hyperallergic:

As museumgoers, we’re used to looking at art, but a new project from filmmaker and artist Masashi Kawamura inverses the traditional relationship of viewer to artwork. For his blog “What They See,” Kawamura has taken photographs from the perspectives of famous artworks, inviting us into their visual fields. We see what they would see — if they could see. Among the works represented so far are Degas’s “The Little Fourteen-Year-Old Dancer,” who apparently spends her days at the Metropolitan Museum gazing at the arch of a doorway, and Modigliani’s “Reclining Nude,” who gazes sideways at the paintings on the opposite wall.

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hyperallergic:

(via Painting with Data: A Conversation with Lev Manovich)

As big data has infiltrated our everyday lives, Lev Manovich and his collaborators have explored the data of everyday life as a window on social transformation. We discuss his latest work: The Exceptional and the Everyday: 144 Hours in KievM, a portrait of political upheaval in the Ukraine constructed from thousands of Instagram photos taken over a six day period during the revolution in February of 2014. The project evolves from Manovich’s recent manifestations, Phototrails (2013) and SelfieCity (2014), metamorphosing social media into data landscapes.

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(via hyperallergic)

hyperallergic:

From Tuesday’s Dread Scott performance. You can read our article about the work online.

creative-cap:

“A master of symbolic action and decoding the optics of oppression, [Dread] Scott, in his new work, evoked the well-known images of 1950s and ’60s civil rights protests being interrupted by the violence of police water cannons. The mood of his Dumbo performance was stark and slightly somber, and it had the visual clarity of a Hollywood Western gunfight.”

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An excerpt from a video of Dread Scott’s recent performance “On the Impossibility of Freedom in a Country Founded on Slavery and Genocide.” Read the rest of hyper allergic​’s review of the performance.

(via hyperallergic)

contemporaryartdaily:

Liam Gillick at Le Magasin

hyperallergic:

(via Artist Claims New York Times Co. Isn’t Giving Him Credit He Deserves)

Released to the public two weeks ago, the New York Times‘s Chronicle graphing tool has been at use within the paper since it was developed in 2012 by its “Labs” research-and-development department. But the first such program graphing the use of language in the Times archive was developed in 2008 by the California-based artist Tim Schwartz, Hyperallergic has learned.

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(via hyperallergic)

the-gasoline-station:

Square Favela

Aerial view of Rio das Pedras shantytown (favela), next to Barra da Tijuca, in Rio de Janeiro, Brazil, on June 28, 2014

Picture: Yasuyoshi Chiba/AFP/Getty Images

Source: The Atlantic In Focus

(via burning-stmandard-deactivated20)

blakegopnik:

THE DAILY PIC: This is a view into a manic installation called “paintingassupermodel”, by Franklin Evans. It’s now filling the Ameringer McEnery Yohe gallery in New York. The title is a clever updating of “Painting as Model”, the name of a famous 1993 book by art historian Yve-Alain Bois, but sped up to the pace of the 21st century. There’s not even time for a break between words.

Evan’s installation does a pretty good job conjuring the feel of art as it is now experienced, as a ceaseless barrage of image and information and commerce that we’re supposed to take as-is, without too much processing or doubt. “Paintingassupermodel” levels the playing field between Matisse and Photoshop. What I couldn’t decide, as I took in the piece, was whether its frantic complexities acted as an invitation to dig deep to figure them out, or to skim along across their surfaces.

The Daily Pic also appears at blogs.artinfo.com/the-daily-pic. For a full inventory of past Daily Pics visit blakegopnik.com/archive.