Ashley Zelinskie is an artist based in Brooklyn, N.Y.
Ashley's work blurs the lines between art and technology, and spans a variety of media from sculpture to computer programs. After receiving a degree in glass from the Rhode Island School of Design, Ashley began to experiment with the pairing of artistic media and technology. The work she creates now is designed to be appreciated by both human and computer.
Ashley's work uses simple code, recursive structures, redundant patterns, and emergent media in novel combinations. She creates work that transcribes humanity – for a future without it.
Sarah Rothberg makes artwork in response to new technologies. She creates pieces about virtual reality, social media + neuroscience (especially memory), and global systems.
Sarah's work has been shown at bitforms gallery, REVERSE, Pioneer Works, Babycastles, Grand Central Station, and other places. It takes many forms: VR, animation, interactive music, gifs, writing, websites, pranks, one-liners, conversations across stalls in the bathrooms, songs sung quietly into the ears of CEOs.
Sarah is currently a "Something-in-Residence" and Adjunct Faculty at NYU Tisch (DIY VR and Directing Virtual Reality). Formerly, she worked as VR Experience Director at the Samsung Accelerator, studio Assistant/Animator at Marina Zurkow Studio and the American Museum of Natural History, and as a purveyor of idealistic visions of utopias.
Pedro G. C. Oliveira
Pedro G. C. Oliveira is a Brazilian Art Director and Interactive Designer based in New York City.
Pedro’s work combines experiences in visual-effects, graphic design and motion graphics, interfaces and applications, interactive installations and code-generated art pieces. It is his strong belief, that creative solutions should be merged with technological resources and information not only in the name of innovation, but also to stimulate human potential and to improve human relations.
Pedro G. C. Oliveira’s “K7” (Portuguese for ca-ssette) series features unique audio cassette sculptures which play generative music composed entirely from one line of code. Oliveira’s sculptures are made of homemade circuit boards, LED lights and motors, each functioning as a physical representation of a digital musical programming language. The sculptures, presented in glass vitrines reference both fetishized digital apple products and the remains of scientific specimens. Although they appear in physical form to be audio cassettes, these digital sculptures are actually living algorithms, generating ever changing compositions. They seek to question our changing relationship to the digital media we consume. Do we consume digital content or does it consume us?
His recent project “Backslash” is a series of functional devices designed for protests and riots of the future. Created through the lens of critical design, Backslash aims to retain the right to connect in protest sites through disruptive innovation and the creative appropriation of existing technologies. The range of devices include a smart bandana for embedding hidden messages and public keys, independently networked wearable devices, personal blackbox devices to register abuse of law enforcement and fast deployment routers for off grid communication.
Rosalie Yu is an interdisciplinary artist and visual designer from Taiwan.
Her work seeks to identify and recreate the human connections often overlooked in our daily lives. The cornerstone of Rosalie’s work is the use of emerging photo and 3D technology in capturing portraits of intangible emotions and fleeting moments.
Her project “Embrace in Progress” is a series of 3D printed sculptures that reveal the seemingly interminable feeling of vulnerability brought on by an embrace. Rosalie’s works have been exhibited at the Queens Museum and New York Hall of Science.
Rune Madsen is a Danish designer, programmer and artist who builds web applications, interactive installations, algorithmic graphic design systems, and many other things involving artistic uses of computation.
Rune’s work is rooted in simplicity, organized complexity, and the concept that the pragmatic and poetic is inseparable. Rune runs his own design agency out of Denmark, develops interactive features for the New York Times and teaches graduate classes at New York University.
His work has been exhibited in galleries throughout the U.S and beyond, in popular magazines, and on national television. Rune is currently finishing "Programming Design Systems", a new book focused on the new foundations of algorithmic graphic design.
Carla Gannis is an artist who works across digital media and painting. Brought up in North Carolina, Gannis lives in Brooklyn, New York, US. She studied at the University of North Carolina before receiving an MFA from Boston University. She is faculty and the assistant chairperson of The Department of Digital Arts at Pratt Institute, New York. Upon her arrival to New York in the late 1990s, she began incorporating digital elements into her painting-based practice. Since then she has eclectically explored the domains of “Internet Gothic” cutting and pasting from the threads of networked communication, googleable art history, and speculative fiction to produce dark and often humorous explorations of the human condition. Her practice of collage and remix illuminates the potentialities of democratization and alienation in technology. In her work, she invites viewers to experience inescapably mediated contemporary life “through a digital looking glass” where reflections on power, sexuality, marginalization, and agency, emerge.
Since 2003, Gannis’s work has appeared in numerous solo and group exhibitions both nationally and internationally. Solo exhibitions include: A Subject Self-Defined, TRANSFER Gallery, New York, US, 2016; and The Garden of Earthly Delights, Real Art Ways, Hartford, CT and The Hudson River Museum, Yonkers, NY, 2015. Group exhibitions include: Porn to Pizza - Domestic Cliches at DAM Gallery, Berlin, 2015; and Beautiful Interfaces, Reverse Gallery, New York, 2014. Her work has been featured in press and publications including, The Creators Project, Wired, FastCo, Hyperallergic, The Wall Street Journal, The New York Times and The LA Times, amongst others.
Jamie Zigelbaum is an artist, designer, and engineer living in New York. He is the director of Midnight Commercial, a creative studio working across disciplines. In 2010, he received the Designer of the Future award from Design Miami/ Basel. He holds a Masters in Media Arts and Science from the MIT Media Lab and a BS is Human-Computer Interaction from Tufts University.
Doorway to the Soul is a digital sculpture that displays the faces of Amazon mechanical turk workers as they are recorded. These workers are paid $0.25 to stare into their webcam for one minute. The videos are scaled to life-size and played directly on a display mounted at average human height. The sculpture acts as a commentary on the ever changing nature of digital communication. Two people, standing face to face looking each other in the eyes. Today one has to ask: can they see me?
Video and performance artist Jeremy Bailey’s work is often confidently self-deprecating in offering hilarious parodies of new media vocabularies. Bailey, who works primarily in electronic media, has been described by Filmmaker magazine as “a one-man revolution on the way we use video, computers and our bodies to create art.” His work has been featured in numerous exhibitions and festivals internationally. He is also co-founder of 640 480 Video Collective, an award-winning international collective of sculpture and video artists who create conceptual interdisciplinary new-media projects.
The portraits in Bailey’s “Important Portrait” series are each based on a particular historical portrait that has been updated and embellished using augmented-reality appendages and flourishes. Each portrait was commissioned through the site Kickstarter and based on the traditional artist/patron model, according to the amount each Kickstarter donor paid into the project, they received a certain degree of time or attention from Bailey in selecting the historical piece that would be referred to in their augmented-reality portrait.