Jennifer & Kevin McCoy, High Seas, 2007. Image courtesy: Postmasters Gallery
In High Seas, Jennifer and Kevin McCoy simulate the sensation of being aboard a vessel in rough waters using camera, video projection, and a Titanic ship model. The installation was originally designed for a model for a model of the Dreadnought, a packet ship that transported goods and passengers long distances but which ultimately wrecked off the tip of South America in 1896, now in the collection of the Addison Gallery of American Art. For this installation of High Seas, a model of the Titanic replaces the Dreadnought. The video projection allows you to imaging the experience on board during a sever storm at sea.
Radical Software Group(RSG) Radical Software Group is a loosely defined ensemble of artists and programmers, working collaboratively in digital media. Radical Software Group, or RSG, is named in honor of Radical Software, the short-lived but seminal 1970s magazine, which investigated nascent video technology with much the same irreverent spirit that RSG now brings to digital culture. The group, whose membership shifts according to the project, has focused largely on network environments and interface design, including the award-winning software tool Carnivore.
A 10-year Retrospective of Programming, Eyebeam Style
Since 1997, artists, programmers, hackers, activists, technologists, kids and adults have come to Eyebeam to share ideas, find collaborators, experiment with new tools and create new work. The projects in Source Code – the first of three exhibitions presenting the very best of creative exploration at Eyebeam – frame technologies, generate new processes and offer the audience a platform to contemplate the impact of technology on everyday life.
This exhibition marks the organization’s unique role in supporting artists experimenting with or critically examining the impact of new technologies in cultural production. The institution’s multiple channels of support include artist residencies, yearlong fellowships and commissions.
eteam based 1.1 Acre Flat Screen on a piece of Utah desert they bought in September, 2002 on ebay. Their work investigates the difference between real and computer-generated mirages and dreams, possibilities of ownership and ways of improving the land. After a year of actual and virtual activities and improvements, the land still looks the same. But is it the same? How is the value of the lot-as a piece of land, as part of an artwork, as the ground for an artwork-measured? A public auction held at Eyebeam on Nov. 13 at 8pm, determined if they've succeeded in their efforts to convince a future investor of a promising, prosperous future in that area.