Detail from a work-in-progress.
Detail from a work-in-progress.
“Form is all we have to help us cope with fundamentally chaotic facts and assaults. Formulating something is a great start. I trust form, trust my feeling or capacity to find the right form for something. Even if that is only by being well organized. That too is form.”
– Gerhard Richter
Infinite Sunset is a generative work by artist Joseph Gray. The piece is written in Processing and uses color palettes derived from sunset images found with the Google Custom Search API.
One of my favorite “pieces” of net art.
GEOAMNESIA, 2014, prints, 13 inches x 19 inches each (shown: 1 of 5)
Some of my prints will be included in a fantastic group show comprised of Picture Berlin alumni titled REUNION. There is also another opening happening simultaneously in the same space featuring the current PB residents called GROUNDWORK. It’s happening in Berlin from August 9-15, so please check it out if you find yourself near Moabit!
LEHRTERSIEBZEHN, Lehrter Str. 17, HH, 3. etage [Moabit]
Hauptbahnhof station (S-bahn)
Bus 123 - Poststadion stop
Exhibition dates: 9 - 15 August 2014
This is technically a book review, but wonderful/worthwhile.
"We think of ruins as being isolated cultural sites, but our effect on the earth has been so significant that we have entered the Anthropocene Era. Sometimes we deceive ourselves into thinking that these changes have been utterly natural, but we are living in the ruins of a natural disaster of our own making, a process started thousands of years ago but accelerating quickly. ‘Nature is not a temple, but a ruin,’ writes J.B. MacKinnon in The Once and Future World: Nature as It Was, as It Is, as It Could Be. ‘A beautiful ruin, but a ruin all the same’”.
“The highways crisscross through the towns and become man-made geological networks of concrete. In fact, the entire landscape has a mineral presence. From the shiny chrome diners to glass windows of shopping centers, a sense of the crystalline prevails.”
– Robert Smithson, The Crystal Land, 1996
KARA J. SCHMIDT
A PERFORATED CENTER
MAY 1 – 8
A Perforated Center is an exhibition of four works that respond to the militarization and privatization of public areas through the insertion of poetic interventions. These interventions challenge the dynamics of how we experience in-between areas, and the inherent connections amidst those that inhabit these locations. Kara J. Schmidt is an interdisciplinary artist interested in how different mediums can be used in a linear quality that references how the body interacts with and is informed by architecture. Her work often unfolds through the limitations of site‐specificity, taking the form of parasitical installations, performance, and video projection. Referring to these sites as “nomadic entry points”, she uses constructed surfaces within situations denoted as transitory to instigate dialogue and disruption within the itinerancy of the everyday.
MFA Group Opening Reception: May 1
Shepard Hall, Room 408 (4th Fl.)
259 Convent Ave, NYC
INVISIBLE LINE, May 3
Interactive solo performance with video projection, 5th Avenue from 142nd Street to Washington Square Park (follow invisible_line_ on Twitter for location updates)
RETICULANT MATTER, May 4
Collaborative performance with Lionel Cruet, Sasha Cohen, David Diaz, Tenrai Forsyth, Sarah Mayo, Laura Schneider, and Schmidt around perimeter of City College, beginning at 140th Street and Amsterdam Avenue
CANOPY, May 1–8
Installation with cotton cord, wood, and microfilament within NE stairwell of Shepard Hall, 259 Convent Ave
ANTHROPICA, May 1–8
Video installation with rocks and stones, DIAP Studio, Shepard 408, 259 Convent Ave (by appointment: please contact)
A Perforated Center is a project by Kara J. Schmidt in fulfillment of an MFA thesis in Digital and Interdisciplinary Art Practice (DIAP) at the City College of New York CUNY.
Some of my work is in the new issue of INVISIBLE CITY issue 08: Habitat
I <3 The New Inquiry’s weekly reading list, Sunday Reading! Get on it!
“To inhabit a subject, or have research embodied in yourself, is to be part of the particular constellation of forces in the area of your research. Research is thus written from within. You have various entry points into describing a particular reality. One’s practice is producing the information that you are writing on. Research is not prior to practice. You are living it, part of it; the subject is embodied in you. The body is very important in this, where you are, where you have chosen to position yourself.”
– Eyal Weizman. Taken from here.
Yesterday in New Canaan, CT. The thesis class made a field trip to the Glass House, a house-as-museum originally built by architect Phillip Johnson in 1949. The 49-acre plot was very misty and snowy.
Inside the Glass House, where Johnson would entertain his guests.
I’ve been reading Martha Rosler’s writings on “the creative class” and gentrification over on e-flux… Fascinating.