ALL THEM ARTISTS from PROGRAMMED!

1. programmed

2. programmed

3. How do FREEDOM and CONSTRAINTS impact
CREATIVITY?
Miles: Money and resources and where you live. Wealthy artists can afford
more expensive materials or platforms for their work.
Eric: Connecting to Nam June Paik’s work, if he didn’t have the $$$ he
wouldn’t be able to afford all them old televisions.
Brit: the word “constraint” makes me feel bombarded, or held back.
Lauren: Limitations can help an artist become more resourceful...but as
they go along they may want to challenge themselves with newer materials.
Mena: “holding back” gives us a chance to learn about themselves
creatively. It gets them to think outside the box.
Jov! Expensive materials are wack, and boring to look at. The expensiveness
just does the work FOR them. But using small things that you don’t expect art
to be made out of...IT’S FIRE! :)
.

4. How do FREEDOM and CONSTRAINTS impact
CREATIVITY?
Eli: Freedom means you can do whatever you want, a constraint might
be holding back for someone else, or thinking from THEIR mindset.
Elly: Constraints are limiting to creativity. Whatever you make is based
on boundaries in place.
Material constraint: to challenge oneself.
Sums: Both these methods can bring about different outputs. It’s like
being “in the box” or “out of the box”
Hibbs: I think of constraints as “objectives” I don’t like too much
freedom in my artmaking, there’s too many options! Constraints are
necessary to provide direction.
Dom: Too many constraints, and you’re not making the work for YOU
anymore...

5. Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
establishes connections between works of art based on
instructions, spanning over fifty years of conceptual, video,
and computational art. The pieces in the exhibition are all
“programmed” using instructions, sets of rules, and code, but
they also address the use of programming in their creation.
The exhibition links two strands of artistic exploration: the
first examines the program as instructions, rules, and
algorithms with a focus on conceptual art practices and their
emphasis on ideas as the driving force behind the art; the
second strand engages with the use of instructions and
algorithms to manipulate the TV program, its apparatus, and
signals or image sequences.
Featuring works drawn from the Whitney’s collection, Programmed
looks back at predecessors of computational art and shows how
the ideas addressed in those earlier works have evolved in
contemporary artistic practices. At a time when our world is
increasingly driven by automated systems, Programmed traces how
rules and instructions in art have both responded to and been
shaped by technologies, resulting in profound changes to our
image culture.

6. Eric: I don’t wanna know
about this. It’s super
basic. They have lines in
different directions. That’s
it. And this is museum level
work?? Oh and adding a line
is like a new concept? Get
real. (paraphrased by Kozak)
Miles: no, it’s much more
metaphorical than that. And
those four chambers to get
through to fulfill our
lives.
Lauren: I hope you stretched
before that reach, Miles.
.
.
.

7. Sums: It’s lines.
Kozak: You’re right.
Nate: I thought the artists
in the show were going in a
different direction, but
this is just corny. I like
the idea of looking at
constraints, but this just
looks like a bad joke.
Imani: I could do this. This
is my problem with
conceptual art. You could do
anything and say the meaning
is anything.
Kozak: You could! That’s
why it’s beautiful.

8. Sol
Lewitt
Lines in four
directions

9. Sol
Lewitt
Lines in four
directions
Conceptual Art -
It’s not about the
art itself but the
IDEA behind the
art.

10. Sol
Lewitt
Wall Drawing
#391
Two-part drawing. The two walls are each divided horizontally
and vertically into four equal parts. First wall: 12-inch (30
cm) bands of lines in four directions, one direction in each
part, drawn in black India ink. Second wall: Same, but with
four colors drawn in India ink and color ink washes.

11. Sol Lewitt
Wall Drawing #85
(15 part Composite)
A wall is divided into four
horizontal parts. In the
top row are four equal
divisions, each with lines
in a different direction.
In the second row, six
double combinations; in the
third row, four triple
combinations; in the bottom
row, all four combinations
superimposed.

12. A wall is divided into four
horizontal parts. In the
top row are four equal
divisions, each with lines
in a different direction.
In the second row, six
double combinations; in the
third row, four triple
combinations; in the bottom
row, all four combinations
superimposed.
Sol Lewitt
Wall Drawing #85
(15 part Composite)

13. Sol
Lewitt
Wall Drawing #86
Ten thousand lines
about 10 inches (25 cm)
long, covering the wall
evenly.

14. Sol Lewitt
Wall Drawing #123
The first drafter draws a not
straight vertical line as long
as possible. The second drafter
draws a line next to the first
one, trying to copy it. The
third drafter does the same, as
do as many drafters as possible.
Then the first drafter, followed
by the others, copies the last
line drawn until both ends of
the wall are reached.

15. Sol Lewitt
Wall Drawing #797
The first drafter has a black marker
and makes an irregular horizontal
line near the top of the wall. Then
the second drafter tries to copy it
(without touching it) using a red
marker. The third drafter does the
same, using a yellow marker. The
fourth drafter does the same using a
blue marker. Then the second drafter
followed by the third and fourth
copies the last line drawn until the
bottom of the wall is reached.

16. Sol Lewitt
Wall Drawing
#1152
(Whirls and
twirls)

17. Sol Lewitt
Public installation

18. Sol
Lewitt
Wall Drawing #289
(4th wall: 24 lines from the
center, 12 lines from the
midpoint of each of the
sides, 12 lines from each
corner)
1976
Materials: Wax crayon,
graphite pencil, and paint on
wall.

19. Sol
Lewitt
Wall Drawing #289
(4th wall: 24 lines from
the center, 12 lines from
the midpoint of each of
the sides, 12 lines from
each corner)
1976
Materials: Wax crayon,
graphite pencil, and
paint on wall.

20. Sol Lewitt
“In conceptual art the idea or the concept is the most
important aspect of the work. When an artist uses a conceptual
form of art, it means that all of the planning and decisions
are made beforehand and the execution is a perfunctory affair.
The idea becomes a machine that makes the art.”
- Araceli: It’s 50/50, the idea needs to be installed.
- NK: 60/40, the concept is more important. Even if you have
someone to put the work up, you need the creator to come up
with an idea.
- Sara: Agreed. If you just gave people materials and no
instructions or idea...the idea is the thing that “controls”
the art.
- Eric: It’s mostly the concept that’s important...it’s
CONCEPTUAL art!
- Lauren: But you can’t just make art with a concept.

21. Sol Lewitt
“In conceptual art the idea or the concept is the most
important aspect of the work. When an artist uses a conceptual
form of art, it means that all of the planning and decisions
are made beforehand and the execution is a perfunctory affair.
The idea becomes a machine that makes the art.”
- Nate: (deep sigh), my opinion is still that the idea is cool but the art
is not cool.
- Imani: The art could be interpreted in “better” ways.
- Freddie: I don’t like his ideas, they’re weak. His idea is just having
an idea.
- Sums: We’re all judging the work on 21st century standards, but we need
to think in a 1960s mentality. We’re just looking for something
aesthetically pleasing.
- Elly: There’s too far a separation between the work and the meaning.
- Eli: I like his work. You can know everything about it step by step.

22. Sol Lewitt RESPONSES!!!
Nate: (deep sigh), my opinion is still that the idea is cool but the art is not
cool.>> WICKA: the whole point IS the idea!! It’s like the Breuer chair, nowadays
we look at it as just a chair, but at the time he created it, it was revolutionary
use of materials. >> “no”
Imani: The art could be interpreted in “better” ways. >>Jovelis: I agree, it
doesn’t draw my attention. >>Imani: “Thank you!”
Freddie: I don’t like his ideas, they’re weak. His idea is just having an idea. >>
Lauren: But he was the first person to DO this! He was the one doing some
different. Other artists were just doing things that were obvious to the viewer,
and he deconstructed that. >>Freddie. “no.”
- Sums: We’re all judging the work on 21st century standards, but we need to
think in a 1960s mentality. We’re just looking for something aesthetically
pleasing.
Elly: There’s too far a separation between the work and the meaning. >>Miles:
Nope! There is no crazy deep meaning here, it’s just an experience that you see.
>>Elly: NAH! I like art that has a “purpose” where the artist has a meaning that
“makes sense”
Eli: I like his work. You can know everything about it step by step.
- >>ERic: you’re the GOAT fo that. >>nothing.”

23. Sol Lewitt RESPONSES!!!
- Dear Period 2,
There’s different ideas behind all pieces of art..and not all artists are
conceptual artists but once an artists’ intentions are clear, which this is, we
should be able to appreciate it. (Brittany)
All art has a meaning. You can’t just assume that because something looks
“basic” that it doesn’t have an intention (Chris)
Not everyone is supposed to grasp a new work of art immediately. You need to
give it time to understand it and appreciate it in your own way. (Jovelis)
If you’re gonna disagree with us then at least give us a bit more to work
with. This class is about openmindedness...responding with “no” is just doing the
opposite. (Daniel)
I don’t know if the “feelings” or “emotions” are relevant to this work. The
objectivity of aesthetics is what’s at play here. (Breana and Eric) and it’s more
about the PROCESS to make it. You don’t need to “understand” it. You just need to
“think” about it. (Sawicka)

24. Final Thoughts on Sol Lewitt
➔ Hibbs: He finds a new way to bring math
and art together. It’s like a way to
express yourself and make guidelines that
fit yourself.
➔ Gina (ArtTech): When I saw his art in
books it seemed so simple...but seeing his
stuff in person, the scale he works
in...it’s a different experience.
➔
➔ .
➔ .

25. ➔ Jov! I don’t it, because...it’s not pretty
to look at it.
➔ Moh: I like his art at the concept behind
it. It’s not about the “art” but the
“idea.”
➔ Mena: I like how the idea is bought and
sold. Maybe you will appreciate it more
when you make it.
➔ Gayathri: OK. I’m neutral. He’s cool, and
the ideas as are revolutionary. But I’m
still not a big fan.
➔ NK: DEFINITELY OK.I like the more
mathematical pieces.
Final Thoughts on Sol Lewitt

27. {Software}
Structure #003 A
2004 and 2016
Materials:
Javascript
Casey Reas

28. {Software}
Structure #003 B
2004 and 2016
Materials:
Javascript
Casey Reas

29. Casey Reas
Casey Reas is an artist and
educator who lives in Los
Angeles. Inspired by Sol
LeWitt's wall drawings,
{Software} Structures
explores the relevance of
conceptual art to the idea of
software as art. His work
ranges from small works on
paper to urban-scale
installations and he balances
solo work in the studio with
collaborations with
architects and musicians.

30. “The idea is to
create something
which is already
a visual assault
and make it more
of a literal visual
assault.”

31. Dude’s website is FIRE!

32. OMG, WTF
1. NK: He talks about how this comes from the history
of Math...and I can see how it’s related to
Lewitt.
a. Sara: It’s related to Lewitt because they both
have that same thing with instructions, a
simple set of them...and you could follow the
same thing yourself.
2. Britt: His process is really complex. From a form
to behaviors
3. Jov: Obvs Lewitt. But I’m not sure what he’s
trying to give off here.
4. Celi: He makes it look easier than it probably is.
5. Lauren: Similar to Lewitt, he puts down all the
instructions and then it’s completely out of his
control.
6. Britt: It’s conceptual...so before you associate
how you feel with how it LOOKS, you need to take
the artist process into account.

33. OMG, WTF
1. Elly: He makes a bunch of rules for circles and
lines to follow and they end up “making” the
piece. They’re all moving. It reminds me of
pointillism.
2. Sums: The artist says “Structure emerges as they
execute their behavior.” This kind of sums (pun!)
up the process. The system keeps going until you
see an image.
3. Nate: It looks complex, but the process is kind of
simple.
4. Rose: He relies on following instructions to make
a bigger picture.

34. Sol Lewitt
Wall Drawing
#260
1975
Crayon on wall
Dimensions
variable.
Owned by MoMA

35. Sol Lewitt
Wall Drawing
#260
1975
Crayon on
wall
Dimensions
variable.
Owned by
MoMA
..

36. Casey
Reas
Sol Lewitt Wall
Drawing #358
2004 and 2016
Materials:
Javascript
Casey Reas’s Sol LeWitt Wall Drawing #358 part of his
(Software) Structures series, is a software modification of a
1981 work by Lewitt’s collaboration with Lucinda Childs and
Philip Glass on Dance (1979), on view nearby. Reas’s program
updates itself 4 times per second, displaying a randomly
selected composition of arcs. The arc, witch features
predominantly in Dance, also dominated LeWitt’s Wall Drawing
#358 and becomes a formal connection between Childs, Reas, and
LeWitt.

37. Lucinda
Childs
Dance
1979 and 2004
Materials: video, color, sound.

38. Lucinda
Childs
Dance
1979 and 2004
Materials: video, color, sound.
https://www.youtube.com/watch?v=
CByoefokGrA

39. Lucinda Childs
Lucinda Childs began her career at the Judson
Dance Theater In New York in 1963. Since forming
her dance company ten years later, she has
created over fifty works, both solo and ensemble.
In 1979 Childs choreographed one of her most
enduring works, Dance, with music by Philip Glass
and film décor by Sol LeWitt, which continues to
tour internationally and has been added to the
repertory of the Lyon Opera Ballet, for which she
has choreographed Beethoven’s Grande Fugue.

40. These three artists (Lucinda Childs, Philip Glass, and Sol
Lewitt) are all attempting to strip their artist medium down to
its most basic and essential parts (#minimalism). What can we
learn from experiencing works like this?
Alex: You can learn how automation isn’t terrible...it can
really be special and original.
Miles: You can learn the basics behind something and what goes
in to it...you can find beauty in simplicity.
Sawicka: What I’m personally learning is how we rtake the things
we see on a daily basis for granted, even if the outcome looks
so simple, we’ve gotta appreciate simplicity.
Lauren: I like how they said they weren’t “minimalists” they
were “essentialists.” how anything more or extra would just be
fluff and distract from the work.
NK: The work is what you experience, anything more is just extra
and shouldn’t be there.
Eric: I was a bit confused about it. Is it performing art? Fine
art?

41. These three artists (Lucinda Childs, Philip Glass, and Sol
Lewitt) are all attempting to strip their artist medium down to
its most basic and essential parts (#minimalism). What can we
learn from experiencing works like this?
Sums: With the combined pieces together there’s a beauty in
simplicity and a simplicity to beauty?
Rose: The “story” of the work can be distracting, so this is to
focus on the “essence” of the work.
Nate: There’s not a lot going on in these types of art.
Freddie: The artists are trying to challenge HOW we view art,
and make us more open minded. How it art can be all mixed
together.
Eli: There’s multiple components of art at play here...and when
they’re all put together they can show a new idea of what art
can be, they’re all aligned and connected to each other.
Dom: People can learn anything from it, aesthetics, to concepts,
etc.
Levy: It changs your perception of what art can “do”...It can be
more than just visually pretty but it can be conceptually
pretty.

42. Piano Phase is a minimalist composition by American composer Steve Reich,
written in 1967 for two pianos (or piano and tape). It is one of his first attempts at
applying his "phasing" technique, which he had previously used in the tape
pieces It's Gonna Rain (1965) and Come Out (1966), to live performance.
Reich further developed this technique in pieces like Violin Phase (also 1967),
Phase Patterns (1970), and Drumming (1971)
Link to It’s Gonna Rain: https://www.youtube.com/watch?v=vugqRAX7xQE

43. Come in.
sit down.
Lay down.
Listen.
“Piano Phase”
by Steve Reich

44. “Piano Phase” by Steve Reich
Describe “phasing”, musically? Does it sound good? If something has a
strong concept, does that make it good?
● Miles: (Deep sigh)
● Eric: that was ….nevermind.
● NK: It made me very tired. Maybe it was just me in my head, but I just kept hearing
this tic…..tic…..tic….
● Corina: it was ok. It made me tired. It was a bit annoying.
● Alex: For me, it kept me awake, I was fascinated how it went from no discernable
pattern to something that felt like music.
● Daniel: <3 it. It was a blast to listen to. I don’t know what happened in my mind...It
was like more than once, my mind could just deconstruct each part, the low notes,
the high notes, It was just really cool.
● Jov: it was so beautiful at first, but near the middle i fell asleep.
● MIles: I liked it, it was hypnotic, the constant repetition. This is MIND CONTROL!

45. “Piano Phase” by Steve Reich
Describe “phasing”, musically? Does it sound good? If something has a
strong concept, does that make it good?
● Imani: OMG. It was like chaos. SO chaotic.
● Freddie: It reminded me of water-drip torture
● Elly: I found myself focusing on different sounds...and at other points it just
sounded like one sound.
● Sums: It was all piano sounds, and as it progressed you needed to give your
attention fully to hear the rhythms, and you can pick up on different sounds.
● Rose: After a while it became background noise. Towards the middle it came back
though.
● Dom: I hated “it’s gonna rain” but Piano Phase was ok for 3 min.
● Nate: I “Actually” liked it. “It’s gonna Rain” was kind of annoying, but the piano
sequence was good, it was a bit too much. But good though.
● Levy: I agree with Nate...the initial sequence has really good energy...and as it
continues you can hear the little parts that stick out.
● Eli: I wouldn’t call this music, it was just a bunch of noise.

46. What is “phasing”, musically? Does it sound good? If
something has a strong concept, does that make it
good?

48. Often, Science and Math are presented as sitting
opposite to the Arts.
Given what you’ve seen so far in this exhibit,
can math and science be beautiful?
● .
● .
● .

49. Nam June
Paik
Magnet TV, 1965
Materials: modified black
and white television with
magnet

50. Nam June
Paik
Magnet TV, 1965
Materials: modified black
and white television with
magnet

51. Nam June Paik (1932–2006), internationally recognized as the "Father of Video
Art," created a large body of work including video sculptures, installations,
performances, videotapes and television productions. He had a global presence
and influence, and his innovative art and visionary ideas continue to inspire a
new generation of artists.

52. Nam June Paik’s work at Storm King...

53. More...

54. Nam June Paik
Li Tai Po
1987
10 antique wooden TV cabinets, 1
antique radio cabinet, antique
Korean printing block, antique
Korean book

55. Nam June
Paik
Fin de Siécle II
1989 (partially
restored 2018)
Materials:
seven-channel video
installation, 207
televisions, sound.

56. NK: Is that David Bowie??
Gayathri: he was a famous musical artist, he
had this pinkish lightning bolt on his face.
“Space Oddity”
Eric: I get weird feelings. Like when I
accidentally click the music from iTunes while a
video is also playing on YouTube.
Sara: It’s interesting that everyone was taking
selfies with it….like the buddha pieces...Like
using tech to take a photo of yourself with tech.
.
Fin de Siécle II
1989 (partially restored
2018)
Materials:
seven-channel video
installation, 207
Miles: It’s loud. I heard a ringing sound in my ears.
Lauren: It’s got a fever-dream nonsensical quality, but
some parts are this guy singing and dancing.
Wicka: There’s SO MUCH going on, it’s hard to focus
on a single thing. Each time you could find something
new.

57. Elly: I feel like I’m in an arcade, music, monitors,
etc.
Sums: It feels like I’m going to the past AND the
future...it has both elements to it. 80s vibe.
Imani: <no response>
Dom: I get that 80s vibe too. The hair styles
(David Bowie).
“It’s the way the future looked in the past.”
Eli: I don’t see any point to the piece.
Fin de Siécle II
1989 (partially
restored 2018)
Materials:
seven-channel video
installation, 207
televisions, sound.
Rose: At first I didn’t really see the point, but I get how
Paik is trying to represent CHANGE in society.
Imani: <<still no response>>
Elly: He puts us in a different time/place.
Sums: he always uses TVs, screens are like the future
to him.

58. Nam June
Paik
Fin de Siécle II
1989 (partially
restored 2018)
Materials:
seven-channel video
installation, 207
televisions, sound.
Fin de siècle, (French: “end
of the century”) of, relating
to, characteristic of, or
resembling the late
19th-century literary and
artistic climate of
sophistication, escapism,
extreme aestheticism,
world-weariness, and
fashionable despair. When
used in reference to
literature, the term
essentially describes the
movement inaugurated by the
Decadent poets of France and
the movement called
Aestheticism in England
during this period.

59. Nam June
Paik
“The real issue implied
in “Art and Technology”
is not to make another
scientific toy, but how
to humanize the
technology and the
electronic medium, which
is progressing rapidly –
too rapidly.”
-Nam June Paik
Read more at
https://www.vmfa.museum/mlit/looking-
buddha-watching-tv/#1vEOrZKtOeZbK8
CJ.99

60. Nam June Paik
“The real issue implied in
“Art and Technology” is not
to make another scientific
toy, but how to humanize the
technology and the electronic
medium, which is progressing
rapidly – too rapidly.”
● Miles: Alexa is freaky. She’s all over
my house.
● Daniel: Things are moving way too
quickly. Things like VR were fantasy
back then….but I don’t think we should
humanize technology too much.
● Eric: I don’t think technological
change is a negative thing...i just
unconsciously adapt to it. :(
● Gayathri:
● NK: Rapid change isn’t necessarily
negative. There’s a lot of factors at
play here.
● Wicka: We rely so much that it can
distract us from the “Real” world.
● Lauren: It’s easy for kids to grow up
really quickly.
● #technophobe #luddite

61. Nam June Paik
“The real issue implied in
“Art and Technology” is not
to make another scientific
toy, but how to humanize the
technology and the electronic
medium, which is progressing
rapidly – too rapidly.”
● Eli: I think he’s trying to say how
people don’t think of technology as a
materials to make art with. His work
helps people realize that.
● Dom: The quote is a bit dated, people
probably view it differently now.
Nowadays, a lot of art is made this way.
● SUMS: He opens the idea of “humanizing”
technology through the past/future. It’s
more than just technology, it’s a concept
for his art.
● Nate: His work is more about the effects
of tech on people. It’s not just making
scientific objects...it’s showing
humanity through technology.
● Freddie: Tech is “trying” to be
human...but i don’t think it’ll ever be
“alive”
● .

63. “1 + 1 = 3 (or more)” is an important design
effect described by Josef Albers and Edward
Tufte. It means that two elements in close
proximity cause a visible interaction. This
interaction can result in perceiving information that is not there.

64. Josef
Albers
HOMAGE TO THE SQUARE
II, 1967
Screenprint on Board

65. Josef Albers
“Abstraction is real, probably more real than
nature.”
Josef Albers was instrumental in bringing the tenets of European modernism to
America. His legacy as a teacher of artists, as well as his extensive
theoretical work proposing that color, rather than form, is the primary medium
of pictorial language, profoundly influenced the development of modern art in
the United States during the 1950s. d 1960s.

66. “I have taught my students
not to apply rules or
mechanical ways of seeing.
Traditionally, art is to
create and not to revive. To
revive: leave that to the
historians, who are looking
backward.”

67. Josef
Albers
VARIANT II, 1966
Screenprint on Board
This piece is
part of a
series of
pieces called
ten variants.

68. Josef
Albers
TEN VARIANTS,
1966
Screenprint on Board

69. Homage to the Square is the signature series of
over 1000 related works, which Albers began in
1949 and continued to develop until his death
in 1976. Such sustained attention to a single
aspect of painting reflects his conviction that
insight is only attained through "continued
trying and critical repetition." This early work
exemplifies his basic approach to exploring the
mutability of human perception and the range of
optical and psychological effects that colors
alone can produce depending on their position
and proximity.
Albers chose a single, repeated geometric
shape, which he insisted was devoid of
symbolism, to systematically experiment with
the "relativity" of color, how it changes
through juxtaposition, placement, and
interaction with other colors, generating the
illusion of attraction, resistance, weight, and
movement.
This series explores the potential of static
two-dimensional media to invoke dynamic
three-dimensional space.

71. What do you think Josef Albers work means?
❏ Sara: There’s connections to Modernist art, and it breaks
out of traditional ways of working/seeing.
❏ NK: It means nothing. There’s no symbolism in the shape,
but the color is meant to relate to human psychology.
❏ Lauren: the “meaning” is the emotion you feel when you
see it. It’s just color, and emotions that come along
with it.
❏ Mena: The shape of the square plays an important
role...if it was another shape it wouldn’t be the same.
❏ Britt: His art doesn’t imitate life, it affects it.
❏ Wicka: They don’t evoke any emotion for me. But the color
scheme remind me of other things...It’s cool how he has
thought of the idea of colors relating to certain
emotions.

72. What do you think Josef Albers work means?
❏ Eli: it’s trying to make you realize something, like what he
said earlier, it can mean something different to everybody.
❏ Sums: He uses minimalistic concepts, and really wants the
audience to make an emotional connection to the colors. Finding
meaning in something simplistic.
❏ Elly: This glorifies how simple a process can be. Most people
feel the need to take in a LOT to make a connection but he’s
trying to do it in a simple way.
❏ Nate: What he’s trying to do is interesting. The colors DO make
you feel differently. Color can change your mood.
❏ Sam: His work is more about the creation of the work and the
ideas than the work itself. 1+1=3 is kind of essential in
looking at his work.

73. Cory
Arcangel
Super Mario Clouds,
2002
Video
https://www.youtube.com/watch?v=fCmAD
0TwGcQ

74. Cory
Arcangel
Super Mario Clouds,
2002
Video
https://www.youtube.com/watch?v=fCmAD
0TwGcQ
❏ Lauren: How long is this? (lasted 1:53)
❏ Daniel: I GOT THIS MEANING. GET AT ME BRO!This
is how the human mind perceives things. With
something in the foreground, we ignore
backgrounds.
❏ Eric: Fun fact: the clouds are bushes, bro.
Colors, bro. Interesting, bro. #SOSLOW
❏ Sara: I like it...i guess I “don’t hate it
more.” This would be a great background
for...something.
❏ .
❏ .

75. Cory
Arcangel
Super Mario Clouds,
2002
Video
https://www.youtube.com/watch?v=fCmAD
0TwGcQ
❏ Sums: How long is this? I was expecting
something, like an ACTUAL game, but it’s just
slow moving.
❏ Elly: Mr. When was Mario made?
❏ Nate: Quite boring. .It’s just clouds. Moving.
It’s not even actual clouds. It’s like mario
clouds. It doesn’t even look appealing. I don’t
even know what to think about it....what is it
supposed to mean? It’s like a zoomed in Mario
Game on the clouds.
❏ Eli: Once i saw the frames repeat, I just
thought it was going to repeat the whole time.
This reminds me of the song we heard, “It’s

76. Cory
Arcangel
Super Mario Clouds,
2002
Video
https://www.youtube.com/watch?v=fCmAD
0TwGcQ

77. Cory Arcangel
Cory Arcangel is a leading exponent of
technology-based art, drawn to video
games and software for their ability to
rapidly formulate new communities and
traditions and, equally, their speed of
obsolescence. It was in 1996, while
studying classical guitar at the Oberlin
Conservatory of Music, that he first had a
high-speed Internet connection – inspiring
him to major in music technology and start
learning to code.

78. ❏ Lauren: It’s funny how artists are meant
to pioneer new methods and ideas, but
he’s trying to pioneer meaningless
things. I love that. He doesn’t take
himself that seriously.
❏ Miles: I like how he said it’s just fun.
Experimenting and finding joy. I like
the small amount of work that I’ve seen.
❏ Breana: NOT having a point makes it more
fun. Not everyone has to change the
world.
❏ Lauren: I like the reason for his work,
but maybe not the work itself.
❏ Eric: I’m not finding a lot of depth in
it...but I think it’s cool that he’s
doing a preservation thing for odd
objects.

79. Thoughts?
❏ Elly: He knows that viewers will not
take his work really seriously, even if
he does.
❏ Dom: He seems like he knows how his
audiences are going to respond to his
work.
❏ Nate: He knows that his work is
“pointless” but he’s just having fun
with his work...and he just stumbled
upon success. He’s not trying to change
the world or anything.
❏ Eli: I don’t see the point of it.

80. Lawrence
Weiner
ONE QUART
EXTERIOR
GREEN
INDUSTRIAL
ENAMEL
THROWN ON A
BRICK WALL,
1968

81. Lawrence
Weiner
HERE THERE &
EVERYWHERE, 1989
Materials: language +
materials referred to

82. Lawrence
Weiner
In Direct Line with
Another & The Next,
2000
Materials: Cast iron
manhole cover

83. Mendi +
Keith
Obadike
The Interaction of
Coloreds
2002 and 2018
Materials: HTML 5,
JavaScript

84. Mendi +
Keith
Obadike
The Interaction of
Coloreds
2002 and 2018
Materials: HTML 5,
JavaScript
Miles: There’s a lot of TENSION answering the questions. But less
tension when you do it on your own.
Wicka: It’s really personal when watching someone else do it. But
doing the survey on my own, I wouldn’t feel like I need to hide
anything.
Britt: It makes you think about things you wouldn’t think
about….like the race “in vogue” part.
Breana: 55 Questions?! What’s it going to tell me at the end? That
I’m black?! It reminds me of the phrase “transracial” and how
people will darken their skin.
Lauren: The phrasing of “how you currently identify”

85. Mendi +
Keith
Obadike
The Interaction of
Coloreds
2002 and 2018
Materials: HTML 5,
JavaScript
Freddie: Some of the questions were kind of weird. Like
“do you have freckles?”
Dom: It was kind of weird. Personal, but not super
personal.
Nate: This was normal. It was fine. I wasn’t really paying
attention to the questions. I mean I paid attention but I
didn’t think about them. I just answered them.
Sandris!: They were focused on your appearance.
Imani: Is this survey supposed to be the artwork?
Nate: no no no

86. Does a strong concept (idea) create beauty? What is
beauty?
Sums: It depends on how the viewer sees the concept. People have lots
of opinions. It depends on what you define beauty as.
Nate: The way that concepts are presented are more important than the
concepts themselves. (the opposite of conceptual art). Other artists
like Beasley and Walker have amazing concepts and beautiful art.
Imani: (big sigh) I think concepts CAN be beautiful. If the concept
and physical work are too far apart, I can’t find beauty in it.
Elly: I don’t find a lot of these to be beautiful. The concepts are
very far-fetched and they don’t correlate with what theying showing.
Eli: Most ideas have brought us stuff that we have today. But I don’t
find beauty in the art in this show.

87. Does a strong concept create beauty? What is beauty?
Danny: I say NO. Even if you have a really good concept, you need to
make it, and make it well. And if it’s not the texbook definition of
beautiful, you still need to make it WELL.
Mena: I disagree. Beauty is not just some physical thing you see on the
paper. It’s about how the idea “looks” and what it takes to get to that
idea.
Miles: Beauty is a weird word..but in my opinion beauty is something
you can look at or experience that leaves you feeling elated. A concept
can’t do that, unless you make it physical.
Alex: For something to be “beautiful” It needs to maintain your
attention.
Jov: Does make-up make one beautiful?

88. Mendi + Keith Obadike
The interdisciplinary art practice of new media artists Mendi + Keith Obadike
includes video and sound art, music CDs and text-based Internet projects.
Exploring the implications of social and cultural systems in relation to blackness
and identity, they have investigated sex toys, the commodification of race, and the
visualization of untold stories as disappearing hypertext.

89. A piece from the ObadikeStudios youtube channel:
https://www.youtube.com/watch?time_continue=55&v=DtCAWqZoH-E

90. Lawrence
Weiner
From the Lawrence
Weiner website:

91. Tauba Auerbach
Binary
Uppercase/Lowercase,
1981
Watercolor and Pencil on
Paper

92. Jonah
Brucker-Cohen
and Katherine
Morlwaki
America’s Got No Talent
2012 and 2018
Materials: Java App

93. Jim
Campbell
Titled Plane
2011
Materials: Custom LED
light bulbs and
electronics

94. What about this exhibit do you like? Do you find this
exhibit beautiful?

95. Ian Cheng
Baby feat. Ikaira , 1984
Live simulation, sound,
artificial intelligence
service; infinite duration

96. Guidelines for Slide Research:
● All slides should have images.
● When text is on a slide, use a (parenthetical reference) on
the slide, and put the source of the text in the speaker
notes section.
● Informational text should all be Arial font, no smaller than
size 16. No larger than size 20.
● For “Final thoughts” slide, create a collage along one
border of the slide that is composed of a variety of works
that we’ve covered during the unit.
● Finally, when researching, make sure that you’re sifting
through the information you find in order to get a clear idea
of what motivates each artist.