Artbrain Editions

WARREN SACK

Artist’s statement
The Conversation Map is a system for summarizing and visualizing large volumes of email. This image is a visual summary of about 1300 email messages posted to the Usenet newsgroup comp.ai.neural-nets in April
2002. You can access the Conversation Map online at this URL:
http://techne.sims.berkeley.edu/cainnapril2002.html

Bio
Warren Sack is a media theorist and software designer. Before joining the faculty at UC Berkeley in 2000, he was a research scientist at the MIT Media Laboratory and a research collaborator in the Interrogative Design Group at the MIT Center for Advanced Visual Studies. He earned a B.A. from Yale College and an S.M. and Ph.D. from the MIT Media Laboratory. More on his work can be found here:
www.sims.berkeley.edu/~sack

WARREN SACK
The Conversation Map Postcards, 2002
Sale price per postcard $5.00

SUZANNE ANKER

Artist’s statement
The Butterfly in the Brain series continues Anker’s investigation into the visualizing techniques available through high technology simulation such as the microscope and the telescope. This work focuses on a dialogue of signs within the symmetrical (or virtually symmetrical) structures of the butterfly and the brain, both of which possess an axis copy. Using neurological maps as well as charts of urban sprawl, Anker plots the shape of a butterfly in each pattern. Constellations emerge from these distinct models calling into question the ways in which biological form is replicated in the cultural domain.

Bio
Suzanne Anker is a visual artist working with scientific iconography in the realms of genetics and neuroscience. Her work has been exhibited both nationally and internationally in such venues as the J.Paul Getty museum, the Smithsonian Institute, the Philips Collection, the Walker Art Center, the Museum of Modern Art in Japan among others. Her work is represented by Universal Concepts Unlimited in New York City.

SUZANNE ANKER
Butterfly in the Brain, 2002
Piezo-Dye Prints
13.25 x 13.75 inches

SUZANNE ANKER
Urban Sprawl (a subset of the Butterfly in the Brain) , 2002
Piezo-Dye Prints
18.125 x 18.75 inches

ALAN MOONAN BRUTON

Artists Statement
“Space of the Psyche”
If presented with ten slices of a brain, knowing that each of them is a sequential section of that brain, you can imagine how you might you go about reconstructing the brain's entire form from these sections.
What, then, if you were presented with sectional representations of a psyche, could you similarly construct a form for that psyche?
This is the question posed by architect Alan Moonan Bruton in his Space of the Psyche project, inspired by research into the history and structure of the Rorschach Ink Blot Psycho-Diagnostic Test Series.
The Space of the Psyche project proposes a structured formal template for a psyche, associating it with the form of the brain. The operative hypothesis in the project is that the 10 standard ink blots in Dr. Rorschach's test series can be seen as sequential sectional representations of a psyche, a conjecture inspired by Dr. Rorschach_s writings on his development of the series.

The project develops a materialistic view of the psyche, taking it out of the realm of the psychological and placing it within the realm of the authored, perceptible, and affective artifacts of culture.
As the primary generative medium of the project is video, the project can be seen as a "concrete video" played in space. Constructed using digital topographic, modeling, image analysis, and film editing tools, the Space of the Psyche Project consists of video, models, and drawings describing a contiguous set of nine spatial modules. Each module defines the space between two of the 10 blots, utilizing these blots literally as Construction documents.

The project_s intention is the structuring of a space into which one could project oneself to think reflectively about the interactions between self, space, memory, and the mechanisms of perception and projection.
©1997-2002 Alan Moonan Bruton

Bio
Alan Bruton practices architecture in New York City. He founded the studio Section-A in 2000 after a decade of working with architects, exhibition designers and artists in New York, Dallas, and Detroit. He has worked with such notables as Maya Lin, Richard Gluckman, Agnes Denes, Edwin Schlossberg, Dan Hoffman, Rem Koolhass, and was most recently with Architecture Research Office where he was the Project Architect for the award winning Times Square Armed Forces Recruiting Station. Other than the Military Industrial Complex, he has contributed to projects for Gianni Versace, the Catholic Church, Prada, the Generali Foundation, and the Dali Lama. Currently he is designing a studio compound for the artist-writer-historian Richard Kostelanetz at New York’s Atlantic shore--the Rockaways. With his Masters in Architecture from Cranbrook Academy of Art, Alan Bruton is committed to practicing architecture critically and in constant dialog with practitioners in other modes of cultural production.

ALAN MOONAN BRUTON
Psyche - Dorsal View, 2002
Iris Print on Arches Watercolor Paper
16x20 inches
Edition of 25
Price per print $300

CHERYL COTMAN

Artist’s statement
Each drawing entitled, "Auditory and Visual Methods for Examining Patterns in Rhythmic Network Activity", is a graphite transcription of the actions of a laser pointer throughout a presentation from a lecture on the visual and sound products of network activity of the brain. Video was taken as the lecturer discussed the process and methods of understanding through sound and vision the electrical data of a region of the brain, the hippocampus. To ensure a greater degree of accuracy the video was slowed, projected and the laser path drawn on paper. The course of a laser pointer during a lecture is not only indicative of the subject but also of the specific network activity of the lecturer.

CHERYL COTMAN
Auditory and Visual Methods for Examining Patterns in Rhythmic Network Activity : laser activity
2002
Graphite on paper
24 x 30 inches
Edition of 20
Price per drawing $650

ELIZABETH COHEN

Artist’s statement
The print Numbers is taken from the videotape Numbers produced collaboratively by Elizabeth Cohen and Michael Talley. In Numbers, people reflect the forces at work in our current environment, testing their circuitry as they remain continuously in training. As they arrive on camera they respond to the call of numbers and attempt to reconfigure their bodies acordingly.

Bio
Elizabeth Cohen is an interdisciplinary artist working in New York City. She has shown her work both nationally and internationally at Blum Helman Gallery, The New Museum and Franklin Furnace in NY, as well as The Rhona Hoffman Gallery in Chicago, The Davis Museum at Wellesley, The Bonner unstverein in Bonn Germany, Cimelice Castle Czech Republic, and The Bogota Film Festival. In 2001, she had 2 solo exhibitions: "Splice" at the Miroslav Kraljevic Gallery in Zagreb Croatia and "Random Access" at Sideshow Gallery in Brooklyn NY. She also received an ArtsLink Project Award. Her work is currently included in group exhibitions at Nikolai Fine Art in NYC, and a traveling exhibition currently at University Art Gallery, U Mass, Amherst . Cohen is an Assistant Professor of Art at the University of Rochester.

ELIZABETH COHEN
Numbers, 2002
Diital C print,
3 5/8"H x 29"W
Edition of 25

Cathy Lebowitz

Surplus Productions is composed of a company of individuals. It is the productive apparatus that collectively manufactures reality by working within the structure of fantasy space, in what Jameson calls the "new hyperspace." It is both the industry of cultural production of fantasy space and the object that is produced.

Collaborating on a 17-by-22-inch photograph for Surplus Productions, Jason Jones and Chris Garrison are artists from Canada who live and work in New York, and Cathy Lebowitz is a writer, artist and editor in New York.

Cathy Lebowitz

All the Important Names, 2002
C-print
17 by 22 inches
The edition number is 25
The price is $500

GABRIELE LEIDLOFF

Bio
Gabriele Leidloff works with video, film, photography and medical radiographic imaging which she transforms into film-like processes. By means of the confrontation of these imaging technologies using man-made bodies, new forms are created which challenge usual modes of seeing, question the conventional narrative structure and its mechanical speed, and unsettle visual media's claim to objectivity. She focuses primarily on the relationship between art and science. She conceptualized and launched the project l o g - i n / l o c k e d o ut, an international forum which provides a point of intersection for art and the neurosciences, http://www.locked-in.com. Her work has been on view in exhibitions at the ZKM Karlsruhe, the Martin-Gropius-Bau Berlin, as well as in various galleries and universities in Germany and the US, and has been reviewed in the magazine Kunstforum, and is included in publications by DuMont and Henschel.
Ms. Leidloff lives in Berlin.

GABRIELE LEIDLOFF
Eye Tracking , 2000
C-Print
Edition of 3, plus 2 artist's proofs
Price per print $950

SUSAN LEOPOLD

Bio
Susan Leopold is a sculptor and installation artist who lives in NYC and has exhibited extensively internationally and nationally. She is represented by Jean Albano Gallery, Chicago and was represented by John Weber Gallery, NYC, for 15 years. Leopold is a recipient of the 1989-1990 Indo-American, Fulbright Fellowships, New York Foundation for the Arts Fellowship, The Virginia A. Groot Foundation Fellowship and a commission for the Metropolitan Transit Authority, NYC. Leopold’s work has been featured on the cover of Art Forum, and reviewed in the New Yorker, The New York Times and in numerous other art publications. Her work is included in the collections of the Brooklyn Museum of Art, The Los Angeles County Museum, The Deutsche Bank, New York, First National Bank of Chicago, Biblioteca National Centrale, Firenze, among others.

"Up the Down Stairs", 2000.
The sculpture itself is a kaleidoscopic interpretation of a school stairwell. The video depicts the students' feet running up and down the stairs with their voices echoing in the background.
Materials: steel, frosted glass, mirror, cibachromes, video
Dimensions: 74 x 48 x 48 inches

Artist’s statement:
On both small- and large-scales, my work explores the shifting nature of perception and how memory transforms our experience of space. My installations and sculptures merge photographic and constructed illusions with the actual environment, establishing a simultaneous relationship between the viewer and the surroundings. These sculptures reveal my fascination with Renaissance perspective and its preoccupation with vanishing points and rationalized perspective. The steel and aluminum exteriors recall the industrialized geometry of minimalism while the fractured mirrored interiors offer a contemporary interpretation of cubistic dismantling of space. The box-like containers and their collaged interiors are reminiscent of Joseph Cornell’s magical constructions. Intimate perspectives are charted out and pieced together in the mind’s eye, raising questions about how architecture is integrated into our daily lives and personalized by human experience.

Characteristically, these photographic and mirrored constructions depict abandoned urban sites such as a stairwell in a run down apartment building or an empty subway platform. Peering into these virtual worlds the viewer might imagine an incident that occurred or is about to happen. The narrative qualities and multiple viewpoints in theses pieces are a nod to the cinema and “Hitchockesque” perspectives.
As the viewer moves past the sculpture they might catch a glimpse of their face in a strategically positioned mirror. Reflections shift and realign and the notion of one-point perspective is dismantled. The viewer is not only a voyeur but also realizes his or her own vulnerability at being watched. A corner is no longer an entrapment but becomes an expanse beyond, encouraging the viewer to go “through the looking glass.” Movement makes these pieces come alive. These works are meant to capture the fleeting, yet lasting nature of first impressions.

SUSAN LEOPOLD
Up the Down Stairs, 2002
Cibachrome
11 x 14 inches
Edition of 15
Price per print: $400

ELLEN K. LEVY

Artist’s statement
Through working with a database of actual patents provided online, I have been able to suggest a complex portrait of how learning and innovation evolve over time. These works are, in effect, models of the mind, displaying reels of information rewinding through the space of accumulated mental projections. The art works I produce are digital, narrow (8 x 88 inch) and vertically oriented scrolls. They portray a hierarchical succession of images, exhibiting data (sometimes transformed with 3DsMax), graphs and symbolic notations
My artistic process is as follows: I enter a search for patents by entering 2 terms such as “brain” and “imaging” or “recombinant” and “memory.” Many patents subsequently appear between the years 2000 and 2002. When I trace the references of some of those patents back in time, I may then locate other prior inventions related to the terms that I initially entered. The references range from inventions dealing with brain scanning equipment, to optics, to memory, and the images reference multiple cultural styles encompassing Mayan figuration to minimalism. Some of the dates of the patents cited go back to the 1800’s. This procedure can suggest how seemingly obsolete technologies can become “exapted” for new uses. Just like art works, inventions can be seen as either priceless or worthless at different times and in different contexts. By tracing the citations on a patent back in time, I then discover an entire niche of industries based on some aspect of the original entry.

Bio
Fine Artist involved with art/science interrelationships, resides NYC
Education:
BA, Mount Holyoke College;
MFA equiv., Museum School of Fine Arts in Boston
Awards:
Distinguished Visiting Fellow at Skidmore College
(Henry Luce Foundation); AICA award (for AAA show); Commission from NASA
One-person exhibitions include:
Institut Cochin de Moléculaire Génétique,
France; Associated American Artists, NY; Trans Hudson Gallery, NY; American Cultural Center, Israel; Národní technické muzeum, Czech Rep.; Galerie Wild, Frankfurt; New Jersey State Museum, NJ; National Academy of Sciences, D.C.; Chapel Art Center, Cologne, Hamburg, Germany
Public Collections include:
NASA; Newark Museum, NJ; New Britain Museum of American Art; National Academy of Sciences, D.C.; IBM, NY;
New Britain Museum of American Art, CT; SUNY New Paltz, NY
Reviews include:
Art in America, The New Yorker, The New York Times, Flash Art, Art Journal, Leonardo
Publications (self-authored) include:
Guest Editor: “Contemporary Art and the Genetic Code” CAA Art Journal:Spring, 1996, vol 55, no 1 (with B Sichel); Endeavour (book review), 2000:24(3): 137,138; “ Inner Vision:Art and the Brain,” by Semir Zeki; Leonardo (Artist's article), 1994: 27:75. “Complexity”; Perspectives in Biology and Medicine (Artist's article), 1986: 31(1): 95-106. “Monkey in the Middle: Pre-Darwinian Evolutionary Thought and Artistic Creation”

ELLEN K. LEVY
Brain + Imaging, 2002
Digital print on roll luster archival paper
88 x 8 inches (height first)
Edition of 10
Price per scroll: $800

ELLEN K. LEVY
Recombinant, 2002
Digital print on roll luster archival paper
88 x 8 inches (height first)
Edition of 10
Price per scroll: $800

CASEY REAS
Tissue Type F-00 , 2002
Archival Epson paper with archival Epson inks
11 x 14 inches
Edition of 25 with AP

Artist’s statement
The Tissue software exposes the movements of thousands of synthetic
Neural systems. Each line in the image reveals the history of one system's movement. Each system is two synthetic sensors and actuators and different relations between these elements determine how the system reacts to the stimuli in its environment. There are four different types of systems and each reacts to the stimuli in a different way. People interact positioning a group of yellow dots on the screen. By positioning and re-positioning the dots, an understanding of the system emerges from the subtle relations between the positional input and the rich visual output.

Bio
Casey Reas explores abstractions of biological and natural systems. Through various digital media including software art, digital prints, and reactive electromechanical sculpture. He has lectured and exhibited in Europe, Asia, and the United States and his work has recently been shown at the American Museum of the Moving Image, Ars Electronica, Interaction01 in Ogaki,Museum of Modern Art, and P.S.1. In 2001, Casey received his M.S. degree in Media Arts and Sciences from the MIT Media Laboratory where he was a member of John Maeda's Aesthetics and Computation Group (ACG). His research within the ACG focused on the concept and execution of behavioral kinetic sculpture. Casey is currently an associate professor at the newly established Interaction Design Institute Ivrea in northern Italy. With Ben Fry, he is currently developing Proce55ing, an environment for learning how to program interactive media. His work is represented by the Bitforms gallery in New York.
www.groupc.net
www.proce55ing.net
www.interaction-ivrea.it
www.bitforms.com

STANZA

What drew you initially to producing art for the Web? When did you start?
Stanza
My interest in music and video in the 1980's and the production of various videos and cds led me first into exploring imaging within computers and then into interactive experiments. My interest was in combining the audio and visual and my motif has been the city and its structure .This led me from video to explore cdrom initially.
However, as soon as I became aware of the web in 1995, I moved all my ideas over to the internet. And the reasons are the same as now. First as a distribution and publishing vehicle, and second to explore the parameters of the net as a medium for artistic expression. Both publishing/distribution and the technology of the web are pretty useful to me as an artist. I have been putting music online in side streaming juke boxes and allowing access to my work from a greater potential audience. And also ive been developing a number of internet specific works that exist only within an online capacity. When I came across the web, it was obvious the web was going to change some rules and I liked this.

Andrews
What are you trying to accomplish as a web.artist?

Stanza
I have a number of projects running simultaneously so I would have to be specific about each one. The ones i've worked on in the last week include sound cities and subvergence.
Subvergence is the abstracted noise based visual destruction of the browser, the desktop, and the interface. Subvergence is a new 3d interface. Within the screens it subverts and fragments the notion of our old browser. Instead we have full screen desktop takover. Subvergence scrambles the icons of the internet. The icons of the new age are our gifs and jpegs, the codes that allow us to work, the symbols of the internet. Numbers, financial information, source code , and software are all re-employed. Hidden areas and sounds as well as spoken texts open up more pages scrambling technologies and ideas. The first version allows multiple environments: subvergence.net. The version online is two years old and i've been working on the downloadable browser part people can install and run, and there are some technical issues.
I've also been working on inner city, a new cities based project for 2002. Sections inside include virosity. artitexture. blackstar. complicity. cuboxis. intoxcity. megalopolis.organicity. phyletcity.revolver. utopias. This project continues the search for the "soul of the city". The idea is to go deeper into analogies for the organic identity of the city. Inner City is an audio visual, interactive, internet art experience. The micro city becomes an organic networks of grids and diagrams.The form and content of this work is a visual world of the city and its structure. The project fuses the sounds of specific places.The sounds of language impose a rhythm that the visual narrative can interact with. This project is located at thecentralcity.co.uk and its an extension to the central city website.
As well as this is a project called soundcities, an audio project based on the visual and expressive appearances of world cities. I have spent the last year travelling to over fifteen worldwide cities. During this time I have collected and recorded the sounds from these cities. I also took thousands of photos. I have been to sao paolo, london, paris, dresden, amsterdam, saltburg, graz, rotterdam, barcelona, san sebastian, manchester, liverpool, ljubiana, frankfurt porto, and istanbul. I am interested in the sounds of specific places, and how the sounds reflect this identity and re-impose characteristics back onto the location or environment. Cities all have specific identities, and found sound can give us clues to the people that inhabit these spaces, as well as provoking us and stimulating our senses in a musical way. The sounds of language impose a rhythm that the visual narrative can interact with.
The intention within newer sections of the central city is to create an audio visual experience that evokes place, both as literal description but also developed musical composition. These are the ideas that inform my new 'soundmaps' series, and 'soundcity'. The website is a series of online mixing desks with visuals from these places. They will represent idealized aural spaces from these cities mapped onto the virtual world. I have built the mixing desk. The site will allow users to save the mix they make and unload it on to the database area where other people can listen to the results. It a sort of global world mix.
I am also working on a cd of the project. And there are some other projects—one connected with genomes, and as well as this I am always trying out new bits of code and making "paintings" for the amorphoscapes series.

Andrews
Do you surf the work of other people much?

Stanza
I try to. My interest in looking, understanding and evaluating the work of artists on the net led me to make my net art museum piece.
And I later developed my soundtoys site to further these investigations. So soundtoys.net was established to provide a space for the exhibition of exciting new works by a growing community of audio visual artists, while also providing a forum for discourse around new technologies and the nature of soundtoys. The site is a meeting point for this growing community of artists and users, and exhibits audio visual projects. The site contains areas for artists projects, interviews, links to resources, and texts by contributing writers where serious issues around interactive arts, audio visual synthesis, generative art, and a history of interactivity are discussed.
The internet has become the leading economic and artistic tool for our age. Words like 'emergence' are used to explain the propulsion of these medias into our daily lives. The site looks at the serious issues around interactive arts, audio visual synthesis, generative art, and a history of interactivity. Increasingly, a divergent group of artists are exploring, researching and playing within the parameters of soundtoys.

Andrews
What venues besides the Web do you show your work in?

Stanza
Recent Exhibitions:
Fused 2002 + Sao Paulo Bienale 2002 + Zeppelin Barcelona 2002 + Net.art in 4L Istanbul 2002 + Immedia 2002 usa + Net-working at the watershed 2001 + Soeul Net art festival 2001 + Generative Art 4th GA2001 + A Fair Place Turkey.2001 + McLean Project Casting a Net USA 2001 + Art Image Graz 2001 + Video Lisboa Lisbon 2001 + Impakt Utrecht 2001 + Medi@terra greece 2001 + Cynet 2001 Dresden + E.I.I.Festival edinburgh 2001 + Garage Festival Germany 2001 + Urban Myths.Israel 2001 Independent Newspaper best site of the week 2001. + DLUX 2001 Austrailia + Moscow International Festival 2001 + Sonar 2001 + Net-z-lab. 2001 + Vdor21/Break21 2001 + Thaw 2001 + ARCO 2001 + Transmediale 2001 + Architettura in Video 2000 + Netart 2000 + Independent Newspaper best site of the week 2000.+ Macromedia's UCON 1999 .+ BIMA shortlist UK 1999 + EMAF 1999 + Seafair.1998 + Proarte online 1997 + Department of Trade and Industry (DTI) Innovation award 1997.

STANZA
Roadroage , 2002
medium pigmented inkjet onto waterproof canvas
23 x 23 inches
Edition of 25
Price per print: $600
With stretcher: $800

MARK TRIBE
Starry Night, 2002
C-Print
20 x 24 inches
Edition of
Price per print
Artist’s statement
A collaborative net art project with Alex Galloway and Martin Wattenberg, StarryNight http://rhizome is a net art project that serves as an interface to the text archive on the Rhizome.org web site. Rhizome.org is an online platform for the global new media art community. Rhizome.org has over 12,000 members--artists, curators and critics from over 118 countries. The Rhizome text archive contains over 2,000 articles written by hundreds of Rhizome members since 1996.
Each of the stars on StarryNight corresponds to one of the texts in the archive. The brightness of each star is determined by the number of times the corresponding text has been read. Each time someone reads a text, the corresponding star gets a bit brighter. So the brightest stars represent the most popular texts.
Clicking on a star triggers a special pop-up menu. You can either click "read message," which causes the corresponding text to pop up on screen, or select a keyword associated with that text, which draws a map linking together all of the stars sharing that keyword into a constellation.
You can use these constellations to find other related texts, and in doing so, follow your interests through the vast array of ideas and information in the archive. Anyone can create a star by signing up as a Rhizome.org member and contributing an announcement, comment, review, interview or other text to the archive. And by using StarryNight, you increase the brightness of the stars corresponding to the texts you read, leaving a visible trace of your activity (intensities are updated daily, so results are not immediate).
StarryNight depends on two pieces of original software: a set of Perl scripts that sort texts by keyword and record their individual hits, and a Java applet that filters this information to draw stars and constellations. To access StarryNight, you need Internet Explorer 4.x or higher on Windows or Navigator 4.5 or higher on Macintosh.
StarryNight is both a mirror and a map. On the one hand, it offers a reflection of the Rhizome.rog community's reading habits. It is up to you to decide whether to click on a bright, popular star, or a dim one that represents a text that fewer people have read. On the other hand, it acts as a navigational interface by connecting similar stars/texts into constellations regardless of their brightness.
As interface art, StarryNight explores and extends some of the new possibilities offered by the Internet: global artistic collaboration, real-time collection and filtering of information using automated software, the integration of user-generated data such as Web site hits, and the dissolution of authorial control.Bio artist
Mark Tribe is an artist and curator whose interests lie at the intersection of emerging technologies and contemporary art. He is the founder and executive director of Rhizome.org, an online platform for the international new media art community. His latest art project, Revelation 1.0 (commissioned by Amnesty International), looks at the aesthetic armature of the Amnesty USA web site by stripping away its text and graphics, leaving only blocks of color and photographic images. Recent curatorial projects include the computer art section of Game Show (co-curated with Alex Galloway), an exhibition of artist’s games at MASS MoCA in North Adams, Massachusetts and net.ephemera, an exhibition of sketches, notes and diagrams by 25 New York-based net artists at Moving Image Gallery in New York City. Mark is currently Visiting Assistant Professor and Artist in Residence at Williams College. Prior to founding Rhizome.org, Mark lived in Berlin, where he worked as an artist and web designer. Mark received a MFA in Visual Art from the University of California, San Diego in 1994 and a BA in Visual Art from Brown University in 1990.
Starry Night , Exhibitions and Award
I.D. Magazine (Software Applications category Silver medal winner, "2001 I.D. Interactive Media Design Review"), June 2001.
New Museum, New York, November 16 - December 17, 2000
SIGGRAPH 2000, New Orleans, July 2000
ZKM (Center for Art and Media), Karlsruhe, Germany, 1999.

To purchase an edition or for further information please contact:

Warren Neidich

Nathalie Angles