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post video portraits & virtual characters

Nascent

Nascent developed as a way of depicting the ancient woman pregnant—maternal, yet engaged with something outside of herself. She is pregnant not just literally, but with some idea of a future woman, one as yet uncoiled. In the globe, an adult woman is seen in a fetal position, which is represented again in the predella below in a sequence floating along a place filled with water and futuristic architecture. Whether she is seeing the future, her own progeny, or something else in this globe remains a mystery. In the Old Testament, Jezebel was both a mother and a queen.

Nascent, 2008

Ellen Sandor & (art)n: Chris Kemp, Thomas Meeker, Chris Day and Mike Seigel

Carla Gannis

Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas

40 x 30 inches

Gannis_Nascent.jpg

The Trial of Anne H is inspired by the female Puritan minister who was exiled from her East Coast settlement for her outspoken views on the Bible and Native American rights. The piece is based on a drawing by Edwin Austin Abbey of Hutchinson's trial, creating a link, perhaps, to the increased politicization of environmental rights.

The Trial of Anne H., 2008
Ellen Sandor & (art)n: Chris Kemp and Thomas Meeker

Carla Gannis

Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas

40 x 30 inches

The Trial of Anne H.

Gannis_Trial_of_Anne_H.jpg
Ophelia.jpg

Ophelia

Ophelia is both a PHSCologram in which the body of a naked woman drifts at the bottom of a sea littered with refuse and drifting fragments of plastic bags. Although visually this plastic waste is seductive, softly reflecting light, these are nevertheless Pelagic plastics, non-biodegradable, now littering our oceans to a life-threatening degree. Ophelia is therefore an ode to loss, not just of youth and love as in Hamlet, but also to our own natural world and the possibility of living harmoniously within it.

Ophelia, 2008
Ellen Sandor & (art)n: Chris Kemp and Thomas Meeker

Claudia Hart

Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas

40 x 30 inches

future, perfect

ARTN_Future+Perfect.jpg

Future, Perfect, 2008

Claudia Hart
Ellen Sandor & (art)n: Chris Kemp, Mike Siegel, and Chris Day

Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas

20 x 24 inches

Future Perfect plays with multiple references to the Utopian Modernism of the past, established by the Bauhaus in Germany and Chicago, referring to a time when technology aspired toward an egalitarian society, far removed from the contemporary reality of rapid technological innovation that seems to stoke endless fashion-based marketing.

In this scene, a virtual model of Kiki of Montparnasse, who was a painter, performer and muse of Man Ray and Brassaï, 20th century photographers and technological pioneers, reclines upon Mies van der Rohe's Barcelona daybed in the corner of the Farnsworth House, juxtaposed with a self-portrait by Ilse Bing.

Conceptually inspired by the black-and-white distortions of André Kertész, including the famous pose in "Satiric Dancer" in which a woman twists like a human pretzel, this Kiki is meant to be both beauty and beast, post-Modern and perhaps post-Human, in reflection of the chaotic times in which we live.

While Man Ray photographed glamorous actresses like Ava Gardner when he lived in Hollywood, Kiki was the icon of his masterworks. It can easily be said that she truly was the first media star, and a collaborator of the images they created together based on her vibrant persona. Photographs by Man Ray, Brassaï, André Kertész, Ilse Bing and Imogen Cunningham from the Richard and Ellen Sandor Family Collection were used for background research for this project, along with a photograph by Bill Hedrich of the Farnsworth House, designed by Ludwig Mies van der Rohe.

Sally C

GeroGries_SallyC.tif

Sally C, 2004
Ellen Sandor & (art)n: Keith Miller and Janine Fron

Gero Gries

Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas

30 x 40 inches

Sally B

Sally B, 2004
Ellen Sandor & (art)n: Keith Miller and Janine Fron

Gero Gries

Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas

30 x 40 inches

ARTN_GeroGries_SallyB.jpg

Towers and Bridges

Towers and Bridges, 2005
Ellen Sandor & (art)n: Nick Gaul
Miroslaw Rogala
Special thanks to Outerpretation, Inc.

40 x 30 inches

Virtual Photograph/PHSCologram: Duratrans, Kodalith, Plexigla

This work embraces the notions of virtualization, panorama, symbolism, scale, and interactivity to create three virtual towers. Has human nature changed in twenty-five hundred years?

The Tower of Babel expressed duration of time and transition. The tower climbs up to define humankind in terms of the ability to recognize each person s own power and struggle to achieve this. It is a metaphor for contemporary life for the individual to achieve greatness through his actions. A tower represents aspiration: it can always go higher, The destruction of a tower is the destruction of a dream.

Yet a tower is hierarchical: is higher better? In a vertical panorama, does hierarchy exist? Is the highest pixel the best pixel? Has human nature changed in one hundred years?

Bridges represent communication in our present 21st century—a merger of the past, present, and future. The bridge is a negotiation between power and control. Like the tower, it is optimistic: the two sides of the river, or cliff, or overpass can be joined. The two vertical towers depicted are individual monuments aiming for vertical panorama, expressed by poses while morphing and being animated. The imaginary third tower consisting of text and the two disjointed sections of a monitor transmitting fire spanning the center represent a virtualization—a highway dividing the streams of text, and a bridge across the centuries. Issues of power and control are further explored in the depiction of the Berlin Wall and surveillance by helicopters. One may think that the Berlin Wall was a temporary existence; younger generations may observe it as a virtual phenomenon. Contrasts are represented by the chance of continuation and the unpredictable destiny of extinction; e.g., the slower deterioration of monuments such as Stonehenge and the immediate destruction reflected by the exploding tank and blazing fires. Will human nature change in twenty-five hundred years?

The bridge (Brooklyn Bridge) represents passage of time, not of value the Twin Towers in the background ask the question: is it worth it to build more towers while bridges are deteriorating and collapsing?

If bridges create the network between towers in the physical world, towers create the network for the virtual world—the broadcast tower, the satellite tower, the cell-phone tower. As towers become higher and higher, do they reduce the need for bridges between them, or do they intensify that need? Will the future be a network of towers, interconnected by bridges? Are bridges our new communication tools? Are new communication tools our bridges?

Bridges can connect us, bring us together, and allow us to cross an obstacle. Somewhere on this highway running through us is the pixel between the past and the future, between adversity and hope, between survival and disappearance; its pavement is the new digital canvas on which we map our lives.

Time Gate

ZhouBrothers_TimeGate.jpg

Time Gate, 2004
Ellen Sandor & (art)n: Keith Miller

Zhou Brothers

Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas

30 x 40 inches

New Beginnings

ZHOU_NewBeginnings.jpg

New Beginnings, 2004
Ellen Sandor & (art)n: Keith Miller

Zhou Brothers

Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas

30 x 40 inches

Political Agenda

Csuri_PoliticalAgenda.tif

Political Agenda 1999
Ellen Sandor & (art)n: Fernando Orellana, Nichole Maury and Janine Fron

Charles Csuri and Matthew Lewis, ACCAD, The Ohio State University

Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas

30 x 40 inches

divided we speak

A unique collaborative study in sculpture, photography, sound, and poetry, based on an audience interactive media symphony in six movements by Miroslaw Rogola and collaborators. Commissioned and shown by the Museum of Contemporary Art, Chicago in the Fall of 1997. Interactive poetry and music installation by Rogola, Jennifer Gou, Ken Nordine, Steve Boyer, and Mac Rutan.

SKETCH i

Sketch II
SketchIIanim.gif

SKETCH ii

Virtual sketch III
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SKETCH iii

DIVIDED WE SPEAK: Virtual Sketch I, II & III, 1997

Ellen Sandor & (art)n: Stephan Meyers and Janine Fron

Miroslaw Rogala

Alan Cruz, Electronic Visualization Laboratory, the University of Illinois at Chicago

Interactive PHSCologram Installation: (3) 30 x40 inches 

Virtual Photographs/PHSColograms: Duratrans, Kodalith, Plexiglas

Fragments of the Past

Fragments of the Past, 1995

Charles Csuri, Matthew Lewis, & Steve May, ACCAD, The Ohio State University
Ellen Sandor & (art)n: Stephan Meyers, and Janine Fron

Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas

30 x 40 inches 

 

renewal

Renewal, 1995

Charles Csuri, Matthew Lewis, & Steve May, ACCAD, The Ohio State University
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron

Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas

30 x 40 inches 

Ryan's Hand

From the film "Ryan," directed by Chris Landreth, produced by Copper Heart Entertainment and the National Film Board of Canada.  Ryan is an animated tribute to Canadian animator Ryan Larkin for which Landreth won the Oscar for Best Short Animation in 2005.

Ryan’s Hand, 2006
Chris Landreth
Ellen Sandor & (art)n: Chris Kemp and Janine Fron

Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas

20 x 24 inches

Bingo

ARTN_Bingo.jpeg

Bingo, 1999
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron

Chris Landreth

Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas

30 x 30 inches

the end/Film Still II. Female

EndFemale_980.jpg

The End/Film Still II, Female, 1993
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron

Chris Landreth & Charles Tappan

Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas

(10 x 8), (30 x 30), (48 x 40) inches

PHSCologram: Iris, Kodalth, & Plexiglas tiled mural

(6) 24 x 20 inches

the end/Film Still II. Male

landreth_endfilmstillmale.jpg

The End/Film Still II, Male1993
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron

Chris Landreth & Charles Tappan

Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas

(40 x 30), (24 x 20) inches

Virtual Bust/Franz K.

Landreth_FranzK.TIF

Virtual Bust/Franz K., 1993
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron

Chris Landreth

Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas

(10 x 8), (30 x 30) inches

Virtual Bust/Genie

Virtual Bust/Genie, 1993
Ellen Sandor & (art)n: Stephan Meyers, Janine Fron & Craig Ahmer

Steve Glenn & Mike Fusco, SimGraphics

Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas

30 x 30 inches

Genie.jpg

Virtual Bust/Dynamation Man

Genie

Virtual Bust/Dynamation Man, 1993
Ellen Sandor & (art)n: Stephan Meyers, Janine Fron & Craig Ahmer

Steve Glenn & Mike Fusco, SimGraphics

Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas

30 x 30 inches

DynamationMan_980-1.jpg

Virtual Bust/Roscoe

ARTN_Roscoe.jpg
Roscoe

Virtual Bust/Roscoe, 1993
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron 

Brad DeGraff

Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas

30 x 30 inches

Media Marionette Character Sketch

Media Marionette Character Sketch, 1997

Ellen Sandor & (art)n: Stephan Meyers & Janine Fron

Todd Alan Harvey, Rhythm & Hues

vintage rotated PHSCologram: computer interleaved Duratrans and Kodalith films mounted on plexiglas

24 x 20 inches

MediaMarionette_980.jpg
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