More interactive, as-yet-unreconstructed web art--this time GIFs made with Duncan Alexander's build-a-building-that-looks-suspiciously-like-a-Peter-Halley-painting utility.
Previous example
The above drawings were originally full-screen but were resized for the blog. Since browsers no longer read GIFs, these simulations were made using HTML5 from an app that draws horizontals and verticals in the cloud and pays Google and Apple 5 cents per rectangle. Just kidding about that last part!
(modification by 82times of a drawing by Sara Ludy)
this version somewhat degraded by jpeg compression
Made using "add a pillow" app, an HTML5 cloud based program that pulls pillows from department store websites into your iPhone (TM) where they can be added to the artwork of your choice. Naw, just BS-ing--but it sounds plausible--coming soon to an "art and technology" website.
(modification of a drawing by Michael Manning)
Interior 1 is ruffling some decorator sensibilities. [drawing deleted from CCDS - the comments by "paul" were so stupid they were making me vomit]
Loosely inspired by Bertrand Lavier.
screenshot of interactive work, Unfolding Object, by John F. Simon, Jr. (2002)
Guggenheim Museum
OK, nine years is too new to be vintage--thought it was older when the post title was written and now I don't want to change it. Also, not known is whether it works because it's been tinkered with to keep it functioning on current browsers. (Another Simon piece, Combinations, for example, was made before pop-up blockers.)
These works "found on the internet" have almost nothing in common beyond grids of circles. Bury was a European proto-Op kinetic artist and Downing was a member in good standing of the Washington Color school, painting large "stain" style canvases on cotton duck.
Am guessing the Downing work above is vastly larger than the Bury in real life. The Bury suggests lunar phases as well as cartoon googly eyes all looking left. Am not sure of the medium.
Downing was a student of Kenneth Noland's and worked almost exclusively with dots and uninflected pigment. Like Paul Feeley's work, his canvases give a softening touch to otherwise precise, machinelike patterns.
Speaking of Noland & Co, Washburn gallery is showing some early 1960s Ray Parker paintings. Am looking forward to seeing them later in the week. Parker would be considered a second generation Abstract Expressionist but that '60s work, with its large bold color blobs, forges a missing link between Rothko and the Noland school.
To bring our theme of computer-represented abstraction full circle (commencing with the jpegs above), here is a simulated Ray Parker, painted last night.
