an abstract digital portrait of pioneering dance legend Merce Cunningham.
The motion of his hands as he performs his solo dance for hands and fingers
was recorded and is the basis for this continuously changing animation.
Limnings, which date from the 16th
century, are miniature portraitsoften worn as jewelry. Digital Limnings: Miniature Memories reinvents
this art form, using tiny wearable video screens to depict the jewel-like
motion of a dancer and the subtle interactions between family members. The
scale of the pieces beckons the viewer to approach quite closely. The
interactive portraits worn by a dog and its owner in Experiments in Digital
Limnings makes use of this intimate
viewing distance, responding to presence (the owner’s) and voice (the
The subject of Alternative Autobiographies, the
prolific author Richard Kostelanetz is at first glance absent from the New
York City apartment setting of the piece. Yet he is indeed present, not
only through his words, which are animated and projected onto the walls,
desk, and window, but also via an e-mail connection whereby the
correspondence between audience and subject becomes integrated into this
Bristol Studios and Lite BriteMatt Dilling and Frank Kerrigan
Courtesy the artist and Andrea Rosen Gallery,
Department store photo booths represent the
mechanization of portraiture: the automatic camera replaces the human
artist.In Security by Julia,
XXXXIII the mechanical artist is made sinister and invasive, photographing
the subject from multiple unflattering and unacceptable viewpoints and
displaying these images to the passing audience outside of the booth.
In Telephone Story: A Portraitanswering machine messages create a
self-portrait of the absent subject. Viewers interact with the piece by
knocking: a summons that is answered by elusive messages and images that
sketch a picture of the artist’s life.
The beautifully detailed holographic portrait
requires intense cooperation between subject and artist through the
requisite studio process. The grainy surveillance image is the opposite,
requiring the subject’s ignorance of the surreptitious recording. Strangers
to Ourselves juxtaposes these forms to create a portrait that questions the
relationship between detail and truth, knowledge and revelation.
Proxemics–how comfortable we feel standing next
to someone, and how they react as we approach them–is an important, though
often subconsciously realized, aspect of how we get a sense of other
people. Portrait of Catiis an
interactive installation that depicts its subject both visually, as a
photographic portrait, and proximally, as it responds to the viewer’s
This Voice Anywhere creates a portrait from the
distinctive qualities of the subject’s voice. At the entrance, the
viewer/subject is photographed and records a statement, which is then
transformed algorithmically into a sonic portrait. The growing collection
of these audio-visual portraits are played continuously in the “dome,” a
multi-channel sound-space installation.
Van Eyck’s Mirrorreflects the viewer, the painter, and history. The imagery
derives from The Arnolfini Marriage (1434), in particular, the convex
mirror in that painting, which shows the backs of the subjects and a tiny
portrait of the painter. Van Eyck’s painting introduced the notion of the
artist as witness; Van Eyck’s Mirror explores the notion of artwork as
witness, for the installation senses the viewer and the artist’s image
turns to face the approaching person.