A Walk on the Frontier of Art, Where the Sky Is the Limit


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When strolling on the High Line, it’s robust to look extra misplaced than some of the vacationers, however I did a fairly good job of it final month once I tripped on a curb whereas wanting at artwork. (I caught myself earlier than falling, however nonetheless.)

I used to be taking in an exhibition from Aery, a brand new augmented actuality platform tailor-made to digital artwork exhibitions. Looking as much as the heavens by means of an iPad, and never at my toes, I used to be utilizing a loaner pill to get an paintings by Richard Humann to magically seem.

But it labored: On the iPad, a constellation of a rose appeared, at an angle in the sky and topped by a crown, as Mr. Humann meant. A couple of out-of-towners who had been watching me appeared mightily impressed once they appeared over my shoulder at the display.

The applied sciences generally known as augmented actuality and digital actuality (AR and VR, for brief) could appear futuristic, however they’re being employed by artists extra usually.

For me — somebody who seems to be at artwork for a residing, but in addition avoids downloading new apps — experiencing three exhibitions of augmented actuality artwork over a pair of weeks was a crossing of a threshold, one which increasingly individuals will expertise in the years forward.

“It’s going to have a huge impact on the art world,” stated Jay Van Buren, who, as chief government and co-founder of the tech firm Membit, helped create Aery, a three way partnership between Membit and the actual property agency Related Companies. “Artists can do anything with it,” Mr. Van Buren stated.

Membit’s expertise is predicated on what it calls a Human Positioning System, its model of GPS. Essentially, the person adjusts the placement of the gadget primarily based on a set of directions. Aery is presently in beta mode, however is coming to Apple’s App Store quickly for iPad and iPhone, and ultimately can have an Android model.

As half of Aery’s inaugural exhibition, the artist Shuli Sade created a bit referred to as “Wild, Heterotopias,” primarily based on her pictures of the landscaping alongside the High Line. I seen it in the High Line Nine Galleries: What appeared earlier than me on the iPad, in an in any other case empty white gallery, had been globes of spinning, floating greenery and flowers.

Ms. Sade, who is predicated in New York, has labored with augmented actuality a number of instances throughout the previous 5 years, constructing on her background in pictures.

She likened the expertise to a kiln or a paint brush: In the massive image, it’s merely one other manner for an artist to create. “It’s a fabrication tool,” Ms. Sade stated. “It’s a medium.”

“Whether it will develop further, I’m not sure,” she stated. “But it’s a fun ride.”

In the identical manner that almost all sculptors don’t forged a bit in bronze themselves — that work is finished by consultants at a foundry, to the artist’s specs — Ms. Sade despatched her pictures to Mr. Van Buren to be become augmented actuality.

That is the way it labored for [AR]T Walk, a three way partnership from Apple and the New Museum in New York City. The expertise is free in six cities — San Francisco, New York, London, Paris, Hong Kong and Tokyo — and is barely custom-made in every. Seven artists contributed, together with the poet-artist John Giorno, who died last month, and the Chicago-based Nick Cave.

Massimiliano Gioni, the New Museum’s artistic director who helped curate the artist contributions, said that when Apple approached the museum about collaborating on the project, the curators saw the same potential the company did.

“The benchmarks were previously more from the world of entertainment and gaming,” Mr. Gioni said of augmented reality and virtual reality. “And they wanted to go well beyond that.” (Mr. Van Buren said that whenever he was called upon to explain augmented reality, he mentioned Pokémon GO, the interactive game craze.)

I did [AR]T Walk on a glorious fall day in Central Park, starting at the Apple store on 59th Street and Fifth Avenue. I used one of its iPhones (you do not use your own) to experience the artworks, and to get each piece to appear, I pointed the phone at an object, usually a sign, part of process that the company calls “anchoring.”

The art is calibrated based on the position of you and the anchor, and when you have lined up the phone and the sign correctly you feel a slight vibration in the phone that the company calls “haptic feedback.”

Mr. Cave’s contribution, “Accumul-Istic Quest,” had his usual ebullience: At the beginning I was asked to pick one of several personality types, and on the screen I was suddenly being shadowed by a very bouncy, multicolored fright wig. He calls the different characters “istics.” (Mr. Cave also created an in-store augmented reality piece called “Amass,” which can be experienced in any Apple outlet around the world on your own iPhone.)

Normally the walk is a group affair of about 10 people, and every participant gets an istic. About five minutes into the walk, a large, friendly monster of sorts appears above the tree line — it has a head like a gramophone horn, a version of Mr. Cave’s “Soundsuits” characters, which he has been working with for years — and consumes everyone’s istics.

Though done with humor, Mr. Cave told me there was a larger theme at work.

“I wanted it to absorb and swallow everybody, becoming multicultural in the process,” he said.

The process of making the work involved many phone calls, with Mr. Cave sketching his ideas and making multiple trips to Apple headquarters in Silicon Valley. “We were practically in a relationship,” Mr. Cave joked.

For now, augmented reality seems to be getting more play among fine artists than virtual reality. As Mr. Van Buren put it, “AR loops you in more firmly to the place where you are, rather than taking you away into another world.”

But that could change. Bjarne Melgaard’s “My Trip” (2019) is a virtual reality work that can be experienced through Dec. 15 in Berlin at the Julia Stoschek Collection. It is a production of Acute Art, a virtual reality studio that collaborates with international artists.

Daniel Birnbaum, Acute Art’s director, said “My Trip” was a “trippy fantasy about darkness” that worked as an autobiography of the Norwegian artist.

To create the characters in the piece, Acute’s team scanned sculptures by Mr. Melgaard, and for some of the environments that people can experience in the piece, the artist provided developers with photographs of paintings.

“AR is easier, but it has limitations,” Mr. Birnbaum said. “You only see things on the phone. It can be a little gimmicky.”

But augmented reality’s ability to show two realities at once can be a powerful storytelling approach, as demonstrated by the New York-based artist Alan Michelson’s show “Wolf Nation,” at the Whitney Museum of American Art through Jan. 12.

Two of the four works in the show are made with augmented reality, and Mr. Michelson — a Mohawk member of Six Nations of the Grand River — collaborated on both with Steven Fragale, a painter who has become an augmented reality specialist, creating his own apps for his work.

One of the pieces, “Town Destroyer,” looks like a two-dimensional wall work depicting George Washington’s home at Mount Vernon. But when activated by the show’s augmented reality app on an iPhone, the bust of Washington in the center goes through a rapid transformation, overlaid with a series of colors, patterns and texts. “Town Destroyer” was the name given to Washington by the people of the Iroquois Confederacy, whose villages were burned and pillaged during the Revolutionary War.

To present an indigenous perspective on a familiar icon, “AR provided a solution — more than a solution, actually, a tool with all sorts of metaphorical aspects,” Mr. Michelson said.

Mr. Michelson said that the idea of multiple people holding up their phones to see his works at the same time also made him think of the technology’s “social possibilities.”

Although augmented reality and virtual reality explicitly take us out of the real world — our noses in another screen or two, and possibly tripping along the way — they also can be an invitation to interact with others about what they are seeing.

Mr. Gioni of the New Museum agreed. “The effects are in some ways just a pretext to come together,” he said. “This gets real only when you share it.”



Source link Nytimes.com

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