Lorne Lanning worked for Jack Goldstein in the mid-1980s at a time when the artist began to create highly detailed paintings of technological and scientific imagery that foregrounded the visual artefacts of computer vision. In this interview, Lanning discusses the thinking and the process behind this body of work, which is represented in several works (completed after Lanning's tenure with Goldstein) in the exhibition Jack Goldstein x 10,000, on view through September 29, 2013 at The Jewish Museum in New York. Lanning also explains how his work with visual effects for Goldstein led him, via the aerospace industry, to a successful career as creator of the OddWorld video game series. 

Jack Goldstein, Untitled, 1988, acrylic on canvas.  Courtesy Vanmoerkerke Collection, Ostend. © Estate of Jack Goldstein.

MC: How did you begin working with Jack Goldstein? 

I met Jack--he was teaching at School of Visual Arts--I believe it was ‘85. I started working with him in maybe late ‘85 or early ‘86…

I was an illustration student at School of Visual Arts--I had seen his paintings at the Whitney Biennial, and at various museums, and I was just blown away. I showed him my work and I was making all these comments, you know, "I aim to improve this way and that way," and he goes, "You paint just fine, you just have no ideas." And that's Jack in a nutshell.

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Here are highlights of this week's events and deadlines, culled from Rhizome Announce. 

Andrew Healy, Augmented Reality Lower Receiver

Events

Dublin

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A collection of items from the Prosthetic Knowledge Tumblr archive and around the Web, taking a brief look at creative and sometimes poetic plays with the familiar audio technology of vinyl records.

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To mark the launch of McKenzie Wark's new book The Spectacle of Disintegration, Verso Books have offered Rhizome readers in the UK a chance to win a 3D printed Guy Debord action figure.

3D-printed Guy Debord action figures (2012). Produced by McKenzie Wark, design by Peer Hansen, with technical assistance by Rachel L.

The figure is part of a limited edition run of 200 made by Wark, who was inspired to delve into maker culture because of Debord's own investment in craft as evidenced in the twelve handcrafted issues of Internationale Situationniste. (You can read more about this in Brendan Byrne's recent interview with Wark on Rhizome). It's important to note that you can also make your own Debord figure based on Wark's 3D model, which will be released under a Creative Commons license.

The questions, which were supplied by Verso, are after the jump. They are not to be taken lightly...

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Over the next few weeks, Rhizome will present a series of performance GIFs curated by Jesse Darling, beginning with this work by Maja Cule. Darling's introduction to the series can be found here. 

Hanging from the 8th floor of the South side of The Trump Building at 40 Wall Street (Click to view artwork)
Maja Cule, May 2013
(featuring: Marlous Borm) 

In May 1930, The Trump Building was the tallest building in the world. In the ninth episode of the Season 4 of The Apprentice, Donald Trump claimed he only paid $1 million for it. 

The window depicted in Cule's work is located on the eighth floor, which is currently under construction. It looks out over Isamu Noguchi's Sunken Garden, a series of black boulders of varying sizes that Noguchi collected from the bottom of the Uji River in Kyoto, and Jean Dubuffet's sculpture Group of Four Trees, commissioned by David Rockefeller(then chairman of Chase Manhattan Bank) in 1969 for the One Chase Manhattan Plaza building. Designed in 1961 by Gordon Bunshaft, One Chase Manhattan Plaza is the 200th tallest building in the world with 60 floors and sealed windows. 

 

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“The first show I did was with Jack. He showed a new work—the extraordinary film loop The Jump. I watched that film loop every day for three weeks and never got tried of it. I was hypnotized. I can still see it: The endless red and gold gleaming figure, rotating and tum- bling in a non-space, outside of time and place. It was beautiful and miraculous. I still believe that it was one of Jack’s greatest works; he made it long before the video effects that are available today. It was an absolute vision." - Robert Longo in Jack Goldstein and the CalArts Mafia

Animated GIF from extract of YouTube video of Jack Goldstein, The Jump (1978).

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