SIGGRAPH 2003 Art Gallery Fact Sheet
Conference: Sunday 27 July Thursday 31 July 2003
Exhibition: Tuesday 29 July Thursday 31 July 2003
San Diego Convention Center
San Diego, California USA
The SIGGRAPH 2003 Art Gallery presents CG03: Computer Graphics 2003 in honor of the conferencešs 30-year anniversary. CG03: Computer Graphics 2003 returns to its roots with an emphasis on digital prints, sculpture, and the growing impact of digital video and animation. Two-hundred and sixty-nine pieces were selected from a record 820 submitted works. Two-hundred and nineteen works are wall art, 34 are sculptures, 16 are digital video and animation pieces.
"CG03 reflects an exciting time in the acceptance of digital art as a new form of contemporary art," said Michael Wright, M Ragsdale Wright Studios, Otis College of Art and Design and SIGGRAPH 2003 Art Gallery Chair. "The art world is no longer focusing on the technology used to create the art. They are seeing the art itself and finally giving it the same critical and public attention as traditional fine art.
"The SIGGRAPH 2003 Art Gallery: CG03 validates digital video and animation as a contemporary art form by showcasing some truly amazing pieces. In addition to the art, there will be a panel discussion, Current Trends in Digital Video, held in the gallery."
SIGGRAPH 2003 ART GALLERY CG03 HIGHLIGHTS
Damsels in Armor: the War Monument Proposals
Viktor Koen, Independent Artist
Traditional war memorials have adhered to a strict code of remembrance: commemorate the dead by
distancing death; achieve public consensus through the application of a conservative aesthetic. "Damsels in Armor" is a civics lesson of another order: 24 unsanctioned monuments testifying to war's truly brutal cost. Rising above the detritus of battle, these damsels bear witness to the inevitable price of engagement; no suit of armor can shield them from the acid scars of battle, now permanently etched on their once beautiful faces. The damsels' faces were selected from 1940s and 1950s commercial photography, another era when truth was glamorized for mass consumption. Original photography of armaments was done at the Arms and Armor Collection of the Metropolitan Museum of Art, the New York City Police Museum, and the War Museum of Greece.
Metagonal Dry Brush Stroke
Jean-Pierre Hebert, Independent Artist
This piece, created with personal software, modified plotter with mounted sable brush and studio-built inks/water feeder, is a result of the artist's personal endeavor to create a new kind of drawing in which his mind, eye, and hand are not limited. Drawings that are not constrained by fatigue, cramps, inaccuracies, distraction, or the limits of time. To achieve this, the artist built helping devices out of balls, magnets, pendulums, plotters, smart motors, spinners, syringes, teflon tubes, tops, water, wires combined and driven by natural forces or by software. The software, written by the artist, uses many of the paradigms found in nature for the creation of shapes. This is how his abstractions often inherit their organic character.
Paul Elia, Studio Elia
interact. Fire is represented by a flame (the ends), and water is represented by a wave (the top). The
eye is represented by eyelids looking upwards (the base). After drawing sketches on paper, the artist drew the shapes on his computer. After all the elements were drawn in wireframe, he changed the splines and
curves into a solid. The "solid" was exported to an STL (stereolithography) file, and the sculpture took form when it was made into an ABS piece. Once the prototype was made, the artist used wax and plaster to make molds for casting. The final sculpture is glass, bronze, and aluminum.
Sheldon Brown, University of California, San Diego
Istoria sculptures are a series of wall relief sculptures created from a variety of computer-controlled modeling and fabrication processes. They each begin with the same seed of 3D object data that is
transformed by a variety of algorithmic and modeling manipulations. The resulting sculptures are the
intersection between material properties, object data space, and constructive processes.
Digital Video & Animation
8 Bits or Less
Patrick Lichty, Intelligent Agent
Created with a Casio WristCam, each frame was shot individually and then hand composited in non-linear video editing software. In this digital video, the protagonist is someone who has become blind. It is unclear whether this is a physical or ideological form of blindness. The "eyes on his watch/ears on his hip" have now become the focus of his perspective on the world, and that world becomes one of low-resolution digital mediation. What ensues is a journey into situationist theory, musings on the nature of perception, and alien abduction.
Audri Philips, audri.com
A video poem touching upon the temporary nature of life. The sadness that is one and the same with the beauty all around us, from the blur of the freeway to the pear upon the plate. The smell of a certain type of air pollution still brings back poignant memories from childhood. To create this piece, the artist combined live-action imagery taken with a consumer digital video camera with particle animation done in Maya, digital paintings, scanned in oil paintings, and 2D animations done in Macromedia Flash.
Samples of Philips' work
Panel Discussion: Current Trends In Digital Video
Oiva Knuuttila, TEKES (Finnish Ministry of Technology)
Michael Masucci, EZTV
Dominic Milano, Editorial Director, DV Magazine
Holly Willis, Editor, RES Magazine
World Premier: EZTV's "Mis-Taken Identity," an occult, sci-fi digital video work, starring Aimee Zonnoni, Kate Johnson, Bart McLean. Written and directed by Michael Masucci (pioneer digital video artist).
Panel: Studio Views of Demo Tapes
Art Durinski, Director, The Durinski Design Group,
Assistant Chairman, Digital Media Department, Otis College of Art and Design
Computer animation production studios typically receive thousands of demo tapes every year from various designers and animators, particularly from those right out of art and animation schools. This session will explore the ways in which hopeful artists can get their demo tapes to stand out from the rest. Issues such as demo-reel content, structure, length, packaging, and audio will be addressed by a distinguished panel of industry professionals. Interaction between the forum panel and the audience will be highly encouraged.
Digital Arts Histories:
Birds of a Feather Meeting at SIGGRAPH 2003
Convened by Paul Brown on behalf of the SIGGRAPH 2003 Art Gallery
This open-call meeting is intended to bring together members of the international community who are interested in or involved with projects intended to archive, document, and create historical and critical analyses of the use of and impact of computing in the arts.
An early call for participation has generated a significant interest in this meeting, and it is hoped that several major projects will be able to report on their work. One intended outcome of this meeting is the formation of a committee to help plan an international workshop (in 2004) and conference (in 2005) addressing these and related issues.
The convener, Paul Brown, is visiting senior research fellow at Birkbeck College, University of London, where he is working on CACHe - Computer Arts, Contexts, Histories, etc., a project investigating UK history from its origins to 1980.