Interior_IN_teriors_ 2020, animated GIF
and then, with almost no resistance or particular awareness of the transition, all of the world’s rectangles became animated video monitors..
and, no one’s memories were ever static again..
Interior_IN_teriors_ 2020, animated GIF
and then, with almost no resistance or particular awareness of the transition, all of the world’s rectangles became animated video monitors..
and, no one’s memories were ever static again..
“The Synthetics of Nature”, 2020, Manipulated Digital Image
“Applied Art Resistance Hybridization”
Hmm, this is probably just a working title above, or perhaps just another bout of my applied art making resistance? Or wait, maybe it is not resistance, it is the creative desire to always things more. To always expand and push it beyond what was learned and practiced..
Yesterday, I posted the first image in this gallery below to my Instagram feed, and I wrote this:
“Another new painting – #wip – acrylic & oil on canvas, well 97% of it is… I spent many weeks looking at it and thinking about it. Is it still a #painting once it has been digitally photographed 100 times? Im struggling as you can tell. I have also now placed several digital forms directly onto this digital photograph of a painting, that you may never see in person. I wont be able to stop this you know.. All I can do now is make more paintings that will become digital images that I can use as props to make more digital things. And that is bliss!”
The post itself seemed to trigger the next series of digital enhancements and then degenerating and desecration.. it is good visual sketch of how my process seems to work. Do the digital works hold up alone as individual works? Should I print the vector versions at the same size of the actual painting (36″ X 48″ inches) and hang them next to each other. Good questions to have I feel.
The final result is a sequence of the individual images set as a motion graphic, or simply put, a GIF. I suppose my ambition is to create a metaphor that shows how the process is not ever static. Nothing is static, no matter how much we think we can make something permanent and forever, we cant, well not while we are operating from our earthly bodies, but thats a whole other conversation.
Generating New Forms with Household Items & Multiples
New forms are always awaiting entry here onto our planet! Its your job to participate in the process. Lets investigate a few news ways to see, create and explore forms using a common household item like transparent tape. The works in this tutorial are simply one way of executing the project. Im using transparent tape as a medium because it happens to be handy in my immediate space. Other types of tape can work just as well, but the idea with this project is to discover and leverage the application of multiple units. Im going to unify my forms by their material, shape and their size. From there I will create a few different compositions. Some will be applied to a wall in relief form. Some will be on a table top place and others will free stand 360 degrees in the round. My examples are below, and yes, I had a ton of fun applying a light source when it got darker outside. I suggest that you do the same!
1. A roll of household tape, this could be clear scotch tape, or blue painters tape, or any kind of tape adhesive that will “stick” to itself and other surfaces.
2. A surface to place and build your experiments on. A wall, a table top or an existing object that may have context or contradiction to the form and material, sky is the limit so lets get busy, jump down to the image below.
The technique I applied:
What you see in each image below is a 2 inch piece of transparent tape curled into a loop. I simply repeated this same form at the same size over and over. I built up each arrangement piece by piece. The more pieces (loops) that you have, the more opportunities you have to experiment. Plus, you will need to do some trouble shooting.
Artistic References / Influences:
Tom Friedman, El Anatsui, Antony Gormley, Tara Donovan, Ai Wei Wei, Tony Cragg & Andy Goldsworthy to name a few.
The image above was applied to a piece of white paper and arranged on the surface of the wall. I used a flashlight to add the shadow effects coming from under the piece.
The image above was simply turned 180 degrees and rephotographed. I used a flashlight to add the shadow effects coming from the opposite side of the piece and pointing downwards. Even the slightest alteration of the artworks position can add a dramatic change in its visual interpretation. I really love how this came out!
Here is an alternate camera angle for the same piece as above (ok, but with an additional few pieces that I added). This visual perspective shows the actual height and stacking of the individual pieces (loops of tape).
I applied a light source directly to the image above to capture variations of the lights glare effect. The glare effect almost makes it look like the piece is in motion. This discovery played a role in how I went about the next few attempts at this project. The next few images below are also subtle variations of the same image. What will you do to create some filters and effects using light or the placement of your pieces?
OK, so the image below.. I changed it up. We no longer need to use the table top plane to position our pieces stacked flat on top of one another. In the next series of examples I worked with my piece vertically. Again, light and the perspective of my photos play a big role in the capture of the artwork.
I really love this image! It makes me want to use the image itself as a reference for drawing with pencil. The image below is also a variation but I dont think it is as powerful as the image above, do you?
Im excited to see your results and experiments! Will you work with transparent tape or try another material that may produce a similar result? Either way, please share your work!
Visual Chaos in 2003 – A Reflection
Here is an old studio shot from 2003. This image “is” the art and functioned as an installation piece for a mid-semester critique with the graduate committee. I was about to complete my MFA in New Media, Sculpture & Installation from LIU a semester later. A lot of these installations were clearly my visual attempts to show what it “looks like” when one cant hear but is desperately struggling and trying to.
The installations from this whole era were a first attempt at grappling with my disability as a means of advocating for myself and trying to express years of repression.
These were good times as I felt a great freedom and the emerging of a new platform for expression with my work.
Welcome to Paper, Light, Shadow & Storytelling Part 5! Lets make a musical instrument of sorts? Above, you can see my final outcome. I temporarily adhered the artwork to the wall using duct tape. This is a quick fix to apply the art to the wall and take a series of photos. The image above is using natural light from the mid-point of the afternoon coming from the window to the left of it. The piece above places an emphasis on new variation of our last tutorial as we learn how to create variations of height between each individual plane. The individual pieces are layered and composed fro the surface of the table upwards.
Hold up! Did you miss Part 1 & 2 of this tutorial series? See below (Yes I jumped ahead to part 5 here – part 3 & 4 are on the way too!)
Artistic references? Lets do some research: What artists, historically over time have worked with similar processes by composing with planes and or flat 2D forms, and the use of light?
Anthony Caro, Faith Ringgold, Alexander Calder, Kara Walker, Isamu Noguchi, Naum Gabo, Diane Smith & James Turell to name a few. Who did you discover in your research?
Lets continue and take a look below..
As I mentioned, Im referencing a guitar in my minds eye. Or perhaps a mixture of various stringed instruments. I want to make it abstract but also visible enough for the viewer to know it is referenced from a musical instrument. The tools and materials needed are above, with the exception of some cardboard shown below. Im using bristol paper for this piece. It is strong and durable, you will notice how much more structural it is than regular printing paper. Using my x-acto knife I cut out a series of shapes and forms. You can see the basic shape of the guitar’s body above. I cut it in half and cut out a few more forms that had a gesture to either the form of the instrument plus some of the actions used in actually playing the instrument. I know, that part is much more subjective to interpret, plus Im Deaf so it may be different for how you make this interpretation. That is the beauty of art though!
Next, we will need some cardboard. You can take apart a box that you received from ordering something online, or perhaps snag it from your household. Local business usually recycle a lot of cardboard too, take a look and you will most likely find some cardboard quickly. Start cutting pieces into “strips” like the two pieces on the right side of the image above. Then, begin to cut those strips into small squares. About 1 inch per square will do! The small pieces do not need to be perfect squares but should be similar in size as we will be layering them to create “height & gauge”. (Remember, that x-acto knife blade is very sharp, please be careful while cutting).
Cut out a whole bunch of pieces and then get your glue stick ready as we will layer / stack them into multiples of 2, 3 & 4. This will give you some visible examples of how to build your planes (the pre-cut paper pieces above). Glue the squares by adding glue to both side of how they will stack, see below.
Also below is an example of the pieces glued together and stacked. The idea is to create subtle variations in the height of your pieces. This will help create shadows when you hand the piece vertically on the wall.
Next, as in the image below, start placing your stacked squares into strategic spots so that they will support the individual structure of the pieces / planes that you cut out. Play with the compositions, you can test place your pieces before gluing them down, I like to take photos of the arrangements before I glue them, it helps me “see” other potentials.
The image below is to display how the pieces visually create their variations in height. If you make the pieces too high they may become too heavy to support their weight adhered to the piece as a whole. Keep things subtle and close to the surface, it helps and a little bit of gauge goes a long way.
The final outcome is below! I have an old painted fireplace made of bricks in my apartment. It is a great background for this piece as the mix of texture and clean smooth paper seem to compliment each other. Play around with the environments to adhere your work. I plan to add some colorful lights to the art work when it gets darker tonight. I like this piece so much, it has inspired me to push the series forward. Perhaps I will add a figure playing the instrument? Im excited to see your outcomes!
“ImAg-IN-a-TioN”, 2020, Animated GIF & Digital Image
Im trying to re-image how to apply the imagination. Do you say “my imagination” or “the imagination”?
It’s the most intangible thing, is it not?
But so necessary, so needed and powerful. (forgive me for starting this sentence with the word “but”).. or should I reimagine this too?
It’s hard to imagine a world not being physically face to face in the classroom again, but maybe the whole point is to reimagine everything from the “once default state” we discover it in? Perhaps contrasts are already in place and awaiting our intervention. The endless array of potential new outcomes, they are awaiting our creative potential and new friends we can meet at the same intersection.
Oh, the continuous metaphors, evidence and reminders of the non-static!
Project Title – “The Cross College, Campus, Course ZINE Collab Project!”
Participating Courses & Campuses:
Professor Michelle McAuliffe’s :: – ART255, Digital Photography Class – Galluadet University, Washington, DC
Professor Ryan Seslow’s :: – CUNY York College, NYC, CT101, Digital Storytelling Class, CUNY, BMCC, NYC, Foundations of Digital Graphic Design Class, Touro College, Graduate School of Technology, NYC, Foundations & History of Design Class.
(4 different participating courses submitted works in total)
Welcome! This project is a collaborative open education exploration using design, digital tools, the creative human potential and the Internet. It is our intention to generate, discuss and fuse together disciplines through visual communication.
The “The Cross College, Campus, Course ZINE Collab Project” project synthesizes the disciplines of communication technology, graphic design, and digital storytelling courses across multiple campuses. Each course is given the same information and assignment (below) to complete from the perspective of their class content and personal experiences.
As individual courses, we are interested in knowing how traditional design principles relate and contrast with the medium of visual communication and storytelling (and vice versa). We want to understand and share how the use of integrated software applications and web tools translate when applied and presented in a public space. “Public space” has an interesting context both physically and virtually. We wanted to test both.
What will the results be both digitally and non-digitally-(Analog)?
How will the immediacy of publishing to the Internet and the contrast of using public library spaces to experience the same content effect the overall generating and receiving of the works?
What kind of dialog would this create? (This is the short list of questions, we have many more!)
This project begins today 11/12/2019 by introducing the specifications of the project and publicly inviting other professors, students and courses to join in! Are you interested?
Design Specifications – Lets simulate, You have been selected to contribute 1 page to a collaborative magaZINE that produces a rare publication in both a (DIY) Do it Yourself printed edition and an online digital version.
*Your submission to the publication will creatively communicate an illustration that displays how:
“Technology and creativity are powerful tools for fueling communication, inspiration, digital-storytelling and design.”
You have the creative freedom to produce and generate your contribution with full autonomy as to how you experience or define this statement above, however, your final submission should display an integrated composition of imagery (use of layers and opacity) along with descriptive verbiage that has been typeset creatively.
*Size Requirements – 8.5″ X 11″ inches vertical, please. (What is the potential of a rectangle?)
Usage of Imagery – Participants should NOT randomly use images that are simply just found on the Internet, especially with-out proper attribution to its creator. Please refer to this resource page and work from the numerous repositories of public domain images and creative commons sources. (Yes, you can make your own images and use your own art work!)
Software Skill Showcase – Over the past weeks we have all toggled through learning various techniques and methods working with adobe photoshop and related design tools. All image related composing and manipulations should be generated in photoshop, or another image-making application that allows for a saved out-put as a .jpg or .png file.
Completed Submissions –
1. I would like to ask all students and participants to publish their completed pages as a blog post describing the process and meaning of your completed page / contribution. You may write the post as a tutorial that maps your process from start to finish. You can then share the link to your individual post when you comment about the project below (in the comments area).
2. Students will save all of their design work and submit one file (.jpeg or .png image file) for both the digital zine publication here on the NET-ART website as well as a printed copy for the print version of the Zine.
( E-mail this file to me – email@example.com or firstname.lastname@example.org )
Professor Michelle McAuliffe’s – ART255, Digital Photography Class, Galluadet University, Washington, DC (below)
Professor Ryan Seslow’s – CUNY York College, NYC, CT101, Digital Storytelling Class, (below)
Professor Ryan Seslow’s – CUNY, BMCC, NYC, Foundations of Digital Graphic Design Class
Professor Ryan Seslow’s – Touro College, Graduate School of Technology, NYC, Foundations & History of Design Class (below)
In the comments section below: all students and participants will respond and react to both the project as a whole (yes, in the comments space directly below) and individually to each other’s submissions. You can click on an individual image in the gallery in this post on the piece that stands out to you and add your comments. (As submissions the come in they will appear starting the 1st week of December 2019).
The Academic Commons is a public platform and space for CUNY and beyond, the C.A.C commons community will also be invited to participate in commenting and creating dialog here. Feel free to invite others!
Please consider addressing the following questions in your comments:
*What common threads or similarities do you see between the submitted works?
*What differences do you see?
*How does seeing all of the works organized into one “space” enhance or disrupt your interpretation of the project and its outcome?
*How will apply this experience into your life? Where will this knowledge transcend for you?
*How do you think the general public will appreciate the project viewing it as a tangible object (the printed ZINES) rather than an online experience? Do you prefer one over the other? Please explain and describe your answers. The printed zine will be donated to the NYPL’s Zine collection at their 5th Avenue & 42nd Street location – DeWitt Wallace Periodical Room at the Stephen A. Schwarzman Building
as well also being available at the Libraries of each participating campus as of mid-spring of 2020.
Check out the previous examples from the last cross campus zine collab here!
The same specifications were used, lets see how things have evolved in the last 2 years!
Have Questions? Reach out!
Wait, what exactly is a portfolio? There seems to be a context…or is there?
Let’s define it, and perhaps there is metaphoric value and context in each one of these “traditional definition” examples below..
According to Merriam-Webster’s Dictionary:
Definition of “portfolio”:
1: a hinged cover or flexible case for carrying loose papers, pictures, or pamphlets
2: from the use of such a case to carry documents of state: the office and functions of a minister of state or member of a cabinet
3: the securities held by an investor: the commercial paper held by a financial house (such as a bank)
4: a set of pictures (such as drawings or photographs) usually bound in book form or loose in a folder
5: a selection of a student’s work (such as papers and tests) compiled over a period of time and used for assessing performance or progress
Hold up, whoa! I can already feel your inner physiological triggers sending a bright red waving flag to your ego saying: “but making a portfolio is sooooo much work!”.
LET, AND ALLOW FOR THIS HAPPEN!
It is perfectly normal and alright to let your “old-portfolio-definition-self” bleed out. Exercise that energy. Let’s release it. Ill wait….Take a breath, and let’s remind ourselves that things need to be replaced and upgraded. Nothing is static. We learn, we grow, we expand and we can’t allow past experiences to drive the bus on new opportunities and new ways of seeing, experiencing and re-defining things.
The word “portfolio” is not a bad word. If anything, like anything else, it’s a default term that officially requires your interaction, research, resonance and re-defining within context to who you are and who you are becoming in the process! With that said, let’s think about what the next step is in creating your new portfolio.
Let us understand the “why” part. Why do I need a portfolio? What is the purpose?
Here is a short list (feel free to add more to your updated definition)
2. To show off your strengths, creativity, skills, effectiveness, efficiency, enthusiasm and passion! Of course, this energy translates directly through the work included in the portfolio. This will be what you believe is your best work at the time, but there is context. Keep reading.. (PS – it’s OK to have more than one portfolio to help showcase various bodies of works and projects.) For example, I’m an applied artist, a digital artist, animation-maker, graphic-designer and a professor of art and design. Some of the works in my portfolio can overlap in theory but I keep a lot of the works separate to subject, but enjoy showcasing them together on my website. That’s right, my website is my portfolio. In fact, I have created a few, the links are below to help.
3. Display your process and evolution. Duration is your friend! Nothing shows off progress better than time. A metric of growth shows itself through time. When I look back at the design work I was doing 10 years ago in comparison to today I see an incredible difference in skill, technique, taste and where my thinking and focus was at the time. I also find a lot of ideas that can be pushed and expanded upon with more with my “awareness-of-growth eyes.” I write a lot about my work and share my process. I believe that this helps me reflect and explain myself better.
4. Stand out and show your style and authenticity – There is only one “you” that you can be. Yes, we certainly learn and are greatly inspired and influenced by others, but at the end of the day we must learn how to be our authentic selves. We must learn how to translate that through our mediums of choice. How will you do this? The short answer is through consistent experimentation and practice. Over time you will create your inner curator, and that part of yourself will begin putting pieces together in groups and compartments. The process will build and flow. This aspect is a journey and it too is anything from static. I take great interest in making changes, learning new things and applying them to the foundations that I continue to build.
I hope that this post will inspire you to begin! Be patient with yourself. The goal is not to create a portfolio in one hour, and there is no such thing as “perfection”. or the perfect portfolio. Let’s produce a result and discuss that result. Be generous with yourself in the process.
I admit it. I love to experiment, test, tweak, deconstruct, remix and repeat processes. I treat the creation process of such a task, creating a new portfolio, the same way that I approach making art. Suspend your judgement! Allow yourself to “make something that may really suck” as a first iteration. This is crucial to developing a contrast of your own. Again, you need to produce a result in order to make an assessment about the result. Until you do this, your contrast is someone else’s stuff / thing that has inspired or affected you.
I would like for you to consider both of these portfolio building and displaying options below. Im a huge fan of both the Academic Commons and the OpenLab platforms. (If you are reading this and are not a part of CUNY somehow, then you can easily follow along individually as both the commons and the OpenLab are powered by WordPress.) Using your own self-hosted WordPress based website and account via ReclaimHosting.com – I have created a sample and template / example using both the Academic Commons, OpenLab and my own self-hosted projects that go into the process. I consider all of these links below to be portfolios. Perhaps you have a preference over one or the other? I hope that these links below will help you get started.
2. A portfolio website “How-to” example using the OpenLab: https://openlab.bmcc.cuny.edu/portfolio-ryan-seslow/
3. My personal website- this is my own domain and my own self-hosted website (WordPress) – https://ryanseslow.com
4. This is also my own domain and a self-hosted website to showcase a body of work (WordPress) – https://Situationalfiction.com
6. Looking for more examples? Contact me, lets chat!
Feel free to leave your questions and feedback in the comments section below! Lets add to this post together!
Or contact me at – email@example.com
Faculty Instructor: Inés Vañó García
Teaching Artist: Ryan Seslow
ELL 101, Introduction to Language
LaGuardia Community College
ELL 101, Introduction to Language students from LaGuardia Community College submitted a wonderful array of works in the Linguistic Landscapes project, which is also a cog in the Pressing Public Issue project
For the purpose of this project, we stressed how our languages and language practices influence the way we interact with people and how language(s) relates to our role in society. Considering the symbolic construction of the public sphere in NYC, we explored and examined the linguistic landscape of Jackson Heights, in Queens. This approximation aimed to explore the linguistic diversity of the area in context: from a visual/written perspective (public road signs, advertising billboards, street names, place names, commercial shop signs, among other public signs) as well as from a speaking/aural one (interviews, music, background conversations). As a community, we were critical researchers and creators of a digital storytelling that investigated the multilingual and multi-literate sociolinguistic ecology of Queens.
Following this digital storytelling methodology, students discovered and learned about the linguistic diversity in Jackson Heights and how languages shape this public sphere. This project allowed students to investigate different forms and shapes of literacy and to analyze the multilingual and multi-literate sociolinguistic ecology of the neighborhood. Based on our readings, discussions and inquiry, we found an analysis of language ideologies that precipitates the understanding of the power relations between individuals, groups and communities.
“This final project had the potential to have a temporary physical exhibition at the James Gallery as well as a permanent online presence.”
We are proud to share our outcomes here on the Net Art Website!