The Art & Technology courses will showcase their Spring semester final projects in two art shows on Earth Day, April 22, 2024.
The first is in Hopkins Hall, from 5pm – 7pm. The art projects from Digital Imaging, Internet Art, 3D Modeling, Animation, New Media Art and Studio Practice will be on display on the first floor of Hopkins Hall as part of the Undergraduate Open House.
Then, from 8pm – 10pm, the students in the Art & Science course will share their work in a larger exhibition at the OSU Biological Sciences Greenhouse, located on top of a parking garage at 332 W. 12th Avenue Columbus, Ohio 43210. Directions.
Join us December 6, 5-7pm in Hopkins Hall for the Autumn 2023 Art & Tech Student exhibition, Sympathetic Sims.
Hopkins Hall First Floor Hallway Gallery & Rooms 146, 156, 167
Who’s been making artwork this semester and how? As new technology based artwork grows and grapples with artificial intelligence we ask, who makes the work? Are the computer’s simulations sympathetic to our artistic intentions? What can we make that they cannot? What can they make that we cannot? Come see what our students have been up to in this AU 2023 exhibition of Art & Technology artwork at the Department of Art Open House.
The exhibition features a range of work coming out of our Digital Imaging, 3D modeling, Internet Art, Robotics, and Animation courses. Learn about natural ink with the Living Art Eco Lab, experience Virtual Reality projects, and hang out with the Lichen Likers.
Join us April 24, 5-7pm in Hopkins Hall for the Spring 2023 Art & Tech Student exhibition, Green Thumb Drive.
Spring emerges as the semester draws to a close. Our thumb drives are bursting with new files. We’ve uploaded files and planted new seeds. See our work live in this spring 2023 student exhibition featuring Art & Technology courses in the Department of Art. Watch as this work downloads and grows.
Join us December 7th 5-7pm in Hopkins Hall for the Autumn 2022 Art & Tech Student exhibition, Machines Done Learning.
It’s the end of the semester. Put down your pencils and pass in your work. Turn off your computer, the Machines are Done Learning. We’ve trained the machines on our new ideas, our rough drafts, our revisions. Here’s the final result. Artwork can be seen in Hopkins Hall 146, 156, 167, and throughout the first floor hallway, as well as online. The exhibition features work from Digital Imaging, 3D Modeling, Moving Image, Internet Art, New Media Robotics, and Studio Practice courses.
An To unmute is to press a button and speak up; to change our status, come alive, and raise our voice. An action we’ve gotten to know these past few years.
Now our so-called return to normal is actually an evolution into a new form.
This exhibition showcases student work from art and technology classes this spring semester. Student work shows creative decisions plotted in a tumultuous world, sounding an unstoppable voice, ever evolving. We are unmuted, changed forever. We share the un•mute•tation.
Dec 8, 5 – 7pm; First floor work on view through Dec 10
Set in a hybrid of online and physical space, A Textured Transmission is an exhibition of student artwork showcasing the range and depth of work coming from art & technology area courses in the department of art. After a semester of exploration with tools, technology, and time, students are ready to broadcast their ideas and accomplishments. This exhibition signals an exchange of ideas and carries an energy that emerges as we make our way back to physical spaces. It also melds with the new techniques and online spaces we have built over the past year. This is a textured transmission.
First Floor Hallway: Digital Imaging | 3D Modeling | Moving Image Art | Computer Animation
Collaboratory 167 & New Projects Lab 146: Studio Practice | New Media Robotics
In Botany, to be radicant is to have roots that grow above the ground. This form of rooting allows plant species to mobilize, adapt, and grow on any surface. During an unprecedented moment of remoteness, our proximity to the tactile, irregular, and bumpy surfaces of everyday life in the classroom, in our labs, and our studios are suddenly smoothened, stretched thin, and illuminated through our screens.
RADICANT BODIES highlights the work of students who have found new ways to enact senses of creativity, community, and care during an incredible shift in our relationship towards technology and social proxemics. Our bodies negotiate distance and intimacy; the line between visibility and surveillance; what is organic and inorganic, to make sense of the complex terrain and interfaces we find ourselves traversing today. Student works featured in this Spring’s Art & Technology exhibition are selected from their courses in Digital Imaging, Internet Art, 3D Modeling, Moving Image Art, New Media Robotics, Computer Animation, Graphic Novel, Art Games, Sound & Image, and Studio Practice.
3D render by Ada Huang. Text and poster design by Dalena Tran and Hirad Sab.
The contemporary moment is one of unprecedented transfiguration. A constant tug of war where institutions, communities, interests, and most importantly, individuals coincide in an undulating state of deformation and alteration. Those boundaries that defined our movements and occupations have blurred to the point of non-existence, facilitating an amorphous space for constant activity. Shopping for winter clothes while attending a lecture, replying to business emails at the dinner table, or participating in job training while taking the subway, the established limits of social and personal spaces are expunged, and with that, so are the boundaries of the individual. And while this shapeless chimeric reality in its unparalleled distraction and discontinuity demands the individual’s utmost awareness and participation, it continues to expand its disciplinary practices to every crevice of daily life. The punch clock is now next to the bed; better wake up, sunshine!
Nothing is ever finished anymore, and no one is ever done with anything—the corporation, the educational system, the factory, and the household subsist in a simultaneous state of coexistence. And it is at the dawn of this new day of bewildering complexity and anomalous virtual convergence that I ask from you, from you the eternal surveilling gaze, from you my mentor, my peer, my adversary, and my friend: the audio seems to be working, but can you see my screen?
We are collected, crunched, and curated by surveillance capitalism as we move through real and virtual spaces. New and improved pleasures, fears, insecurities, and desires are constructed for our consumption; continually forming and reforming us along the way. We experience our own data shadows and code bodies. Our data fingerprints possess a mirror of us, with in-depth knowledge about who and what we have become.
Image created by Kaylie Reynolds in Art 3000 Digital Imaging, Spring 2020.
Can we be who we are, or have become, without our quick connections to search engines, our constructed social media selves, friends, and our surveillance data? Does it matter?
Though we might imagine the internet as an immaterial, fluffy cloud, it is actually the largest coal-fired machine on the entire planet *. Our server clouds are crushing us. And with 90% of the internet being advertising, it is both paying the electric bills and simultaneously fueling global warming through increased energy use – and material consumption of the earth.
What does it mean to be a human animal in a technologized world, where our means of connection is also a major cause of global warming?
Can we decolonize technology and communication infrastructure?
Can we maintain artistic integrity when we use technological tools?
How can we work towards a connected future that moves beyond the green-washing narratives Big Tech sells us?
Can we crush the cloud, confront the environmental challenges, design a greener internet, while remaining connected?
Non-Human Intelligence: In the realm of animal, insect, plant and computer systems, can humans co-create with “other”? Can we look beyond human-dominated ways of understanding?
Artists, technologists, and scientists are as likely to collaborate with bees, bacteria, spiders as with artificial intelligence in the creation of their work, provoking difficult questions regarding the nature of creativity and non-human others’ consciousness. When working with living systems, the biggest struggle is to keep the systems alive and this requires a sensitive humility and respect. Donna Haraway’s concept of “becoming with” describes the back and forth nature of interacting with animals as we form a connection and broaden our notion of the nature of the intelligence of others. It entertains the idea of multispecies and transspecies interactions in the co-creative process. “Becoming-with” allows us to better acknowledge “others” right to exist, thrive, and express individual agencies.
Through an expanded understanding of the intelligent, intertwined, symbiotic nature of our living planet, might we become more human?
“Becoming-with” allows us to better acknowledge “others” right to exist, thrive and express individual agencies. Through accommodating non-human others, might we become more human in the process, by demonstrating an understanding of the deeply intertwined symbiotic nature of our living planet?
This semester, students in the Art & Technology courses – ranging from animation, art-science, 3D modeling, and internet art to robotics – have created individual and group artworks related to this theme and they will be presenting them in this juried exhibition. Make sure to visit the special installation in the Emerging Technology Studios on the 3rd floor of Hopkins Hall.
Opening celebration: Wednesday, December 4, 2019, 5:00pm – 7:00pm
Open hours: Thursday, December 5, 11:00am – 5:00pm & Friday Dec 6, 11:00am – 4:00pm
An To unmute is to press a button and speak up; to change our status, come alive, and raise our voice. An action we’ve gotten to know these past few years.
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Art & Technology exhibition