My review of Jeremy Gardiner’s beautiful new book is out now in the Art Quarterly magazine. Read a PDF here.
Jeremy Gardiner (1957- ) aims to help us experience the changing face of the earth through his art and to this end has spent decades exploring the ancient history of the Jurassic Coast. This book calls his art “A vision of landscape as an inscribed ‘tableau’ of ancient geological or man-made patterns” (Peter Davies). The results of Gardiner’s study of place lie within this handsome hardback, which situates him firmly within the history of the great English tradition of landscape painting stretching from Constable to Nash.
See also my previous article about Gardiner’s digital art practice here.
Paul Coldwell, Still Life with Keys, Inkjet + laser cut relief, 2012. Image size 47 x 64cms, paper size 59 x 84cms. Copyright the artist, reproduced with permission
This month’s BCS column looks at the work of printmaker Paul Coldwell, who integrates digital techniques into his traditional practice to great effect. Read it here: http://www.bcs.org/content/conWebDoc/50703
Paul’s exhibition is at the Stephen Lawrence Gallery, London until 11th July. Click on the image on the right to see details.
Additionally, Paul has an exhibition at the Scott Polar Research Institute, Cambridge until 20th July.
Wang Bo / Hutoon Studio, poster for Miss Puff, 2011
With an estimated 500 million Internet users, the Web has been called the most creative space for self-expression in China. In particular social networking and blogging on the Internet is hugely prominent. In this article I look at the challenges facing two Chinese artists – Wang Bo and Ai Weiwei, who use this technology within the free market/communist state contradiction that is China today. Read it here: http://www.bcs.org/content/conWebDoc/50489
Jennifer Steinkamp, Judy Crook 1, 2012, video installation, 13 x 10 feet (installed Greengrassi Gallery 2013). Photo by Marcus Leith, copyright the artist, reproduced with permission.
Jennifer Steinkamp’s beautiful tree moves as though blowing in the wind and transforms over time as the seasons change. This Los Angeles based artist explores ideas about architectural space, motion and perception using computer animation to engage viewers through use of transient elements in the natural world. Read more about Steinkamp and her work in this month’s BCS column here: http://www.bcs.org/content/conWebDoc/50226
Daniel Brown, screenshot from series On Growth and Form, real-time 3D, 2013. Collection of the University of Dundee, copyright the artist, reproduced with permission.
This month my BCS column investigates an interesting commission from the University of Dundee Museum
Services who have been working with the Art Fund on a £100,000 project to explore the influence of Sir D’Arcy Wentworth Thompson in the visual arts. Because of the interdisciplinary nature of the Dundee Collections and the Thompson connection, this grant funding has uniquely facilitated the creation of an art work itself with an interdisciplinary concept at its heart – On Growth and Form by Daniel Brown. Read the full article here: http://www.bcs.org/content/conWebDoc/50050
Herbert W Franke, Intarsien7024Var1, 2012. Generated with a digital picture-generator named ‘Intarsia’, programmed with the software system Mathematica for the ‘Demonstration Project’ of Stephen Wolfram. Copyright the artist, reproduced with permission.
This month, to compliment the previous two discussions of Manfred Mohr
and Ernest Edmonds in my monthly BCS column, we feature new work by another of the great pioneers of algorithmic art - Prof. Herbert Franke. I am especially honored to be able to share with you the first sight of one of his new graphics from the series
Intarsia, a striking art work which demonstrates his interest in complex patterns and seems to pulsate with kaleidoscopic qualities. Full article here: http://www.bcs.org/content/conWebDoc/49847
Ernest Edmonds, Shaping Space, 2012. Copyright the artist, reproduced with permission.
For over forty years Ernest Edmonds has had an interest in interactivity and his current
exhibition at Site Gallery Sheffield demonstrates a career-long conversation between drawing, painting and computer-based work. Ernest is our BCS featured artist of the month, read about Shaping Space here: http://www.bcs.org/content/conWebDoc/49266
Here I am enjoying Ernest’s show which continues until 2 February.
Dario Lanza, Watersun Vision number 04, C-print, unique, 120x100cm, 2012
My article for the British Computer Society this month is a selection submitted by readers of this column and members of the Computer Arts Society. The high standard and sheer variety of works produced under what might be termed ‘computer art’, never ceases to amaze me and if you are as intrigued as I am to discover what your colleagues and fellow aficionados of the computational process have produced over the course of 2012, then don’t miss it : http://www.bcs.org/content/conWebDoc/49107 See new work by Richard Colson, Anabela Costa, Dario Lanza (featured above), Fabrizio Poltronieri, Brian Reffin Smith and Andrew Welsby.
Hear me discussing the work of pioneering computer artists Manfred Mohr and Ernest Edmonds, (both of whom have shows opening in England this week), with John Wilson of BBC Radio 4′s Front Row. The programme aired on Thursday 15th November 2012 at 7.15pm. Click this link to play: http://www.bbc.co.uk/programmes/b01ntjq7
Shaping Space by Ernest Edmonds
Also a mention on the British Computer Society website: http://www.bcs.org/content/conWebDoc/48954
Light Logic, Ernest Edmonds’s exhibition is at the Site Gallery, Sheffield (17 Nov – 2 Feb 2013).