Reference (Digital Media I – ART 207)

Download Syllabus here >>> DM1_Syllabus

This class runs as a mixed group work shop this semester: Digital Media Mix is a thematic focusing class. The class goal is to enhance student’s research and completion of projects. Student is encouraged to explore new digital technologies available for contemporary art making include but not limited to: 2D still/moving image manipulation, 3D computer graphic, Art Gaming, and Video Installation. Class assignments are designed to help student develop research skills and individual artistic language.


1: Eadweard Muybridge, Race Horse, 1878, First Film ever made

and here is a cool documentary of Eadweard Muybridge on Youtube

3 Arts and Sciences


1: Something to inspire your first project (video self-portrait)

Art 21, Season 6 – Marina Abramovic’s Interview, in collaboration with Charles Atlas

Peter Campus – Three Transitions 
Three Transitions is one of the seminal works in video art. It was conceived in the decade of Peter Campus’ greatest creative intensity and thanks to its pioneering nature it has become one of his most widely known works. The video consists of three short exercises or “transitions” in which Campus employs different visual and spatial effects. Throughout the video, the artist displaces and superimposes takes of his own body, which he makes interact with each other using chromo-key techniques. Three Transitions set up many of the paradigms used recurringly by Campus from that point forward, particularly his self-absorbed position as subject and object of the image, and also the use of video resources to contemplate perception and self. The making of the video coincided with Campus’ visit to Boston as an artist in residence of the experimental program New Television Workshop, sponsored by the public broadcasting network WGBH. The innovative philosophy of WGBH led it to develop a policy of active support for visual experimentation by artists of the first generation of video art.   (this is where I found the text above)


Andrea Crespo






Daito Manabe’s “Face Instrument”:






Frances Stark: Frances Stark


Jeremy Blake

Screen Shot 2018-08-31 at 5.46.35 PM.png

Digital artist and painter Jeremy Blake sought to bridge the divide between painting and film, creating lush color-saturated digital works, or “time-based paintings” as he called them. Combining representation and abstraction to illustrate psychological narratives, Blake’s animations include hand-painted imagery and film footage. In the Winchester Trilogy (2003), he explored stories surrounding the heiress Sarah Winchester’s madness and her renowned mansion, the Winchester Mystery House, in San Jose, California. Blake is also known for creating effects for the Paul Thomas Anderson film, Punch Drunk Love, and creating the cover art for Beck’s 2002 album Sea Change. The artist’s career has been overshadowed by his suicide in 2007, just a few days following the suicide of his girlfriend, the artist Theresa Duncan.
Tags: Digital Art, Digital Print, Psychoanalysis, Cinematic, Contemporary Fact versus, Contemporary Pop

Ken Okiishi

Screen Shot 2018-08-31 at 5.40.07 PM.png

Working primarily in video, Ken Okiishi has explored subjects such as the psychogeography of New York and Berlin, memory formation, and global data streams. In (Goodbye to) Manhattan (2010), Okiishi’s reimagining of Woody Allen’s Manhattan, he explores the fantastical perception in New York of Berlin as a utopian center of art production. “This is, on the one hand, an autobiographical reality (I’ve been going back and forth between Berlin and New York for the last nine or so years); it is also an often fraught channel of cultural exchange,” he has said. In The Very Quick of the Word (2013), Okiishi examines human memory by way of gestural paintings and unstable video recordings played on VHS tapes. He has frequently collaborated with his partner, the artist Nick Mauss.
Tags: Berlin Artists, Urbanization, Film/Video, Glitch Aesthetic, Appropriation, Engagement with Mass Media, Artist as Ethnographer, Contemporary Conceptualism,References to Art History, Photography, Collective History


Miao Ying:



Olafur Eliasson with Minik Rosing: Arctic Imagination:






Sculpture Center, NYC – Before Projection: Video Sculpture 1974–1995

Kubota.jpgShigeko Kubota, River, 1979-81. Three-channel color video installation with steel trough, mirrors, motor and water. 32:17 min. Courtesy Shigeko Kubota Video Art Foundation, New York
Before Projection shines a spotlight on a body of work in the history of video art that has been largely overlooked since its inception while simultaneously placing it within the history of sculpture. Exploring the connections between our current moment and the point at which video art was transformed dramatically with the entry of large-scale, cinematic installation into the gallery space, Before Projection presents a tightly focused survey of monitor-based sculpture made between the mid-1970s and the mid-1990s.

From video art’s beginnings, artists engaged with the sculptural properties of the television set, as well as the possibilities afforded by juxtaposing multiple moving images. Artists assembled monitors in multiple con gurations and video walls, and from the 1980s onward incorporated TV sets into elaborate environments and architectural settings. In concert with technological advances, video editing and effects also grew more sophisticated. These video works articulated a range of conceptual and thematic concerns related to the television medium, the still and moving image, seriality, guration, landscape, and identity. The material heft of the cube monitor (before the advent of the at-screen) anchored these works rmly in three-dimensional space.

Before Projection focuses on the period after very early experimentation in video and before video art’s full arrival—coinciding with the wide availability of video projection equipment—in galleries and museums alongside painting and sculpture. Proposing to examine what aesthetic claims these works might make in their own right, the exhibition aims to resituate monitor sculpture more fully into the narrative between early video and projection as well as assert its relevance for the development of sculpture in the late twentieth century.

Maria Vedder’s PAL oder Never The Same Color was first presented in 1988. PAL (Phase Alternating Line) is the system used to standardize color broadcasting in Europe, developed for analog television. NTSC (National Television System Committee), mockingly dubbed “Never The Same Color,” is the competing standard in North America. This work consists of a wall grid of twenty-four monitors, with one monitor set aside. Looped on the monitors is historic television color test footage, including a host who presents herself in PAL and then NTSC to illustrate the difference. The video proceeds to test the primary colors of television (red, green, and blue): a “B” for blue appears alongside footage of a sky, a blue rose, and a standard blue screen. Not only does the work nod to different technological systems for calibrating color across cultures, but also their differing symbolic referents. A blue rose, for instance, would have been recognized as the Blue Flower from the German Romantic tradition.

When viewing Dara Birnbaum’s early two-channel video installation Attack Piece (1975), the visitor stands between two monitors facing one another. One monitor shows Super 8 footage shot by four artist collaborators, including Dan Graham. The four successively “attack” a seated and stationary Birnbaum, the cameras recording their aggressive advances towards her. Armed with a 35mm still camera, Birnbaum does not remain idle, as the other monitor shows a series of photographs she captured as the intruders approached. Attack Piece sets out to reclaim the medium for the female filmmaker and her gaze: training her lens onto mainly male camera operators, she complicates distinctions between subject and object, stalker and stalked, attacker and attacked.

Shigeko Kubota’s River (1979–81) is composed of three monitors hung at eye-level above a re ective trough equipped with a wave motor. The monitors alternate footage of Kubota swimming with brightly colored graphic shapes, which were created with state-of-the- art postproduction equipment of the time. Re ected on the surface of the water, the images’ legibility is periodically disrupted by the wave motor. The work typi es Kubota’s recurring interest in water and video as apt mediums to represent cyclicality, as well as her idea of video as “liquid reality.”

In 1964, Nam June Paik made the first “robot” in his series of sculptural assemblages that employ TV monitors to depict gures. That year Paik also met his longtime collaborator Charlotte Moorman, a classical cellist involved in experimental performance. Charlotte Moorman II (1995) depicts his friend with a cello for a torso, monitors for extremities that show footage of Moorman (at times distorted), and wires for hair.

Ernst Caramelle’s Video-Ping-Pong (1974) examines the relationship between the human body and video through a recording of a Ping-Pong match, which plays on two monitors mounted on AV carts at approximately eye level and positioned in front of a “real” Ping-Pong table. Sounds of the bouncing Ping-Pong ball are audible, although no ball is visible between the two monitors. The result is a disarming sense of the players’ presence in the space of the sculpture.

To make Equinox (1979/2016), Mary Lucier recorded seven days’ sunrise from the thirty- rst oor of a building in Lower Manhattan. Each day, she progressively zoomed in on the sun while gradually shifting the camera’s angle northward to follow the sun’s natural movement. And each day, broader marks were “burned” onto the camera’s internal vidicon tube, which manifest on the tape as dark greenish streaks in the sky that trail the path of the sun. The seven consecutive videos showing the accumulated burn marks are presented on a series of monitors increasing in size, each mounted on a tall pedestal.

In her early work Snake River (1994), Diana Thater utilizes three monitors, each displaying footage in one of the three colors (RGB) that together make a full-color image on a CRT monitor. This tactic makes visible the “additive” system of color mixing, highlighting not only technological standards but also the mechanics of visual perception. The monitors feature footage of the American West, whose typical depiction in cinema spectacularizes the land’s vastness as emblematic of freedom, opportunity, and sublimity. Snake River sets out to counter these ideologically-charged representational tropes, as well as the spectacle of video projection, which was starting to gain traction in mid-1990s.

Friederike Pezold is interested in subverting classic dualisms between painter and model, subject and object, as codified in traditions of women’s representation in film, painting, and beyond. Represented here by part of her major video series The New Embodied Sign Language, this sculpture by the same title comprises four monitors displaying close-up videos of the artist’s body altered by theatrical makeup. The videos (subtitled Augenwerk [Eye Work], Mundwerk [Mouth Work], Bruststück [Breast Piece], and Schamwerk [Pubic Work]) are shown on monitors stacked on top of each other to reach roughly the height of a human body.

In Takahiko Iimura’s TV for TV (1983), two monitors are positioned face-to-face, each tuned to a different broadcast station or to static. Their respective streams are only directed toward the other television set, rendering their images nearly invisible to the viewer. The work explores properties unique to video and distinct from film: the medium’s capacity for immediacy and simultaneity. On view in the gallery for months at a time, the work highlights television’s incessant streaming of images in a nonreciprocal, perpetual flow.

Psychomimetiscape II is one of Tony Oursler’s early monitor- based sculptures, taking the form of what Oursler calls a “model world.” Mounted atop a pedestal, it resembles an architectural model; rendered in somber gray, it depicts a nuclear cooling tower, a medieval- style tower, and a barren landscape. Embedded within are two tiny monitors: one placed at the bottom of a depression in the ground, streaming live-broadcast TV images of reworks, the other located in the tower, playing back an absurdist short narrative employing hand- drawn and computer-generated animation.

In Credits (1984), Muntadas edits together a sequence of credits, such as those found at the end of films and television programs, and displays them in a loop. Foregrounding what the artist has called the “invisible” information underlying mass media productions, Credits considers the features of the credit sequence—typography, size, rolling speed, audio track—as revealing indices of hierarchy and representation. In so doing, Muntadas investigates the ways in which producing institutions choose to represent themselves and how material conditions such as production value, fees, and authorship determine the media landscape.

Before Projection: Video Sculpture 1974-1995 is organized by Henriette Huldisch, Director of Exhibitions and Curator, MIT List Visual Arts Center. The presentation at SculptureCenter is organized by SculptureCenter Executive Director and Chief Curator Mary Ceruti with Kyle Dancewicz, Director of Exhibitions and Programs. The exhibition is accompanied by a fully illustrated catalogue edited by Henriette Huldisch with additional contributions by Edith Decker-Phillips and Emily Watlington, published by Hirmer Verlag in association with the MIT List Visual Arts Center.


Su Hyun Nam



Timotheus Tomicek

Screen Shot 2018-08-31 at 5.50.21 PM.pngScreen Shot 2018-08-31 at 5.52.59 PM.png

Tags: Austria, Contemporary Portrait Photography, Contemporary Photography, Group of Objects, Animation, References to Art History, Unsettling, Contemporary Surrealistic, Film/Video, Scenes of Everyday Life, Contemporary Conceptualism, Abstract Photography, Interiors, Installation


Tabor Robak




Felt Zine gif show in Matchbox Gallery at Rice University


Here is an interesting reading that provides some history of GIF images and some discussion of the status quo:


An Animated GIF show at GRIN Gallery, Providence, RI:







After Effects Animation Demo: Making a Bouncing Ball



After Effects Character Rigging


walkCycle_Sample walkCycle_Sample walkCycle_Sample walkCycle_Sample

Reference of the hierarchy and parent system in layer panel:

Screen Shot 2017-04-18 at 1.29.38 PM