SIGGRAPH 2002 Art Gallery Fact Sheet

Conference: 21-26 July 2002
Exhibition: 23-25 July 2002

Henry B. Gonzalez Convention Center
San Antonio, Texas USA

The SIGGRAPH 2002 Art Gallery is a celebration of the creative spirit with a look "behind the scenes" at the process of creating digital and electronic fine art. The Art Gallery highlights the process that results in the work, demonstrating how the digital artist creates.

"Through sketches, diagrams, video documentation, and discussions, more then 64 artists reveal the magic behind their work," said Karen Sullivan, Ringling School of Art and Design and SIGGRAPH 2002 Art Gallery Chair. "The artworks show excellence in innovation and artistic talent, document creative thought, illustrate working process, and explain the use of the computer or electronics in the piece."

Modeled after a working studio, seven of the artists are featured "Working Artists" who have been given studio space within the Art Gallery and will be creating art during the conference. The goal is to make visible the creative process of the artist. Attendees can watch the work develop, talk with the artists, and with close proximity to the Studio, perhaps make art themselves.


2001.4b, 2001.4c, 2001.4e
Kenneth Huff, independent artist
The spiral forms of a fossilized mollusk shell and the whorls of fingerprints are examples of the natural forms and patterns that inspire this artistıs images. During SIGGRAPH 2002, Huff will incorporate such themes in new work on an interactive kiosk. Also displayed will be his inspirations, concept sketches, and previous work. The artist will be available throughout SIGGRAPH 2002 to discuss his work and life as an artist.

fabric | ch vs lab[au] //in electroscape//
Patrick Keller, Christian Babski, Christophe Guignard, Stéphane Carion
The idea behind the project fabric | ch vs lab[au] //in electroscape// is to generate a digital content installation and exhibition within the electroscape virtual environment.

Perpendicular Dialogues: The Choreography of Everyday Movement
Teri Rueb, University of Maryland
The Choreography of Everyday Movement uses Global Positioning Satellite receivers to track the paths of subjects as they walk and drive through San Antonio. The resulting paths are transmitted to the Henry B. Gonzalez Convention Center, where they reveal elements of sociopolitical and poetic patterns of traffic flow through the city.

Spanish Icon, Containment, Hand Machine
Brit Bunkely, Quay School of the Arts, Wanganui, UCOL (Universal College of Learning)
To the artist, neoliberal globalism can be represented by clenched and outstretched hand symbols, speakers, the abstract schematic letters of logic and math (e.g. "x","y", "z"), the globe, television, diffused transnational corporate symbols, cartoon characters as corporate metaphors, and other icons. At SIGGRAPH 2002, Bunkley builds large-scale, digital rapid-prototype sculptures by "printing" sections of the sculpture and connecting them at a scale greater than allowed by rapid-prototyping machines.

The Jackals
Ben Chang, Mary Lucking, Silvia Ruzanka, Andrew Sempere, Dmitry Strakovsky
Located on the patio outside the Art Gallery, The Jackals watch and collect what they can to construct techno-art. The nature of the work depends on what they can scavenge. SIGGRAPH 2002 attendees are invited to watch, or better yet, participate in the work.


Transmigrations, Cases of Corporate Reincarnation
Viktor Koen, New York, New York
Koen takes high executive title holders and reincarnates them as insects in new suits of flesh and metal where their predatory instincts can be seen on several levels. Koen combines pencil studies with vintage prints and digital photgraphy to develop characters that personify symbols and weapons of their trades.

Caustic I
Eric Heller, Lincoln, Massachusetts
Heller paints with electrons, moving over a potential landscape, quantum waves trapped between walls, chaotic dynamics, and colliding molecules. Nature often mimics itself, exposing the beauty and mystery of the atomic world, yielding effects that recall familiar aspects of the macroscopic experience.

Hotlicks, Badwater
Jen Zen (aka Jen Grey), California State University, Long Beach
By using a CyberGlove in the interactive, three-dimensional environment, the artist pats around a human figure and creates her cyborgs. They can be deconstructed as artifacts of unprecedented science; non sequiturs that look like sci-fi movie stills.

Virtual Tour of the Cone Sisters' Apartments
Dan Baily and Alan Price, Imaging Research Center, University of Maryland, Baltimore County
Take a virtual tour of the apartments of sisters Etta and Claribel Cone, and their acclaimed collection of 20th-century French art. In 1950, the sisters donated the art collection and their possessions to the Baltimore Museum of Art. Using historical photographs of the 14 rooms, their apartments were reconstructed to let museum viewers see the art work as the sisters curated it themselves.


Homo Indicium
Ioannis Yessios, Cleveland Institute of Art, Cleveland, Ohio
In Homo Indicium presents the dehumanization of people through digital identities. Participants have completed an on-line questionnaire, provided fingerprints, and given a DNA sample, in the form of hair. The questionnaire and the fingerprints are stored in a MySQL database. The hair sample is placed in a test tube on the wall. A unique bar code is created for each participant and then placed above the hair sample. The bar codes are then used to retrieve information about the participants.

The Drawing Machine 3.1415926 v.2
Fernando Orellana, Centralia, Missouri
Orellana turns the computer into an artist. Four microphones monitor the varying sound in the installation, and the data are fed to drawing machines, which use disposable blue pens and translate the information into different drawing styles. The level of sound alters the quality and weight of the line. One drawing will be made in 144 hours, or the length of SIGGRAPH 2002.

Priam Givord and Martin Lenclos, Paris
Take a virtual bite of the Big Apple, courtesy of former residents of New York City who wanted to recreate what life is like in one of the worldıs best-known cities. NewYorkExitNewYork is a virtual environment in three dimensions built from 6,000 photographs and videos taken during three weeks in New York City. Viewers use a joystick to surf the Village, Wall Street, and Times Square, and defy gravity, diving in and out of space and time. Materials in a picture refer to lost sensations such as touching and hearing, marks of space and time. The emotional part they are carrying along allows observers to project themselves into the picture.

Petra Gemeinboeck, University of Illinois at Chicago
Roland Blach, Fraunhofer IAO, Stuttgart, Germany
Nicolaj Kirisits, Vienna, Austria
Uzume, the Japanese Shinto goddess whose name means "whirling," tells of her strange dance that lured the sun goddess Amaterasu out of the cave where she was hiding. Technology creates a swirling piece, which viewers can affect as they move around the projection.


Central City
Stanza Stanza, London
Central City develops analogies for the organic identity of the city as an urban community and links to electronic networks and virtual communities. It is a visual collage reflecting on urban themes. This is contrasted with man-made structures, as well as patterns and forms of urban design. Cities all have specific identities, and found sound can give us clues to the people who inhabit these spaces, as well as provoking us and stimulating our senses in a musical way. The intention within newer sections of the Central City is to create an audio-visual experience that evokes place, both as literal description and developed musical composition.

Storyland: Postmodern Conditions Contemporary Tales
Nanette Wylde, California State University, Chico
Storyland is a randomly created Web narrative. Each line is constructed from a pool of possibilities, allowing each reader a unique story. The reader presses the "let me tell you a story" button, and a story is created. Storyland mirrors aspects of contemporary cultural production: sampling, appropriation, hybrids, stock content, and design templates. It risks discontinuity and the ridiculous, providing opportunities for contemplation beyond the entertainment.


Panel Discussions
Three panels continue the focus on the process of art:

1) The Process of Play and Creation: Women in Games and Biotech Art, Tiffany Holmes and Mary Flanagan
2) The Process of Representation/Reception: Reinterpreting Representations of Self, Toby Crockett and Rodney Berry
3) The Process of Interpretation and Encounter: New Processes and Systems for Interpretation, Gonzalo Frasca and Andruid Kerne

Animation Screening Room
This area features 14 innovative animations and videos running daily between studio tutorials and artistsı talks.

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