Trickster Gallery, Schaumburg

February 3rd, 2012

Trickster Gallery, Schaumburg
Trickster Gallery, Schaumburg

Last Saturday I visited the Trickster Gallery for the first time. It’s right across the pond from the Schaumburg Library and has been for 7 years. I hit the Schaumburg Library almost every week but never took the time to visit Trickster Gallery. The space it occupies was originally a gym which was then taken over by the city of Schaumburg who then leased out the space (for a dollar a year I think) to an art gallery. They weren’t able to make a go of it and closed. The Trickster Gallery moved in and opened in 2005. Its stated purpose is to support the Arts Department of the American Indian Center of Chicago.
According to the Trickster web site:

Trickster Gallery is the only Native American owned and operated arts institution in the State of Illinois and is dedicated to providing space for first-voice arts. The Gallery features contemporary Native art (post 1960s) and augments exhibits with film screenings, featured speakers, panel discussions, school tours and educator workshops.

As a side note, my Mother’s Father’s Mother was a Cherokee from Alabama. She was born during the Civil War and my Mother remembered as a child her Grandmother telling her stories about what life was like during Reconstruction.

Trickster Gallery exterior, Schaumburg
Outside the Trickster Gallery, Schaumburg

At the time of my visit, there were three exhibits. The first consisted of a show of black and white photography by Michael Wesley.
The second exhibition was a Day of the Dead art show featuring the work of several artists. Two very large artworks were wall murals. The most impressive art in this exhibit was a large tree of skulls mural painted by Emmanuel White Eagle. The third exhibit, which occupied the entire second floor, was of framed bead work by Douglas Limón of Limón Fine Art.

The gallery also is home to a small gift shop. Admission to the gallery is free but visitors are encouraged to make a donation to support the gallery.

Trickster Gallery
190 S. Roselle Rd.,
Schaumburg, IL 60193 ·
847-301-2090
www.trickstergallery.org

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New Algorithmic Art and a Processing Tutorial

January 30th, 2012

Aftermath Digital Painting
Aftermath Digital Painting, 32 x 16 inches

All in all this has been a very good day. It started too early when my alarm went off at 6:00am. While fixing my son’s lunch, I hit upon the following limerick, a testament to having gotten too little sleep (I didn’t go to bed till after 1:00am):


My alarm goes off at six o’clock
It always comes as quite a shock
There in bed I wish to lay
But I have to rise and face the day
Gee I hope I don’t get artist’s block

Seeing my son off to school and with coffee in hand I settled in at the computer. I began by putting the finishing touches on the web pages for my series of five works of algorithmic art titled Cubic Disarray. Fortunately most of the work was done for me by a program I wrote to fill in a skeleton art gallery web page with the relevant data from a control file. This program also produces the XML entries for my sitemap.xml and newsfeed.xml files. The five works in the Cubic Disarray series are:

Cubic Disarray: Division algorithmic art
Cubic Disarray:
Division

Cubic Disarray: Bisection algorithmic art
Cubic Disarray:
Bisection

Cubic Disarray: Impending Unity algorithmic art
Cubic Disarray:
Impending Unity

Cubic Disarray: Point of Radiance algorithmic art
Cubic Disarray:
Point of Radiance

Cubic Disarray: Turbulence algorithmic art
Cubic Disarray:
Turbulence

When I decided yesterday that I was going to add these to my web site and make them available for purchase, I knew that I wanted to give credit to Georg Nees, whose work Schotter was the inspiration for my series. My idea quickly snowballed out of control. My first impulse was to just give a line of credit on each page. My next impulse was to create a web page dedicated to Schotter (German for gravel). I then decided to write a program using Processing that would recreate Schotter. Once I had the program written, it seemed only natural to turn it into a tutorial.

This morning I finished work on the tutorial and published it, along with the Cubic Disarray series to my web site. Included in the tutorial are a side by side comparison of Nees’ original Schotter and the Processing recreation. If you are a Processing user or are just curious to learn about algorithmic art, then check out my Georg Nees, Processing, and a Schotter Tutorial

In other good news I heard from an art gallery in Chicago today that is interested in my art. Hopefully we’ll be a good match for each other. Right now some of my space art is being exhibited and is available for purchase from Paper Crown Gallery located in Arlington Heights.

Lastly and best of all I completed two digital paintings today. Now one of these, titled City Lights, I started today and finished today. The other painting, titled Aftermath, I only finished today. Believe it or not I actually began this piece in April 2009 and last worked on it in April 2009. For almost three years this piece sat collecting electronic dust before I quite by accident rediscovered it earlier today. At 16 x 32 inches, Aftermath is one of my larger pieces and I have used it to illustrate this post.

So today was definitely a day without artist’s block. But who knows what tomorrow holds.

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New Art

January 6th, 2012

Autumn Mountains Digital Art Painting
Autumn Mountains Digital Painting

I last wrote about my creating a database for my art (see Creating An Art Inventory). As a part of that process I made a New Year’s resolution to get all my art added to my web site. Given the large number of digital paintings that I have to add, I decided to write a C++ program to create the needed gallery pages. The program works by pulling the relevant data from a control file created from my art inventory and writing that information to a skeleton gallery page. I’m happy to say it worked like a charm.

The first two paintings I’ve added are:

Autumn Mountains digital painting
Autumn Mountains
Portrait of Amie digital painting
Portrait of Amie

Portrait of Amie (a cropped version is shown here) is the final version in a series of paintings I made while developing and testing a digital painting program that employs what I refer to as an algorithmic paintbrush. This painting was particularly challenging because not only was I developing a work of art but I was simultaneously developing the painting program to create that art.

Autumn Mountains came to me unexpectedly. I was flipping through my copy of The Atlas of Middle Earth and paused on a page with a map of Ered Luin (Blue Mountains) and Grey Havens. It brought to mind the line art of J. R. R. Tolkien used to illustrate my very old copy of The Lord of the Rings. With that style in mind, I created the foreboding, fantasy landscape Autumn Mountains. Note that a wallpaper sized version is available from the Autumn Mountains gallery page.

More art to follow so stay tuned.

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Creating An Art Inventory

December 28th, 2011

Portrait of Amie Digital Painting
Portrait of Amie Digital Painting

Last week I began work on creating a comprehensive inventory of my art. My first pass is to create my inventory in a spreadsheet format using OpenOffice Calc. Subsequently I expect to migrate to a database format using MySQL.

Previously my art inventory system was quite informal and inconsistent. The only formal inventory I had was of those limited edition prints that had been either exhibited or sold. That inventory, maintained in spreadsheet format, was necessary in order to provide each print a unique inventory number for use with the Certificate of Authenticity that accompanies each of my original prints.

Separately my only other inventory consisted of the information associated with the web pages for the art that is on my web site. As of this writing there are a total of 58 of my works of art exhibited on my web site.

My initial pass at an inventory wound up with 107 items being cataloged - which does represent a substantial portion of my formal output. By formal, I mean art that is destined to be framed, exhibited, sold. Excluded from this process is:

  • the net art I’ve created to illustrate my web site and blog posts (see the Web Art Gallery for some examples of this art);
  • wallpapers I’ve created for sharing (see Free IPAD Algorithmic Art Wallpaper Gallery);
  • art I created as a part of experimenting with different styles of digital painting.

This inventory made it very obvious that I have much work to do in getting my art into my web art gallery since just 58 of the 107 artworks, 54 percent, are currently exhibited on my web site. And of course my inventory is not yet complete.

The initial fields of my art inventory spreadsheet are:

Painting Title
Artwork title
Gallery Directory
Directory name on hard drive of the gallery directory.
Artwork Directory
Directory name on hard drive of artwork directory inside gallery directory.
URL
Address of the gallery page - empty for art not on web site.
Date Created
Date artwork created.
Subcategory
Photographic, Digital Painting, 3D Render, etc.
Paper Type
Paper type to be used for original limited edition prints.
Edition Size
Maximum umber of original prints to be produced.
PPI
Pixels per inch setting for printing
Pixels Wide
Image width in pixels
Pixels High
Image height in pixels
Inches wide
(calculated PPI * Pixels Wide)
Inches high
(calculated PPI * Pixels High)
Matted Size
Used to determine frame size needed.
Square Inches
Size of art in square inches (calculated inches wide * high)
Price
Print Price
Price/in2
(calculated Price/Square Inches)
Notes
Comments as needed

Once complete, my goal is to convert the two spreadsheets - the main inventory spreadsheet and my Certificate of Authenticity spreadsheet - into two tables in a relational database so that I will be able to cross reference the two.

The Illustration

The digital painting used to illustrate this post is a very tightly cropped version of a larger painting created as a test of a digital painting program that I have been working on. Titled Portrait of Amie it is based on a photo of a friend.

Closing Quote

Composition is the artist’s method of organising a subject, of deciding what to put in and what to leave out in order to make an effective picture. - Mary Acton

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The Gift of Art for Christmas

December 14th, 2011

Art Institute of Chicago, circa 1910
Art Institute of Chicago, circa 1910

Christmas is almost upon us and that means gift giving. If you’re like me you probably have not done your Christmas shopping yet. Now I live near Woodfield Mall in Schaumburg but I try to stay away as the mall is overrun by hordes of shoppers from Thanksgiving to Christmas. In fact they even bus people in from out of state.

Shopping online is a great alternative to the challenge of brick and mortar shopping. I’m guessing that when most people think of shopping online they think of Amazon.com but there are some great alternatives out there. The alternatives I’m thinking of are some of our nation’s leading art museums. Many art museums have their own online stores where shoppers can purchase some rather unique gifts. So arranged alphabetically, here is a list of 13 art museums that have an online store. I’ve included the museum’s city location for those museums that don’t include that in their name.

13 Art Museums with Online Stores

So consider giving the gift of art this Christmas. And don’t forget to get yourself a present while you’re at it.

Merry Christmas, Jim

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Digital Art and Unintended Consequences

December 12th, 2011

Example of unintended consequences in digital art
An example of unintended consequences in digital art

Yesterday I was working on an image processing program to use as a part of my art creation workflow. I was writing a program to texturize an image so that I could incorporate the output as a layer in a Photoshop document.

As a part of the development process, I decided to use as the source image the painting Paris Street, Rainy Day by French artist Gustave Caillebotte. This is the same image that I used to serve as the "discovered" painting for my article and applet Particle Painting: Name That Painting.

To create the look I was after I needed to use the third dimension, aka the z axis. The addition of the z axis made it possible for me to use that axis as the source of distortion while keeping the correct color information in the x,y plane. Using 3D also allowed me to rotate the image relative to the "camera" thus introducing another level of distortion.

All was going well until I made one small change to the variable I was using to control the distortion along the z axis. This single change took what had been output that was recognizable as the source image and produced an image that was completely unrecognizable. I’ve used a cropped version of that output to illustrate this post. Below is a side by side comparison of the source image that my program used as input and the resulting output.

Caillebotte's Paris Street, Rainy Day before and after
Caillebotte’s Paris Street, Rainy Day before and after.

This can not be called an algorithmic oops or a glitch. Rather it is a case of parametric discovery. It is this discovery opportunity, whether by design or by accident, that makes digital art such an interesting and revolutionary arena for artistic creation.

It remains to be seen whether or not I will ever make use of this program in a production environment. Even if I don’t, what I learned during the process will serve me well in the future. So remember the golden rule of digital art: never be afraid to experiment.

Ad Astra, Jim

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The 2011 Windycon Science Fiction Convention

November 10th, 2011

Madame Machine
Madame Machine digital painting

November means that it’s time for the Windycon Science Fiction Convention. In addition to participating in the con’s programming, I will also have some art in the convention’s art show. Even though the art show set up is tomorrow, I have yet to decide which pieces I will show. Off the table is my astronaut art, which is available for purchase locally only through Paper Crown Art Gallery.

Friday night (11/11/11) at 9:00pm I’ll be attending the Art Show Wine and Cheese Reception. This is a great opportunity for convention goers to nibble on various cheeses, drink some wine, and talk with the artists whose art is in the show. Note that this is the only time that food and drink are allowed in the art show.

On Saturday at 11:00am I’ll be moderating the panel Online Portfolios. The panel is described in the program book as follows:

Should you use a photo hosting site like Flickr? Or would an artistic community like Deviant Art be better? Are there benefits for using a paid service over a free service? Join us while we discuss the pros and cons of the different options.

Joining me will be co-panelists Lucy Ayyat and Deb Kosiba. Anyone interested in exhibiting their art or photography online should attend this panel.

At 3:00 I’ll be doing a space exploration panel. My co-panelists for the Not Dead Yet: NASA’s Upcoming Missions, Despite Public Belief There Will Be No More will be friend Christian Ready, friend and fellow National Space Society director Jeffrey Liss, friend and fellow member of the Chicago Society for Space Studies Bill Higgins. This promises to be a very interesting panel and one that I am really looking forward to. There is sure to be lively debate on the future of NASA given the budget deficit and national debt crisis.

At 5:00pm on Saturday I’ll be doing a combination presentation and tutorial. Titled Processing for Artists and Photographers, I’ll be explaining what Processing is (an open source digital creativity platform designed to be a programming platform friendly to non-programmers) and demonstrating a number of different programs that I’ve written.

The Illustration

The artwork that I am using to illustrate this post is a tightly cropped version of Madame Machine (the original is 11 by 14 inches). If you’re familiar with the classic science fiction film Metropolis, you will know that in the movie the Man-Machine assumes the guise of the fair Maria. Thus, outwardly, the Man-Machine becomes a She-Machine. This is one of the works of art that I will be bringing to the Windycon Art Show, most appropriate for a science fiction convention. Unfortunately I have not added this art to my web site yet.

Reference Links

See you at the con. Jim

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The Art Exhibit, Art Gallery, Art Talk, and Algorithmic Art Tutorial

October 7th, 2011

Artist Mark Rothko and selected art works
Artist Mark Rothko and selected art works

It has been a busy week for me on the art front. The week began with my installation of nine of my art works at the Buehler YMCA in Palatine IL. Buehler YMCA is the second largest YMCA in Illinois with some 17,000 members. My art will be on display there through the end of the year. Art Exhibit at Buehler YMCA.

I delivered three of my space art works to the Paper Crown Gallery in Arlington Heights, IL. This soon to open gallery has a large exhibit space with a business plan that is not typical of other art galleries. Given the timing of the gallery’s opening - in the face of the threat of a double-dip recession - their novel business plan may be a recipe for success.

I attended the lecture Seeing Red: The Art and Life of Mark Rothko presented by art historian Jeff Mishur. The lecture title fragment "Red" is from the title of the Tony Award-winning play Red currently showing at the Goodman Theater. With respect to the lecture, while it provided biographical background on Rothko, the emphasis was on the development of Rothko’s signature painting style. So yes I spent the evening looking at lots of paintings of colored rectangles (see the image illustrating this post above). Frankly Rothko’s style has never appealed to my sense of aesthetics. The play Red at the Goodman Theater.

I also added a tutorial on using recursion to create algorithmic art to my web site. I used the Processing platform for the tutorial and provide the source code. This tutorial is an expanded version of a tutorial I wrote earlier this year which was published in CMD Journal. Tutorial: Recursion and Algorithmic Art Using Processing

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Contemporary Art Vanity Art Book

August 21st, 2011

So many art books
So many art books

I recently received the following email from Julia Adison, Assistant curator, I.C.A. Publishing:

ICA Publishing is accepting submissions for the third volume of International Contemporary Artists. This publication will feature works which offer a unique sensibility and approach to art. It will be an exploring journey to painting, photography, sculpture and other media with the most talented artists all over the world creating works and experimenting with new innovating techniques.
This book will provide an in-depth look at global culture of visual arts, appealing to established and emerging artists opening out the world of visual arts to a wider audience.
All artists interested in participating should send 4-5 images of their work in jpg format and a short statement or essay, no more than 100 words by email.
The book will be published in the end of October.
Further information about the book can be found here: www.incoartists.com

I visited their web site and noted the following stipulation regarding artist inclusion in the book:

There are no participation or entry fees.
The only requirement is to buy two copies of the book.

Ah - the catch. The artists are required to buy two copies of the book. Since artists must buy the book in order to participate that makes this a vanity book. Searching, I found that the previous edition listed as being $120.00. Assuming the same price for this volume and no discount, that means a potential outlay of $240 on the part of the artist. Assuming that they get at least as many participating artists as in the last edition (287) that means the minimum revenue for the publisher will be $68,880 (287*120).

Another item I noted was that the editor for the book is listed as Eve Lemonidou and the book publisher is listed as Lemonidou Eve. In other words the editor is self-publishing the book. There is nothing wrong with self-publishing but self-published books just don’t have the same impact as book published by a recognized publishing company.

Contrast the International Contemporary Artists example with the Expose series of books published by Ballistic Publishing. Artists who are chosen to particpate receive a complimentary copy of the book. In this case, the artist actually comes out ahead in that they get a free book! What this tells you is that Ballistic Publishers is relying on their ability to market and sell the book to the general public in order to cover their costs - including the costs of providing free copies of the book to all participating artists. What this also indicates is that the audience for the International Contemporary Artists book will most likely be limited to the artists who buy the book and the folks whom they show the book to. Another data point for an interested artist to consider is that at the time of this writing the Amazon Bestsellers Rank for the second International Contemporary Artists book is 1,707,199 while the rank for EXPOSE 9 is 230,082 and 279,003 for EXPOSE 8.

My advice for artists who are considering participating in this project is this: take your money and publish your own book! There are many print on demand publishers and it’s a pretty competitive market space. For more information on print on demand photo book publishers, see my review of the article “Closeup: Photo Books On Demand in my blog post American Photo Issue Review. Here is an example from one publisher I checked: for an 8.5 x 11 paperback book that is 20 pages long I could buy 16 copies of my book for slightly less than I would pay for two copies of the International Contemporary Artists book - again assuming a $120 per book cost to the artist. And if you want to you can sell your book on Amazon by using Amazon’s CreateSpace service.

So I have decided not to particpate in the offer to be in the International Contemporary Artists book. Of course other artists may think differently and decide that paying to be included in the book is worth the expense.

Note: there is additional commentary about this at MESART Scam and Hoax List.

The Illustration

The illustration is of bookshelves translated, transformed, and slightly distorted using Photoshop. Nothing serious - just playing around.

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2011 DucKon Science Fiction Convention

June 18th, 2011

Duckon 2011 Opening Ceremonies Guests of Honor
DucKon 2011 Opening Ceremonies Guests of Honor

Yesterday morning I arrived at the DucKon Science Fiction Convention in Schaumburg to set up for the art show. Because of everything else that is going on just now, I did not decide until the last minute to participate in the convention’s art show. I had committed months ago to participating in the con’s programming but held off on deciding about the art show.

I did not bring very many pieces to hang in the art show. The pieces that I did bring for the show are:

Looking over the list I’m pleased to say that 4 out of the 5 are actually on my web site. Typically fewer than half are.

This morning (Saturday) I’ll be heading back to the convention. This will be my busy day as my presentation and all my panels are scheduled for today. My line up is:

It Started With The Hubble: A 20 Year Retrospective Of The Manned Space Program
A panel discussion overview of the past twenty years of the shuttle program, from the Hubble Space Telescope to the International Space Station.
For my part, I do hope to actually talk a little about the Hubble Space Telescope, which presents us with two very different categories of impacts. The first is the impact Hubble observations have had on our understanding of the universe. These impacts include a much more accurate measure of the Hubble Constant - which tells us about the age of the universe; the presence of super-massive black holes at the centers of galaxies; and the strange matter of dark energy and the accelerated expansion of the universe. The second area is the area of astronomical art aesthetics and the impact that Hubble’s observations have had on how astronomical art is portrayed.
Space 2031
In twenty years will there be a Chinese base on the moon? Will American astronauts be buzzing near-earth asteroids? Just where, in space, will we be in twenty years. This panel discussion will explore what our future in space may be.
Audio Interactive Art: Science as Art
My talk’s title is actually Live Art and combines a presentation about the tools of new media art with a dash of computer art history followed by audience participation in the creation of several works of digital art through the use of sound. More about this and some of my other presentations can be found on my Art Lectures page.
Privateers In Space!
With NASA’s attempts switch to private companies to provide launch services, Virgin Galactic’s sub-orbital flights, and Google’s Lunar “X Prize”, start-up companies are jumping at the chance to get into space. Where will this lead us over the next 20 years?

So today promises to be a busy day at DucKon. FYI, DucKon’s Guests of Honor this year are:

  • Literary:Tamora PierceWebsite
  • Artist:Ursula VernonWebsite
  • Filk:Gary HanakWebsite
  • Filk Fund Guests:Nate and Louie Bucklin
  • Fan:William and Trudi Puda
  • Writer:Shirley DamsgaardWebsite
  • Science:”The Last Shuttle Team”Website

If you’re attending the con, don’t forget to check out the art show.

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