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Tag: John Powers
 

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abstraktAbstrakt: John Powers - God's Comic

John Powers: God's Comic, 2010
5 x 3 x 5 meters, Sculpture constructed from polystyrene blocks (site-specific unique installation)

The impenetrable geometries of John Powers’ abstract sculptures call to mind a wide range of influences, borrowing equally from art movements like postminimalism and pop culture icons like Star Wars. Meticulously constructed by hand, Power’s forms are constructed out of a limited formal vocabulary: Polystyrene blocks cut to a selection of preset sizes, attached to each other at 90 degree angles. The resulting structure gives the appearance of being a computer-aided design but is in reality the outcome of a human-executed algorithm, dictated by the artist’s intuition expressed through the repetitive action of connecting blocks.

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This is the first in a series of posts about the exhibition “abstrakt Abstrakt – The Systemized World”, which was part of the recent NODE10 festival in Frankfurt, Germany. The exhibition was curated by Eno Henze and Marius Watz to explore the use of abstract systems as artistic strategy and focus of aesthetic investigation.

This post consists of the curator text by Eno Henze. It will be followed by a series of posts describing all the works in the exhibition.

abstrakt Abstrakt – The Systemized World
NODE10 – Forum for Digital Arts
Frankfurter Kunstverein, Nov. 15-20, 2010

Artists: Ralf Baecker, FIELD, Ben Fry, Leander Herzog, Robert Hodgin, Thilo Kraft, Brandon Morse, Louise Naunton Morgan, John Powers, Patrick Raddatz, SOFTlab, Jorinde Voigt, Zimoun

Curator text by Eno Henze

The way of the world is increasingly controlled by relations and conditions that reside on an abstract plane. Cause and motivation for many events remain secret, because they trace back to invisible sets of rules that permeate our society and guarantee its functioning.

The two complementing events of the festival, exhibition and symposium, seek to analyze the nature and effect of such systems of abstraction. The exhibition draws upon artworks as visual evidence for the changing conditions of production in an abstract world. The symposium approaches the topic from a more theoretical perspective, facilitated by contributions from economists, scientists, artists and philosophers.

At first, abstraction appears as a method to contain certain properties of the world in a new medium. Formalized in this manner, these properties can be edited in a completely new way, demonstrating the power of abstraction as a productive tool. By these means the things of reality become transformable in an unprecedented way. This also implies a reversion of causality: the motivation for ‘real’ events now resides in an abstract place, in a certain constellation of values of the formalizing medium.

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