Untitled #242 is part of Houck’s Aggregates Series, which uses digital tools to manipulate chosen sets and pairs of colors, creating colorful index sheets, bathed in colors and lines. Houck transforms these simple outputs physically, folding, lighting, photographing, and re-printing them, only to fold, photograph, and re-print again. An MFA graduate from UCLA, John Houck works primarily in the medium of photography and specializes in still-life vignettes. To make his works, Houck arranges an object on a sheet of paper, photographs, and prints it, then places that print back into a new composition, repeating the process again and again until arriving at an aggregate image. The layers appear to be digitally altered, but he does not utilize any postproduction interventions. But Houck is not a purist by any means; he is significantly influenced by his professional experience as a computer programmer, and his artistic methodology mirrors a kind of algorithmic code. By referencing a conventional artistic genre through an iterative and contingent process, Houck offers up photography as a mode of thought.
An MFA graduate from UCLA, John Houck works primarily in the medium of photography and specializes in still-life vignettes. To make his works, Houck arranges an object on a sheet of paper, photographs, and prints it, then places that print back into a new composition, repeating the process again and again until arriving at an aggregate image. The layers appear to be digitally altered, but he does not utilize any postproduction interventions. But Houck is not a purist by any means; he is significantly influenced by his professional experience as a computer programmer, and his artistic methodology mirrors a kind of algorithmic code. By referencing a conventional artistic genre through an iterative and contingent process, Houck offers up photography as a mode of thought.
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Zombie Figuration Isn’t a Thing: A Critical Autopsy with Antwaun Sargent About AFC Board AFC Editions Donate Art F City Zombie Figuration Isn’t a Thing: A Critical Autopsy with Antwaun Sargent by Paddy Johnson and William Powhida on August 4, 2020 Explain Me + Podcast Tweet Jordan Casteel, “Within Reach”, New Museum installation view, 2020...
Solid are the Winds: Aeolian Encounters at The 9th Asia Pacific Triennial (Part I) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Natasha Harth for QAGOMA untitled (giran) (2018), Jonathan Jones in collaboration with Dr Uncle Stan Grant Snr AM January 10, 2019 By Marcus Yee (1259 words, five-minute read) This is the first of a two-part essay on the 9th Asia Pacific Triennial running at the Queensland Art Gallery, Brisbane, Australia, from 24 November 2018 to 28 April 2019...
Rossella Biscotti’s “10×10” series investigates the relationship between demographics, data processing, textile manufacturing and social structure...
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Acting Exercise: Demon Possession is a video by Miljohn Ruperto that addresses notions of performativity, the self, and collective truth...
Kentucky man who defrauded local art organisations gets prison time Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Crime news Kentucky man who defrauded local art organisations gets prison time The FBI apprehended the man, who took $340,000 from the ArtWorks Community Arts Education Center and Russell County Arts Council, as he disembarked from a cruise ship in 2022 Theo Belci 11 December 2023 Share The ArtWorks Community Arts Education Center in Jamestown, Kentucky, one of two arts organisations in the state defrauded by Charles Davis Photo via ArtWorks Community Arts Education Center/X Kentucky resident Charles Davis has been found guilty of defrauding two local arts organisations, the ArtWorks Community Arts Education Center in Jamestown and Russell County Arts Council (RCAC) in Russell Springs...
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