Deborah Yoon
Deborah Yoon is a self-taught multidisciplinary artist, who considers both New York and San Francisco home. She works primarily with ink, sumi-e, paint, and has experimented with steel metalwork. Movement, nature, and the ephemeral are themes that often woven throughout her intricate, manically detailed art work. Deborah has received a bachelor’s of Fine Arts and Art History at New York University, however most of her education is continuously derived from family (nucleus + extended) and travel.
Share Article | in Drawing KATIE SHIMA: LIVING MACHINES
The Living Machines are a series of hand-drawn images in ink and graphite on vellum made using traditional architectural drafting techniques. The drawings look into the ways in which industrialized societies replace natural processes with artificial ones in order to maintain their standard of living, or ways in which they might do so in the future. Parts of these mechanical landscapes are drawn with technical accuracy, in section or elevation, like architectural documentation, but the hand-drawn, illustrative quality of the technique adds depth, nuance, and mood, helping to draw out the narratives of the allegorical machines.
Katie Shima (b. 1982, MArch Columbia University Graduate School of Architecture, Planning, and Preservation) is an artist and architectural designer based in New York City. Katie has had exhibitions, installations, and performances at the Charles Bank Gallery (NurtureArt Benefit 2012), Clocktower Gallery, Barnard College, The Tank, SoHo 20, Postcrypt Gallery, and The Stable in New York City, as well as D. A. K. and Science Friction Gallery in Denmark. Katie is a founding member of the electronic noise art group Loud Objects; residencies with the Loud Objects include Art On Air in New York and Det Jyske Kunstakademi in Aarhus, Denmark.
Share Article | in Drawing Nicole Aptekar - Expanded Taxonomy
Expanded Taxonomy is a 15-piece collection of laser cut sculptures built out of composite images. Depth emerges from Aptekar’s subtractive process to reveal abstract forms. Expanded Taxonomy utilizes negative space to uncover nuanced structures. The sculptures that populate this exhibit imply time by iteration; the subtle changes of each layer uncover new images, the sum of which give birth to Aptekar's sculptures. The modifications of each tier form the paper skeleton that is the framework of her 3D designs.
This series explores elegance and articulation. Aptekar makes adept use of her own laser to achieve a clean precision. Her expertise in designing complex structures and executing them in a decisive manner is not new to Aptekar's work, but in Expanded Taxonomy Aptekar showcases yet another evolution of her process. The technical achievements become transparent as beauty of the work entices the observer's attention.
Aptekar has collaborated with Mary Franck of Obscura Digital on another work that uses projection mapping on a large cardboard piece. Expanded Taxonomy also includes a collaboration with Ian Baker of Ardent Heavy Industries that utilizes intersections of vinyl that begin inside of the frame but branch outside of it.
Algorithmic Unconscious
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Curated by Phillip Stearns
Digital is anti-noise. In the shift from analog, physical, or chemical forms of art making—where physical agents operate on physical material—to digital, the noise of the medium is minimized (controlled) as a default of the technological substrate.
Algorithmic Unconscious highlights machine/human collaborations where the primary material in the works exhibited is the inherent noise of electronic systems. By emphasizing random fluctuations, the artists explore the potential for electronic technologies to misinterpret and re-imagine the signals they are processing in order to complete the work. The featured artists work within and parallel to the Glitch Art movement, recognizing that algorithms for processing signals function as key materials of digital art. By feeding these algorithms "unconventional data" or by putting them through unconventional routines, noise is reintroduced as a signature of the machine.
Jeff Donaldson’s work takes analog VHS tapes and Flash video compression and twists them into a system where the product is an "interpretation" of noise that mirrors the phenomenon responsible for the noise of our visual sense organs being perceived as visions in dreams. Dan Temkin puts Photoshop’s dithering algorithm into a situation where it is forced to get creative with incompatible color palettes in the production of large scale, low-resolution images. Arcangel Constantini re-wires the electronics of an Atari 2600 game console from the 70s so that the internal memory is expressed in a fragmented machine style stream-of-consciousness: a frenetically changing barrage of fragmented geometries and saturated colors. The images of Phillip Stearns’s DCP Series explore a machine dream-state induced by rewiring the brains of digital cameras. The analog plotter drawings of Jeff Snyder utilize technologies from which contemporary digital art practices originated: analog computing, providing an elegant counter point to the digital works in the show.
The algorithmic unconscious itself may not yet be something that we can clearly define or identify, however, we may be able to view the works in this exhibition and identify between them a revised metaphor for ourselves and our relationship to our technology.
Recolony: A Short Film by Ryan Junell & Tanya Newton-John
June 11th – June 26th, 2011
Opening: Saturday, June 11th, 6pm – 9pm.
"Recolony" HD 1080p, 30fps, 2 min, Stereographic Anaglyph, 2011.
Recolony is a twelve chapter tale of creation, abandonment, magical emergence, dis-integration, humanoid fury, and ultimate self-destruction. Once upon a time... humanoids create a great lush forest before moving onwards to create large cities. In the humanoids absence, strange magical creatures emerge quite naturally from the trees. Goblyns, Nomes and Faeries inhabit the forest and live happily and in harmony with each other and their environment. They dance around fires and sing ancient little tunes and chant until... the humanoids return to the forest from the city. They attempt to accept the creatures' presence, but ultimately become annoyed and irritated by the spawn of their forest. The humanoids initiate an all out creature holocaust in an effort to recolonize the forest. Grabbing, hurling, and destroying the creatures one by one, the humanoids finally clear the forest only to realize that the magical creatures *are an essential part of the forest and their death also means the death of the forest itself. Engulfed in flames, the humanoids die along with the forest... mortally sad they meddled with the mysteries of the universe.
Share Article | in 3D, Animation, Drawing, Video Art 
