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Clement Valla is an artist whose works reveal the usually hidden processes, mechanisms and biases embedded in everyday algorithmic systems and computer programs.

In Postcards From Google Earth, Clement Valla collects Google Earth images, particularly capturing moments when the illusion of seamless representation of the Earth’s surfaced seems to break down. These images are not glitches – they are the absolute logical result of a system. Through these jarring moments that ms, automated cameras, maps, pilots, engineers, photographers, surveyors and map-makers that generate them.

Of his process for Postcards, Valla tells Rhizome, “It was accidental. I was Google-Earthing a location in China, and I noticed that a striking number of buildings looked like they were upside down. I could tell there were two competing visual inputs here - the 3d model, and the mapping of the satellite photography, and they didn’t match up.  The computer is doing exactly what it’s supposed to do, but the depth cues of the aerials, the perspective, the shadows and lighting, were not aligning with depth cues of the 3d earth model… Soon I noticed the photos being updated, and the aerial photographs would be ‘flatter’ or the shadows below bridges would be more muted. Google Earth is a constantly changing dynamic system, so I had to capture these specific moments as still images.”

Bid on Postcards From Google Earth here! >

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(via https://www.youtube.com/watch?v=VQROd0GH3_I)

one of my favorite places in NYC

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Richard Mosse: The Impossible Image

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(via https://www.youtube.com/watch?v=z10YHR3f4B4)

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(via https://www.youtube.com/watch?v=JE5u3ThYyl4)

ah the infamous shoot.

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Daniel Rozin, "Angles Mirror," 2013

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Staalhemel - Steel Sky

(i’m not smart enough to know how this works, but i love it)

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(via https://www.youtube.com/watch?v=lYJ3dPwa2tI)

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Felix Gonzalez-Torres Untitled, 1991 Billboard; dimensions vary with installation. “Between February 20 and March 18, Felix Gonzalez-Torres’s “Untitled” (1991) peppered the New York skyline, on six billboards throughout Manhattan, Brooklyn, and Queens. With locations ranging from 10th Avenue near the Javits Center to the far corners of Brighton Beach, the work reached diverse populations and altered the associated media landscapes. The provocative yet ambiguous image on each—an enlarged black-and-white photograph of the artist’s recently shared double bed—stood out amid the text-heavy advertising signage that dominates the city. Devoid of the text, logos, or captions typically associated with billboards, this work summoned a second look or even a momentary pause, the introspective quality of the image bringing a perceptible stillness to the surrounding bustle of the city. …Throughout his work, Gonzalez-Torres (American, born Cuba. 1957–1996) questioned the notion of the unique art object, making series of works based on identical pairs (two clocks ticking side-by-side, two mirrors embedded in a wall) or finding inspiration in the possibilities of endless reproducibility (stacks of sheets as give-aways for visitors, piles of candy to be continually replenished). He wanted his work to be disseminated, to exist in multiple places at the same time, and to be realized completely only through the participation of the viewer, which he described as “one enormous collaboration with the public,” in which the “pieces just disperse themselves like a virus that goes to many different places—homes, studios, shops, bathrooms, whatever.” Reproducibility, collaboration, and circulation—sound familiar? His particular approach, which has been enormously influential for contemporary artistic practice, also made Gonzalez-Torres an essential presence… For Gonzalez-Torres, art was an effective means of addressing social concerns—even more so when it could be multiplied. Inhabiting the familiar forms of Minimalism and post-Minimalism with his stacks and floor pieces, the artist embedded subtle but insistent references to current issues, from political violence to gay rights. In billboard projects like “Untitled”, the artist played with the powerful juxtapositions that could be generated between private and public spaces. By choosing this photograph of his bed, the artist exposed this most intimate of spaces, emphasized by the rumpled sheets and the recent impressions of two heads in the pillows. In the early 1990s, with controversies surrounding homosexuality and the AIDS crisis simultaneously wreaking havoc across the gay community, the bed also represented a site of conflict, symbolizing both love and death. That Gonzalez-Torres’s partner, Ross, died of AIDS in 1991 brings an intensely personal note to this work, but does not diminish it of its universal associations with comfort, intimacy, loneliness, or loss. Every time I passed by my “local” billboard, on Queens Boulevard and Van Dam Street, I stopped to take it in again. It is a commanding work, even capable of overshadowing the roar of the elevated 7 train and the honking cars exiting the Long Island Expressway (not an easy task!). The presentation in Print/Out marks the 20th anniversary of the first realization of “Untitled”, for MoMA’s Projects 34: Felix Gonzalez-Torres, organized by Anne Umland in 1992. Imagining the future reception of this work, Umland presciently wrote in that exhibition’s accompanying brochure, “A photograph promises the possibility of replication, of reemergence in a different time and under different historical circumstances, a moment when this poignant image of ‘a dwelling in the evening air’ may come to mean very different things.” I look forward to seeing the next iteration!” -Kim Conaty

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Felix Gonzalez-Torres, Untitled (Perfect Lovers), 1991, Clocks.

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“Felix Gonzalez-Torres ‘Untitled’ (Portrait of Ross)is an allegorical representation of the artist’s partner, Ross Laycock, who died of an AIDS-related illness in 1991. The installation is comprised of 175 pounds of candy, corresponding to Ross’s ideal body weight. Viewers are encouraged to take a piece of candy, and the diminishing amount parallels Ross’s weight loss and suffering prior to his death. Gonzalez-Torres stipulated that the pile should be continuously replenished, thus metaphorically granting perpetual life.”

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(via https://www.youtube.com/watch?v=2JDuPCj0NKg)

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Maryanne Amacher - Sound Characters 2 - 2008

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(via https://www.youtube.com/watch?v=Hj83cYfGtZw)

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Judy Dunaway - Piece for Tenor Balloon (excerpt).

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Omozap 2 - Jeff Keen - 1991

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The Jewish Museum welcomes JiaJia Fei back to the Jewish Museum as our new Director of Digital!