Self Portrait Machine, by Jen Hui Liao, is part of an exhibition at the Royal College of Art. The machine takes a picture of the subject and then mechanically renders it. The subject’s hands are “cuffed” to the machine (as pictured below) and then robotically guided across the paper. I like the retro-Cyborg aspect of this piece. You can see a video of the process here. (Via We Make Money Not Art).
And then there’s the Human Printer. From the website:
“The Human Printer creates unique, individual images each time it prints. Following the same process as a digital printer, the humanprinter generates the printed product by hand. Throughout the printing process the humanprinter assumes the role of the machine and is therefore controlled and restricted by the process of using CMYK halftones created on the computer.”
Email these folks with your jpegs, and they’ll output black and white or color images for you, and post them on their blog. (Via The Daily What).
*CAA Study finds over-reliance on part-time faculty in American higher education.
*New York Times looks at how artists are adjusting to economic hardship.
*Edward Winkleman asks his readers why the view that art is ‘unmasculine’ still persists?
*Chicago artist and illustrator Lauren Nassef’s “A Drawing a Day” still going strong.
*Joanne Mattera bites back after receiving a cease and desist letter warning her not to write about vanity galleries (a.k.a. ‘pay to show’ schemes).
*Chicagoist’s report on the Society for News Design’s conference and discussions about what’s happening in the Chicago journalism scene. Very interesting write-up here, including follow-up comments.
*”The practice of art gets the criticism it deserves”–Great piece on how the internet is changing critics and art criticism by John Haber.
*Another good read on the above topic: “Arts Writing and ‘The New Thing’” at Peripheral Vision. (Meg has also twittered numerous of-the-moment links on the topic of arts journalism this past week, make sure to check those out too).
That’s all for now. I’m off to see Several Silences at The Renaissance Society.