Gas Zappin'

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The often-hilarious artist Kenneth Tin-Kin Hung's newest game is no laughing matter. Ok, actually it is... but it's still what many in the gaming world now call a "serious game," in that it addresses the important issue of global warming. The piece lets viewers step inside of an animated world marked by the same crazy, satirical visual style for which he's gathered attention in previous works like Because Washington is Hollywood for Ugly People and Residential Erection. These projects manage to comment on the absurdity of aestheticizing politics while doing just that, appropriating and remixing material scoured from the web to comment on the relationship between media spectacles and political spectacles. His game, Gas Zappers, similarly recycles pop imagery to cut through the haze of information surrounding the impacts of pollution. The narrative of the game criticizes quick-fix attempts and suggests real strategies for cutting down on carbon emissions. The project manages to be entertaining and educational, at the same time--a balance which is its own art. The game can be played online and is also on view at the Berkeley Art Museum from October 22 through February 8. - Marisa Olson

Image: Kenneth Tin-Kin Hung, Gas Zappers, 2008 (Still)

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Hey you with the Totally Awesome Face (2006) - Jeremy Bailey

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Rendered Spirits (2008) - Rick Silva

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Three Transitions (1973) - Peter Campus

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FREE getwell cards email a friend (2006) - Paper Rad

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olafur eliasson vs sprinkler lady (2008) - Zach Shipko

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Art Keeps On Slipping Into the Future

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Stan VanDerBeek (1927-1984) shares with artists like Josef Albers, Aldous Huxley, John Cage, Robert Rauschenberg, and Buckminster Fuller the legacy of having developed their practice at Black Mountain College, the creative mecca where these and other thinkers pushed the edges of visual art, music, literature, technology, and consciousness. His experimental films of the 1950s blurred dada collage and science fiction, and he was an early adopter of both analog processes and computer animation, establishing for him a godfather-like position in the origin-narratives surrounding new media. His often rough aesthetic anticipated glitch-fetishism by several decades and drove the surrealist aesthetic into new territory; yet this is not to say that his works didn't go down smoothly. (The internet is full of video evidence of his colorfully dreamy proliferations.) The artist is currently the subject of an exhibition at New York's Guild & Greyshkul gallery, where one can see VanDerBeek's contribution to the proto-history of digital copy-and-paste stylistics in the form of real copy-and-paste collages and his own reworkings of his early films. Much of the work in the show, including a "faux mural" he transmitted electronically to international venues, in 1970, was made in his days at MIT, where his immersion among scientists and engineers had a clear impact on his art. VanDerBeek had a futurist and almost cosmological approach to his work and was one of those artists known for spouting beautiful witticisms about finding universal modes of expression that transcended media and the confinement of traditional forms. At the end of the day, he also reminded us that "Art is the artifact of reality (not taken for granted)." - Marisa Olson

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waiting_lotus.gif (2008) - P. Doyle

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from http://nootnatdit.net/blog/

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My Favourite Landscape (2007) - Paul Destieu

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"My Favourite Landscape is made of 500 70 x 50 cm offset prints. It is a reappropriation of the well known Windows XP desktop : Green Hill. Taking advantage of the weakness of the computer, it sets the common bug out of its context, on a wall, expending it to a much bigger scale. The famous picture finds a new landscape shape out of its usual frame."

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Via Pascual Sisto

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9 Fans (Super Bowl XLI Kickoff) (2007) - Fernando Sanchez

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