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Digital Experiments: Inside It"
A Profession in the Arts
According to the U.S. Bureau of Labor and Statistics (BLS), over 221,000 people are employed as artists. This includes art directors, craft artists, fine artists, multimedia artists, and related artists. Statistics show that about 60% of artists are self-employed.
Business segments employing artists include the entertainment industry (including cinema, television and the theatre), the publishing industry (books, magazines, e-zines, websites, and other merchandised media) and public relations firms. Any business or institution can have functions that depend on artists' ability to educate, persuade, and enliven. Large companies may have in-house art staff and supervisors, and small ones use free-lance staff.
Annual earnings for artists vary greatly, depending on career responsibility and experience, location of market, and other factors. The extremes are easily defined: some artists make almost nothing from their work, while a few with a more recognizable style and well-marketed talent may earn hundreds of thousands on a single work.
The median annual earnings for experienced salaried art directors-those that supervise other artists, designers and freelancers, is $76,980. Artists in multimedia earn a median of $56,330. Fine artists who were salaried were listed at $42,650.
According to the BLS, jobs for artists are expected to grow about 12% through 2018. The continued use of the Internet, and a new interface between artist and audience, buyer and seller, teller and hearer, will continue to have a vast influence on where artists work and how they function in our lives.
Source: Art Schools.com
Top 10 Rankings
1. Rhode Island School
Source: US News Magazine
Photo Software That Uses Techniques From Canaletto
Read on...
New Scientist Article
Source: New Scientist 06/17/10
QUOTE:
"Art is a kind of innate drive that seizes a human being and makes him its instrument. To perform this difficult task it is sometimes necessary for him to sacrifice happiness and everything that makes life worth living for the ordinary human being." ::: Carl Jung :::
"Homage to Picasso"
By Ansgard Thomson
“Collage made with fractal created transparent and combined with the Kiss by
Picasso and enhanced in Photoshop. I know Picasso would love it!
I could not resist (smile)” Best regards, Ansgard
Picasso’s blue period 1901-1904...
Cell-phone Art:
When cell phones became cameras, Seattle's Colleen Chartier didn't care. She's a professional photographer. Meticulous matters to her, and cell images were far from it.
"There was a dull, shaggy quality of light I didn't like," she said.
She liked the buzz the camera created, however. "People were excited. I'd be in line at a grocery store, and somebody would be photographing her feet. 'Look!' she'd say, holding up her phone. 'My feet!' For me, phones were for talking. I didn't need them for anything else."
Two years ago, her talk-only phone died, forcing her to get a new one. "I dreaded it. It's just one more thing to have to figure out." At a phone store, her husband, Richard Andrews, the recently retired director of the University of Washington's Henry Art Gallery, found one he liked and put it in her hand. Not only was it hot pink and stylishly slim, it sported a wide screen and contained a camera. "Unlike my old phone, it's a thing of beauty," she said. "I wanted it."
Today, Chartier, 56, could be edging toward the forefront of cell phone art. A photo-text story she wrote for cell phones in the language of texters -- "Th tale of ltl br" (The Tale of Little Bear) -- is featured in a group exhibit at Western Bridge titled, "You Complete Me."
Chartier began to appreciate the cell medium for its limitations as well as its strengths. The top-grade cameras she uses in the highly regarded Art on File business she co-owns with Robert Wilkinson inspire her to document architecture, urban design, landscape
architecture and public art. The camera in her phone, on the other hand, inspired her to create art.
First came texting. She learned how on her new phone and found the practice a great relief: quick communication instead of long talks. As for the camera, it was irrelevant till one day in her backyard she took a picture of a tiny plastic horse nestled close to the trunk of a large tree. In the cell image, the horse glowed like a small, powerful secret. She was hooked.
Here's another thing about Chartier: She likes little things. "I collect small weird things," she said, "vaguely shaped little animals, broken pieces of china, stones, tiny toys. I think because I'm a mother, things of childhood taken out of context interest me." Soon she was experimenting on her kitchen counter with a small group of animal-shaped candles bought long ago in Paris. By balancing fluorescent and natural light, she created a cozy blend, wrapping her pudgy wax figures in colored cocoons.
The first line of her story came to her late at night when she couldn't sleep. "Thus bgnz th tale of ltl br" (Thus begins the tale of Little Bear). Chartier has rules for the project, such as the text can't be any longer than a single line on a cell phone screen. Both image and text are condensed without being cramped. Against swirly blue origami paper she placed her bear and created image-text No. 2: "Lil br thnx of wntrs aproach" (Little Bear thinks of winter's approach). In 18 image-text panels, Little Bear decides whether to hibernate or, in the language of the story, "hbrn8."
Chartier didn't work ahead. As soon as she had one image-text, she forwarded it to friends. A couple of weeks later, she was sending it anonymously to a wider circle. Out of nowhere came the unexplained bear. Betsey Brock, communications manager at the Henry, reproduced the bear's image on the museum's blog with, "What the? Who sent this?"
Cell phone art is gaining ground. The Australian Network for Art and Technology has a good site: portable worlds. There are festivals for cell photos, videos and even ring tones. In Japan, teenagers write novels on their way home from school. The field has yet to attract established major artists or produce one of its own, although Chartier is in the running. She makes worlds, not just special effects.
What's next for Little Bear? Now that Chartier has alluded to his remarkable resemblance to George Clooney ("Ppl thnk lbr lks lk grg clny"), is LB going Hollywood? "I'm thinking ice," said Chartier. "I have it on hand. That's as much as I know. I have no idea where I'm going with this or even if I'm going to keep it up, but I've managed to surprise myself, and that's something."
Source: Seattle Visual Art
"New Fractal 23 Animation"
By Serdar Camlica
Check these out!! An array of new fractal animations from Serdar:
Welcome Kaki!!
Kaki Ettinger joins MOCA as a Museum archive and Gallery volunteer! Kaki is a 2010 Graduate of philosophy from Yale University and a digital artist. In the weeks to come you’ll be hearing more about Kaki and her digital work.
This page posted 21 June 2010
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