New York Postcard: Paradoxical Images

Art Life , Stuff Sep 26, 2017 No Comments

From New York, George Shaw reports on images without a camera…

A Prison Without Guards (Corpus Eye Machines) Adversarially Evolved Hallucination, 2017

 

Octopus (Corpus From The Depths) Adversarially Evolved Hallucination, 2017

 

Machine Readable Hito, 2017

 

 Machine Readable Hito, (detail), 2017

Maximally Stable Extremal Regions, 2017

 

Trevor Paglen’s paradoxically titled Study of Invisible Images at Metro Pictures refers to his research in AI training libraries, machine readable landscapes, and images made by computers for themselves, without human creators. Using custom-built software, Paglen created vision algorithms he used to train various AI corpuses. In one set, the AI corpus shows what it identifies as an octopus, or a landscape in which humans have been supplanted by smart machines. Even what a guided missile “sees” looking at clouds. Or how AI analyses hundreds of artist Hito Steyerl’s facial expressions.

 

Palais de Justice, (video still), 2017

Palais de Justice, (video still), 2017

Palais de Justice, (video still), 2017

 Palais de Justice, (video still), 2017

 

Carey Young’s Palais de Justice at the Paula Cooper Gallery features a video work that was filmed surreptitiously in Brussels’ nineteenth-century Palais de Justice. In an effort to create a counter narrative in which the dominant patriarchal order is reversed, female judges and lawyers are spied through a series of circular windows in courtroom doors. Through Young’s eyes we also see male lawyers waiting nervously outside courtrooms, pleading their case, or standing until a female judge allows them to sit. The piece reflects Young’s interest in gender, performance and surveillance.

 

CITIZEN (Portrait of S), 2017 (courtesy of Ryan Lee)

Syyujco_Total Transparency Filter (Portrait of N), 2017 (courtesy of Ryan Lee)

I Am An…, 2017

Chromakey Aftermath, 2017

 At Ryan Lee, Stephanie Syujco probes the philosophic, historic and present definitions of American citizenship. A series of anonymous photographic portraits shows minority students from UC Berkeley whose status has become precarious in America’s present political climate. Photoshop’s grey and white transparency background renders an undocumented student further “invisible” for his or her own protection. Protest banners reference historical events such as WWII’s internment of Japanese Americans, while common props of protest are presented in chroma key alluding to how easily protesters’ intentions can be manipulated by right-wing media outlets.

 

George Shaw

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