Dust Storm (Dalhart, Texas) (2007) - John Gerrard


Dust Storm (Dalhart, Texas) 2007 is based on a single archival photograph of a storm from the 1930s American Dust Bowl, a man-made environmental catastrophe caused by a surge in petroleum based power, and a major contributor to what became the Great Depression. No moving images of the event are known to exist. The production of this work involved the virtual reconstruction - based on hundreds of the artists own photographs and films - of a ten-mile square section of Texan landscape close to the town of Dalhart, a landscape dotted with windmills, farms and fences. This documentation was subsequently enhanced by publicly accessible satellite and topographical data. Once activated, a virtual storm unfolds in a sculptural and constantly random manner within the reconstructed landscape.


Note: John Gerrard will give an artist's talk at MOMA on October 25th, at 7pm, for their Modern Mondays series. More information here.


zu täuschen den Schutzhund at PPOW and REFERENCE Art Gallery



For my exhibition I would like to present to viewers artworks that can be interminably downloaded and displayed concomitantly in several areas. Berlin based artist collective AIDS-3D will present a framed print titled Berserker, a computer generated portrait of an alien, which will be accompanied with a flash drive containing a file for the actual print. New York artist Ben Schumacher will showcase seven 3D models of iPhones all found off of Google’s 3D Warehouse and displayed on IKEA shelves. Artist Victor Vaughn, from Baltimore, will present a series of prints detailing his family’s history of internationally outsourcing for horse breeding. All of these works at the PPOW will be available for free download off the Internet for public access and simultaneously all pieces will be exhibited at REFERENCE Art Gallery in Richmond, Virginia. All works address concurrent issues of originality, distance, and reproduction - a theme attended to with the actual exhibition itself.


AIDS-3D, Berserker, 2010

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Ben Schumacher, 13of 579 iPhones, 2009

Victor Vaughn, Horse & Handler, 2009


Malwarez (2008) - Alex Dragulescu



[Clockwise: Virutmytob, Stormy, IRCbot, and MyDoom]

Malwarez is a series of visualization of worms, viruses, trojans and spyware code. For each piece of disassembled code, API calls, memory addresses and subroutines are tracked and analyzed. Their frequency, density and grouping are mapped to the inputs of an algorithm that grows a virtual 3D entity. Therefore the patterns and rhythms found in the data drive the configuration of the artificial organism.



Boolean Nature. Rock. (2008) - Hugo Arcier



[3d image in 80 cm x 120 cm format.]


[Previzualisation. Sculpture created using a prototyping technique. Size: 15 cm in diameter.]

In logic and computer programming, a Boolean operator is a type of variable between two states. In computer-generated imagery, Boolean operations enable us to subtract, add or create an intersection between two objects.

In this series I subtract a sphere from a landscape. The latter becomes hollow. It is sterile, it lacks something, the breath of life. It is a morbid image: a Boolean nature.

A sculpture completes the image by representing the missing part.
The sum of the image and the sculpture forms the landscape in its entirety.



Altermodern (2010) - Alexandr Skarlinski





Looping 3D animation infixed online


Civilization in 3D


Installation shot of Ouroboros (Image: ArtLab Video Projects)

In 1931, Sergei Eisenstein described montage as "an idea that arises from the collision of independent shots" wherein "each sequential element is perceived not next to the other, but on top of the other." This layering of images allows them to combine, producing a third meaning that was not present before their combination. "Ouroboros" - a video exhibition currently on display at the ISE Cultural Foundation - takes the aesthetics of early montage and hits fast-forward in 3D. By modifying a version of chromadepth into a process they call COLORSPACE, art collective SWEATSHOPPE achieves a layered 3D effect in which red, green, and blue (RGB) are each visible at a different depth from the surface on which they are projected. The effect is a complex sequence of images projected simultaneously and layered on top of one another to create an almost literal manifestation of Eisenstein's montage aesthetic.

The sequence combines over 30,000 images selected by artist Ali Hossani, and is meant to tell the story of cosmic evolution, "from the Big Bang to Lady Gaga." The images read more like the infamous montage sequence in A Parallax View (1974) than a statement on the rejoinder of art and science where "knowledge, desire, and energy meets the limits of human freedom," as the artist's statement suggests. Still, the effect is mesmerizing, and showcases one of several new possibilities for 3D technologies in the creation of a new digital aesthetic.


General Web Content


The 3D film is by no means a new technology, but post-Avatar, it's had quite a renaissance as of late, and everyone is jumping on board. In 2009, YouTube introduced a 3D player for their videos, making it easier for users to opt for the effect, and a search for "anaglyph" on Vimeo turns up hundreds of videos. It seems that alongside mainstream Hollywood's current fixation with 3D exists a parallel surge in 3D clips, ones of a more homespun variety. This post assembles some of those videos, which pair the whiz-bang of 3D with kittens, landscapes, scenes from video games, and much more.