Milwaukee visual artists Nathaniel Stern and Bryan Cera explore how we move and are moved with the world around us
Two Third Ward exhibitions, MIAD and Tory Folliard, October – December 2014
Vital Technology, a duo exhibition at MIAD with Milwaukee-based artists Bryan Cera and Nathaniel Stern, uses digital media to invite an exploration of movement, and its relationships to thinking and feeling. The show includes eight large-scale interactive installations – incorporating cutting-edge technology, such as body- and motion-tracking, gaming sensors and graphics, 3d scanning and printing, gesture recognition, and more – as well as more traditional art objects and process documentation that come out of Cera and Stern’s interactive studio practices. The artists ask how our ongoing relationships to digital culture continuously change what we move and think and feel. Do our everyday technologies have a vitality, or force, that shifts our movements, and thus lives? Are these technologies vital and necessary, helpful or a time-suck, when we encounter them? What are the stakes in how we interact and relate with the world, and how might media art frame and amplify what matters? At Vital Technology, we the viewers experience and practice alternate ways to perform our bodies, media, concepts and materials.
For Stern’s related series of digital prints, he straps a desktop scanner, computing device and custom battery pack to his body, and performs images into existence. He might scan in straight, long lines across tables, tie the scanner around his neck and swing over flowers, do pogo-like gestures over bricks, or just follow the wind over water lilies in a pond. The dynamism between his body, technology, and the landscape is transformed into beautiful and quirky renderings, which are then produced as archival artworks. For Rippling Images at Tory Folliard, Stern worked with a team at UWM to produce several marine-rated scanner rigs, and perform prints while scuba diving on a live coral reef off the coast of Florida, among other sites. Everything leaked, everything broke, nothing did what he wanted or expected; and Stern says this is precisely what must have happened. “My movements in the sea, my relations to currents and gravity, what I see and cannot see, fish and plants, breathing and fluidity, scratches and reflections and bubbles and more, all affect and are affected in how these images are made.” At stake are the ways we move with and against water and land, life and non-life – as individuals, as a people, and as a part of our habitats.
Both Vital Technology and Rippling Images open as part of Gallery Night on October 17th, and the following weeks will see walkabouts, talks and panels with the artists and others, including a visit from interactive art pioneer and Stanford professor, Camille Utterback.
Congratulations to Logan Merry, Jewelry & Metalsmithing alum (BFA 2014) has accepted a three-month internship at the Smith Shop in Detroit! Smith Shop is a metalworking studio that produces quality metalwork, specializing in the custom fabrication of gold, silver, copper, brass and steel, as well as producing jewelry and architectual hardware. Rachel Kedinger (BFA 2012) was a previous intern and the Smith Shop and is now one of its employees! Learn more about the Smith Shop here.
Art & Design faculty Frankie Flood was featured on the Korean Broadcasting System's program KBS Panorama - Digital Future Economy Part 1: 3D Printing. The hour-long program (in Korean language) speaks with Flood from 20:45-23:00.
By Troy Rhoades
July 10, 2014
College Art Association's Art Journal
In Interactive Art and Embodiment: The Implicit Body as Performance, Nathaniel Stern would like us to remember the body's potential for moving, thinking, and feeling in relation to digital interactive artworks. He wants this triumvirate of bodily activities—what he defines as embodiment—to be placed in the foreground of thought when we discuss interactive art. It is his contention that technology and representational content have been the focal points of interactive art for too long, and it is time for a paradigm shift. “We must get away from concentrating only on the signs and images on the screen or the interface, away from privileging the technology and what it affords. We must engage with the quality and styles of movement that are rehearsed with interactive art” (15–16). Stern sees the need to stop explaining what interactive art is as a technological object or a generator of signs. He asserts instead that our attention should be placed on what interactive art does as it shapes our potential for embodiment, that is, our ability to move-think-feel with the work. It is important to note that Stern is not completely rejecting technological and representational approaches to interactive art and solely focusing on embodiment. Rather, he wants us to notice that there is a glaring absence of embodiment in many of the present methods used to analyze this type of work. This book is his attempt to address the long-overdue need to reevaluate this field of art. He reveals that we have always been moving-thinking-feeling with interactive art.
Read the full article at Taylor & Francis Online.
Kyoung Ae Cho is the third artist featured in Lynden’s Women, Nature, Science series.
Cho teaches at Peck School of the Arts at the University of Wisconsin-Milwaukee.
The series was the brainchild of Polly Morris, executive director at Lynden Sculpture Garden.
“I started this series a year or so ago, because I was interested in connecting what goes outside here, with what goes on inside,” Morris says.
The Lynden Sculpture Garden is located about 10 miles north of downtown Milwaukee. The 40-parcel was the estate of Harry and Peg Bradley, whose legacies includes the Allen-Bradley Co. and a breathtaking collection of art. A smidge over four years ago, the “Bradley place” opened as the Lynden Sculpture Garden.
Read the full story and listen to the interview at WUWM.
Painting and Drawing alumnus Matthew Lee (MFA '14) will be representing UWM's graduate program at the 8th annual Master Pieces show at Manifest Creative Research Gallery and Drawing Center in Cincinnati, Ohio. The show runs July 11 - August 8, 2014 and features works by recent MFA graduates and also includes a publication. Congratulations, Matthew!
Congratulations to Design & Visual Communication Professor Amy Decker as she receives the AIGA Wisconsin Fellow Award next Wednesday, June 25. The Fellow Award is the highest honor AIGA WI can bestow upon its members. Here's what AIGA WI has to say about Amy:
"Amy Decker brings a powerful combination of creativity and strategic insight to the task of solving communications problems and building effective brands for clients. Amy gained valuable experience serving as a design resource to a number of major creative agencies in Southern California before making the leap to founding her own company in 1996. As president and creative director of Dig Design for the past decade, Amy has earned a reputation for her common-sense approach to helping clients achieve their communications objectives.
Now “conveniently-located” in Milwaukee, Wisconsin, Amy operates Dig Design as a highly-focused boutique agency, with access to an extensive resource network of creative and technical professionals. Aligned with Amy’s philosophy that “good design is good business,” Dig Design is a results-driven firm that delivers integrated brand communications in a cost-effective and timely manner.
Amy is the founding president of AIGA Wisconsin, the professional association of design, and has earned multiple design industry awards for creativity. A graduate of the Art Center of Design in Pasadena, California, she also studied advertising and graphics at the Rocky Mountain College of Art and Design in Denver, Colorado."
Congratulations to Painting & Drawing alumna, Brooklyn Henke (MFA 2013), who has accepted a position as a painting and drawing instructor at Alverno College! We wish Brooklyn the best on this new adventure.