chalk
video to come and more details to come. but this is from friday night. (people drawing and tracing people with colored chalk and charcoal in a projection of other people drawing with chalk in a projection of other people tracing people and drawing with chalk.)
making summer shade
finally completed my four seasonal new media installations with "summer shade" last week. i think summer is a pretty laid-back time and i hope this piece reflects that, when you see the finished work but also in the making.
while i sipped limeade, my camera recorded the shifting patterns as the breeze flowed through the tree leaves overhead, and the sunlight dappled on a screen and the surroundings, forming patterns of light and shadow which were quite mesmerizing to look at. every few minutes i would move the screen and the tripod, capturing different compositions and varying degrees of movement, sunlight-penetration-of-vegetation, etc.
felt very reassured by the camcorder telling me it would be a piece of cake.
in actuality, had quite a bit of trouble debugging the digital (dynamic video) component.
the resulting piece composites any three moments of the hour-length video) but worked through it and satisfied with the result, which is then projected back onto the portable projection screen. video documentation of the completed piece to come.
Subscribe to:
Posts (Atom)