nathaniel stern
Since the beginning
Works in Milwaukee, Wisconsin United States of America

PORTFOLIO (13)
BIO
Nathaniel Stern is an artist and writer, Fulbright grantee and professor, interventionist and public citizen. He has produced and collaborated on projects ranging from ecological, participatory and online interventions, interactive, immersive and mixed reality environments, to prints, sculptures, videos, performances and hybrid forms. His book, Interactive Art and Embodiment: The Implicit Body as Performance, is due for release in mid-2013, and his ongoing work in industry has helped launch dozens of new businesses, products and ideas. Stern has been featured in the likes of the Wall Street Journal, Guardian UK, Huffington Post, Daily Mail, Washington Post, Daily News, BBC’s Today show, Wired, Time, Forbes, Fast Company, Scientific American, the Milwaukee Journal Sentinel, Leonardo Journal of Art, Science and Technology, Rhizome, Furtherfield, Turbulence, and more. According to Chicago’s widely popular Bad at Sports art podcast, Stern has “the most varied and strange bio of maybe anyone ever on the show,” and South Africa’s Live Out Loud magazine calls him a “prolific scholar” as well as artist, whose work is “quite possibly some of the most relevant around.” Dubbed one of the Milwaukee’s “avant-garde” (Journal Sentinel), Stern has been called ”an interesting and prolific fixture” (Artthrob.co.za) behind many “multimedia experiments” (Time.com), “accessible and abstract simultaneously” (Art and Electronic Media web site), someone “with starry, starry eyes” (Wired.com) who “makes an obscene amount of work in an obscene amount of ways” (Bad at Sports). According to Caleb A. Scharf at Scientific American, Stern’s art is “tremendous fun” but also “fascinating” in how it is “investigating the possibilities of human interaction and art.”

New Media, New Modes: On "Rethinking Curating: Art after New Media"


Humorous and surprising, smart and provocative, Rethinking Curating: Art after New Media (MIT Press, 2010) jumps from opposing viewpoints to opposing personalities, from one arts trajectory to another. The entire book is a dialectic exercise: none of its problems or theories are solved or concluded, but are rather complicated through revelations around their origins, arguments and appropriations. Overall, the book adopts the collaborative style and hyperlinked approach of the media and practice it purports to rethink. In other words, it is not just the content of the book that asks us to rethink curating, but the reading itself; by the end, we are forced to digest and internalize the consistently problematized behaviors of the “media formerly known as new.”


Screening Screens


Kate Mondloch’s first book, Screens: Viewing Media Installation Art (University of Minnesota Press), is a welcome study of the cathode ray tubes, liquid crystal and plasma displays, and film, video and data projections that “pervade contemporary life” (xi). The author reminds us that screens are not just “illusionist windows” into other spaces or worlds, but also “physical, material entities [that] beckon, provoke, separate, and seduce” (xii). Most importantly, however, Mondloch’s approach is that of an art historian. She does not merely use art as a case study for media theory, but rather makes the contributions of artists her central focus in this, the first in-depth study of the space between bodies and screens in contemporary art.


Action, Reaction, and Phenomenon


In his book, Parables for the Virtual, Brian Massumi calls for "movement, sensation, and qualities of experience" to be put back into our understandings of embodiment. He says that contemporary society comprehends bodies, and by extension the world, almost exclusively through linguistic and visual apprehension. They are defined by their images, their symbols, what they look like and how we write and talk about them. Massumi wants to instead "engage with continuity," to encourage a processual and active approach to embodied experience. In essence, Massumi proposes that our theories "feel" again. "Act/React", curator George Fifield's "dream exhibition" that opened at the Milwaukee Art Museum last week, picks up on these phenomenologist principles. He and his selected artists invite viewer-participants to physically explore their embodied and continuous relationships to each other, the screen, space, biology, art history and perhaps more.

Fifield is quick to point out that all the works on show are unhindered by traditional interface objects such as the mouse and keyboard. Most of them instead employ computer vision technologies, more commonly known as interactive video. Here, the combined use of digital video cameras and custom computer software allows each artwork to "see," and respond to, bodies, colors and/or motion in the space of the museum. The few works not using cameras in this fashion employ similar technologies towards the same end. While this homogeneity means that the works might at first seem too similar in their interactions, their one-to-one responsiveness, and their lack of other new media-specific explorations -- such as networked art or dynamic appropriation and re-mixing systems -- it also accomplishes something most museum-based "state of the digital art" shows don't. It uses just one avenue of interest by contemporary media artists in order to dig much deeper into what their practice means, and why it's important. "Act/React" encourages an extremely varied and nuanced investigation of our embodied experiences in our own surroundings. As the curator himself notes in the Museum's press release, "If in the last century the crisis of representation was resolved by new ways of seeing, then in the twenty-first century the challenge is for artists to suggest new ways of experiencing...This is contemporary art about contemporary existence." This exhibition, in other words, implores us to look at action and reaction, at our embodied relationships, as critical experience. It is a contemporary investigation of phenomenology.



Discussions (77) Opportunities (2) Events (10) Jobs (3)
DISCUSSION

Rethinking Curating: Art After New Media


thanks sarah - i'll see if we can't correct that; must've gotten mixed up in all my notes. best,

n

DISCUSSION

Rethinking Curating: Art After New Media


thanks, roz! it's a worthy read. best,
n

DISCUSSION

Bad at Sports interview


Hey All:

I've got an interview up on B@S this week. You can stream, or download as mp3.

http://badatsports.com/2010/episode-244-nathaniel-stern/

It was good fun to do - hope some of you enjoy it. Feedback welcome.

best,
nathaniel

EVENT

Arrested Time: Nathaniel Stern with Jessica Meuninck-Ganger


Dates:
Fri Feb 26, 2010 00:00 - Sun Feb 14, 2010

Location:
United States of America

image

Arrested Time
An exhibition of works combining contemporary technologies with
traditional drawing and printmaking methods


Nathaniel Stern with Jessica Meuninck-Ganger
Greylock Arts, 93 Summer St, Adams MA
Curated by Jo-Anne Green
26 February 2010 - 3 April 2010
Opening reception Friday, February 26th 2010, 5:30 - 8:30 pm

Nathaniel Stern’s Given Time simultaneously activates and performs two permanently logged-in Second Life avatars, each forever and only seen by and through the other. They hover in mid-air, almost completely still, gazing into one another’s interface. Viewers encounter this networked partnership as a diptych of large-scale (8 feet tall) and facing video projections in a real world gallery, both exhibiting a live view of one avatar, as perceived by the other. To create a visceral aesthetic, these custom-designed and life-sized “bodies” are hand-drawn in subtly animated graphite and charcoal. The audience is invited to physically walk between them; they’re able to hear and see them breathing, witness their hair blowing in the wind, pick up faint sounds such as rushing water or birds crying out from the surrounding simulated environment. Here, an intimate exchange between dual, virtual bodies is transformed into a public meditation on human relationships, bodily mortality, and time’s inevitable flow.

In Distill Life, Stern and Meuninck-Ganger approach both old and new media as form. They permanently mount translucent prints and drawings directly on top of video screens, creating moving images on paper. They incorporate technologies and aesthetics from traditional printmaking - including woodblock, silk screen, etching, lithography, photogravure etc - with the technologies and aesthetics of contemporary digital, video and networked art, to explore images as multidimensional. Their juxtaposition of anachronistic and disparate methods, materials and content - print and video, paper and electronics, real and virtual - enables novel approaches to understanding each. The artists work with subject matter ranging from historical portraiture to current events, from artificial landscapes to socially awkward moments.

With Arrested Time, Green curates an exhibition of Stern’s solo and collaborative work that explores the juxtaposition of old and new media, and illuminates the possibilities and limitations of both. The works hover between stasis and motion, texture and light, line and pixel, past and present, paper and screen, surface and depth, one artist and another.

http://nathanielstern.com
http://jessicameuninck.com
http://greylockarts.net

Greylock Arts, 93 Summer St, Adams MA 01220
Admission is free and open to the public
Saturdays, 12:00 - 4:00 p.m
Otherwise by appointment


EVENT

Passing Between: Nathaniel Stern & Jessica Meuninck-Ganger


Dates:
Sat Jan 30, 2010 00:00 - Sun Jan 24, 2010

Location:
South Africa

image

Passing Between
Nathaniel Stern and Jessica Meuninck-Ganger
30 January - 27 February 2010, Gallery AOP
44 Stanley Avenue, Braamfontein Werf, Johannesburg South Africa

Opening 30 Jan 2010, 12:00pm - 4:00pm
talk by Prof. Christo Doherty, Wits Digital Arts, 12:30 PM

Nathaniel Stern and Jessica Meuninck-Ganger approach both old and new media as form. They permanently mount translucent prints and drawings directly on top of video screens, creating moving images on paper. They incorporate technologies and aesthetics from traditional printmaking - including woodblock, silk screen, etching, lithography, photogravure etc - with the technologies and aesthetics of contemporary digital, video and networked art, to explore images as multidimensional. Their juxtaposition of anachronistic and disparate methods, materials and content - print and video, paper and electronics, real and virtual - enables novel approaches to understanding each. The artists work with subject matter ranging from historical portraiture to current events, from artificial landscapes to socially awkward moments.