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LOS ANGELES — Just a day after I reviewed LACMA’s In Wonderland exhibition of surrealist female artists, I came across their new app. Designed by media artist Jody Zellen, Art Swipe starts you off with 16 images from the show. The images are cut in three and arranged with others on the screen, allowing you simply to slide the images until you find a mash-up you like.
It would be nice to be able to shake the app to create random juxtapositions, and in the spirit of the social nature of the original game, it would have been fun to create something more interactive, perhaps by allowing multiple people with iPhones to contribute a sketch or image via wifi. But the interface is quite clean and intuitive. You can also add more images, with a diverse array available from LACMA’s larger collection or even your own camera roll.
Zellen tells LACMA she draws inspiration from the exquisite corpse surrealist parlor game, which asked multiple artists contribute to a single image while unaware of each other’s contributions until the very end. It’s the right inspiration for the show, as the mash-ups are frequently unsettling and oddly beautiful.
I’m not sure exactly what the app is for, but I think that’s the point. It’s a purely artistic app, an update on an old game for the iPhone generation. But there’s more: It’s a unique way to bring the museum experience to life, especially for those not able to attend the show in person. This is particularly effective on the iPad version, which allows you to see hi-res images of the works along with basic artist information.
According to the app designer: “The way it functions mirrors the approach of the artists in the show, in many ways … It’s about play and fun and making uncanny juxtapositions out of things that already exist — taking something that is a given and reading it in a new way, putting a new twist on it.”
Art Swipe is available in the Apple App store for free on both the iPhone and iPad.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…