Currents 826 presents Earth’s Other: A Group Show of Experimental Prints
Earth’s Other presents print work of six artists informed by new media practices and perspectives: Colin Ives, Mint Boonyapanachoti + Michelle Hessel, David Stout, Anne Farrell, Fern Seiden and Gillian Brown.
The works on view share a preoccupation with both the earth and otherworldliness. The six artists in Earth’s Other use mechanisms, both analog and digital, to create ways of seeing the world and its inhabitants from a different vantage. The ocean becomes new again through the eyes of Artificial Intelligence, a piece of paper splices through a landscape- changing its story, and a collaboration with AI software produces images that recall alchemical notations.
The word technology comes from Greek, -τέχνη techne, “art, skill, cunning of hand,” combined with -λογία, logia, “knowledge.” Up until the 1930s, the –ology in technology referred to human knowledge, as in other -ologies such as biology. In the word technology, the suffix signifies human knowledge of making machines. After the 1930s, however, the knowledge of making was subsumed into the devices themselves. What at root spoke to human knowledge of processes came to mean devices in which knowledge is embedded. Technology has become something that displaces human abilities—an apparatus where knowledge resides and is instrumentalized, honing out the speculative turn of hand and brain.
My work is a speculative endeavor, one at odds with the elision of human forms of knowing and machinic operations that the very word technology now implies.
Mint is a new media artist and creative technologist based in NYC. Currently at the NYTimes R&D Lab, her work focuses on how 3D immersive visualizations can augment stories and enhance the potential of visual journalism.
Michelle Hessel is a NY-based digital artist and designer. Her work inverts traditional storytelling focusing on interactive technologies and virtual representations of culture such as food, people and spaces.
David Stout (MFA CalArts) is a visual artist, composer and performer exploring cross-media synthesis and hybrid approaches bridging the arts. He has received national and international awards and recognition for works in live cinema, interactive video, electro-acoustic music and performances integrating immersive projection as an extension of performer, audience and architecture. His work with Cory Metcalf examines the aesthetic possibilities for generative systems, artificial life networks and simulation environments. The pair are founders of the interactive media ensemble, NoiseFold, whose installations and performances have been exhibited worldwide, from Casablanca, Morocco to Marfa, Texas. NoiseFold are currently working on projects in visual music, data visualization, virtual reality and glassmaking. Stout previously founded the MOV-iN Gallery and the Installation, Performance & Interactivity project (IPI) at the College of Santa Fe, NM. He is currently director of the Hybrid Arts Laboratory at the University of North Texas, where he coordinates the Initiative for Advance Research in Technology and the Arts (iARTA) and holds joint positions in Music Composition and Studio Art.
Anne’s installation art has roots in her work as a high school set designer, perhaps going further back to the giant doughnut atop the doughnut shop, the huge wooden chair outside the furniture store and the water steps of Forest Lawn cemetery in Hollywood Hills. She has been using found objects dating back to the floppy disc and the wall phone in her movies, constructions and environments. The protagonists of her work are likely to have come from a roadside sale (Pal) or the flea market (Swan’s Painting). She is known for her affectionate and respectful animation of inanimate objects. The deeply personal combination of playfulness and shadow reveals her commitment to the exploration and exposure of the inner life.
Inventive, unconventional, meticulous, curious, aesthetic, idea abundant… Fern’s films have screened at MOMA, and Symphony Space in New York, at international festivals and museums and broadcast on Swedish National Television. She has a long association with The Royal College of Fine Arts, Stockholm, Sweden (Konsthogskolan) as faculty and as artist in residence. She is the recipient of numerous grants and production support from The Swedish Film Institute, Swedish Television and The Art Grants Committee. BFA/MFA from CalArts on scholarship, digital imaging at ICP and SVA New York, painting, drawing, fine art and art history at MICA – Maryland Institute College of Art.
Her haunting and whimsical hybrid works observe and explore perception – history and memory – nature, human nature and longing.
Gillian Brown graduated from Brown University and RISD, and received her MFA from UCLA. She has shown in many galleries and museums across the country and has been supported by grants from the National Endowment for the Arts and several State Councils of the Arts, as well as a one-year Fellowship from the Radcliffe Institute at Harvard. Her work has been published in several catalogues including Photography from the Pompidou Center, and has been reviewed in many publications including Art in America, The New York Times, The Washington Post. She makes her work and lives in an ecovillage in Fairfield, Iowa.