Every so often I come across a really exciting piece, a work that uses a medium in an innovative and exciting way, that conceptually leaves us thinking for days after our first viewing. Julien Levesque’s “Street Views Patchwork” (2009), an interactive digital collage, is one of those pieces.
Stacking four horizontal images to create a new one is nothing new, collage has been around since at least Dadaism, but Levesque has kept the original functions of Street View embedded in the website. One could passively look at the collages and enjoy their aesthetic sensibility, their surreal nature, and wonder about the implications of Google mapping the entire world, and that would be an enjoyable experience. But this is a work that exists online, this is a web 2.0 version of collage, allowing one to zoom in, move around the images, and create entirely new landscapes of their own.
Periodically refreshing itself to run through all of the 12 collages, “Street Views Patchwork” is a truly digital space that definitely is worth exploring. I wonder how Google Maps/Earth/Street View has changed how we experience landscape. This is a relevant question to art history which has long been riddled with landscapes, but more importantly relevant to our daily commutes, urban sprawl, vacation, and more. We can now navigate more information than ever before from our computer, the internet has been collapsing information and landscape alike making both more accessible. Just as mapping the earth so thoroughly has changed how we navigate it, putting information and artwork online must also have an impact. Levesque’s “Street Views Patchwork” is a piece that is doing just that.
Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.