B(x,y) = (integral)(0 to 1)t^(x-1) (1-t)^(y-1)DT

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f(q) = a / b

cos2(x) = 1/2 + 1/2 cos(2x)

cos2(x) = 1/2 + 1/2 cos(2x)

cos2(x) = 1/2 + 1/2 cos(2x)

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ctober 2013

magazine

Cover Image: How does Bruce Chilton use mathematics to create art? Page 4

Contents4 Art By Numbers - Bruce Chilton10 AWBW12 Eugenia Ortiz20 Luxury At Its Finest26 Art Calendar32 Video Game Art

CONTRIBUTORSTim Broughton

Henry ColeLuis Ages

ART DIRECTORArezoo Bharthania

Page 12

Page 32

Page 4

I was recently stopped at a traffic light in Los Angeles. As I gazed around at the other road users, I was struck by the sheer artistic beauty of an Aston Martin that was resting temptingly nearby. I then took a closer look at some of the other vehicles, and noticed the evident aesthetic consideration that had been lauded upon these modern conveyances. Later that day I pondered on the sheer volume of art that seems to exist ubiquitously at every turn in this 21st century world. Whether it is vehicle art, fashion art, technology art (the new gold iPhone 5S just sold for $10,100 on eBay) packaging art (bottled water designs, Smirnoff Caipiroska, etc.) website art, screensaver art, or advertising art. It seems that wherever there is a space, there is a window of opportunity for someone to fill that space with art of some kind. I began to wonder, even though many of these designs are certainly colorful and effective in commanding the attention of the eye, at what point does this constant stream of visual information become overbearing? Is it the case that our appreciation of fine art for its own sake has become somewhat compromised by the numbing effects of constant creative bombardment? In a nutshell, has the incorporation of artistic elements at each and every opportunity detracted from our appreciation of art in the traditional sense?

We would love to hear your thoughts. Please e-mail us at contact@artla.com.

Kindly,

Heidi GrayCo-founderArtLA.com, Inc.

SMIRN

OFF C

APIRO

SKA

Throughout history the connection between science and art has been a point of debate and exploration by scholars, artists and scientists alike. The ancient Egyptians and Greeks believed that “The Golden Ratio” (in mathematics and the arts, two quantities are in the golden ratio if their ratio is the same as the ratio of their sum to their maximum) possessed aesthetic qualities. Even though in recent times it had been proven beyond any reasonable doubt that the study and practice of the arts also acts as a catalyst to all other cognitive disciplines, the core connection between the two

The Majestic Mathematical Masterpieces of Bruce ChiltonArt By Numbers

in an embryonic fashion is still shrouded under the non-definitive veil of subjective opinion and conjecture. One artist who uses mathematics not just as a seed in the creation of his artworks, but also as a vital and integral part of his creativity is Bruce Chilton. As a mathematician and an exponent of art in the realm of computational creativity, Bruce Chilton is certainly not a run-of-the-mill artist. Rather, he has developed an extensive formula, or formulae, that serves as the DNA of his art. Blessed with an unbridled imagination, an analytical mind and the willingness to take risks, Bruce Chilton is gaining recognition as an artist who has definitely strayed from the path of normality. We recently chatted with Bruce about his evolution, approach to his craft, and aspects of his character. We found him to be a very original human formula. ArtLA Magazine: What came first, a passion for art or mathematics? Bruce Chilton: Art came first. I recall creating “comic strips” at the age of eight or nine. As a teenager, it was my ambition to become the world’s best animator, even surpassing Disney (this was years before 3D computer animation was invented). However, as I got more into mathematics in high school, I became fascinated by the possibilities inherent in geometry. In college, I found the mathematics courses easy and fun, and I was lucky to meet math teachers that encouraged me. I ended up with a sort of amalgamation of math and art. ArtLA Magazine: How much emotional quality do you inject into your art?

Whut’s Happenin’ Hyar, Digital Art, 36 x 36 inches

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- Tim Broughton

Bruce Chilton: Although my procedure is purely mathematical, I always get a type of “high” when I find that I’ve created a really good picture. I think that if there was little emotion involved, I’d quit. ArtLA Magazine: When considering formulae do you have a clear image of how each piece will look? Bruce Chilton: I design my formulae with the idea of creating a certain kind of image. Sometimes I succeed, but more often the result is disappointing. This lends a quality of uncertainty to my work that makes it all the more pleasurable when I get a good result. ArtLA Magazine: How would you describe your creative process? Bruce Chilton: Quite a bit of my time is spent designing formulae. The actual drawing is fast; however, I spend a lot of time germinating and formatting these complex algebraic waltzes until I have the last dance. ArtLA Magazine: You are very prolific.Do you find that art and mathematics consumes the greater part of your time? Bruce Chilton: I wouldn’t say that most of my time is devoted to my art. I have other hobbies as well; for example, computer animation, which can be very time-consuming. ArtLA Magazine: Where do you see technological innovation heading regarding the creation of art? Bruce Chilton: The possibilities are

amazing, especially animated art. I look forward to a day when a person can put on some sort of 3-D equipment and be immersed in a private computer-created virtual world, where he/she can just wander around, enjoy the surroundings and the inhabitants, and relax. ArtLA Magazine: If you could spend a day in the company of any historical figure who would it be and why? Bruce Chilton: Surprisingly, I don’t think my first choice would be an artist or mathematician. I’d like to visit with someone like Samuel Clemens; I more or less share some of the skepticism and humor about our society that he so capably displayed in his writings. As to artists, I have an odd liking for weird art, such as that of Salvador Dali. My favorite mathematician was H.S.M. Coxeter, who was a professor at the University of Toronto, where I got my Ph.D. Like me, he was fascinated by mathematical art. Bruce Chilton’s artworks will be exhibited October 12 - November 10, 2013 at the JNA Gallery, 2525 Michigan Avenue, D4, Santa Monica, CA 90404. Telephone 310-315-9502.

The Joker, Digital Art, 36 x 36 inches

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Join A Window Between Worlds at the beautiful Peninsula Hotel in Beverly Hills on October 26th in honor of Domestic Violence Awareness Month. Artworks for Healing, an elegant and heartfelt affair, will benefit AWBW’s healing art programs for survivors of domestic violence in shelters across the country. This year’s gala introduces a unique opportunity to purchase art created by 50 established and emerging Los Angeles-based artists including ArtLA.com’s own Chanel Cross, Sheila Fein, Andrew Glass, David Skernick, and Nicole Aronson. AWBW asked each artist to contribute a piece of original art that poses the question: What can you do to end violence in our communities? To learn more about the participating artists and preview the wonderful works of art for sale, please visit AWBW’s online exhibition at http://bit.ly/19IuwCP. All artwork will be exhibited anonymously so guests can purchase specific pieces that speak to their hearts. If you would to attend the event, please purchase tickets at http://bit.ly/17PQ9Q5 or please call AWBW at (310) 396-0317. The event will also include a live and silent auction, wine and liquor tastings, and delicious hors d’oeuvres provided by the Peninsula Hotel. Auction Donors include: Mikimoto, The Peninsula Beverly Hills, The Lobster, Disneyland Resorts, Gary

A Window Between Worlds Artworks for Healing

October 26, 7-10pm, The Peninsula Beverly Hills

Farrell Vineyards, HauteLook, FOX, koi Designer Scrubs, and The Staples Center. Guests will enjoy bidding on exclusive winery experiences, getaways, sporting events, spa treatments and more! This event would not be possible without the incredible support of AWBW’s Sponsors and Supporters: Rose Gilbert, The Herb Alpert Foundation, NBC/Universal, The Annenberg Foundation, The Ahmanson Foundation, Morandell Imports, AGAŸVIE, & koi Designer Scrubs! Due to the interest and excitement around this memorable evening of art and wine tastings, we encourage you to purchase tickets in advance online or by calling AWBW.

The Need is Great: Domestic violence affects one in four women in the U.S. We invite you to be part of our work healing hearts traumatized by violence. AWBW fills a critical gap in services and we must raise $110,000 through Artworks for Healing to continue to sustain and grow our art programs in domestic violence agencies. With a lean budget and 20+ year history of growth and efficiency, any donation makes a profound difference. $500 provides art supplies for one shelter for an entire year. $5,000 helps launch a new program at a domestic violence agency. About AWBWAWBW’s healing art workshops help domestic violence survivors develop a renewed sense of hope and possibility that profoundly impacts future decisions regarding their relationships, the direction of their lives, and how to stay safe. Since 1991, AWBW’s art programs have served over 112,000 women and children throughout the country in partnership with over 279 shelters, outreach centers and transitional homes in 30 states. Ways to Get InvolvedTo make our healing work possible, AWBW depends on a dedicated corps of volunteers that helps with a variety of program, event and administrative tasks. Each year, more than 400 volunteers donate nearly 7,000 hours in support of our mission to end

domestic violence. However, AWBW is always in need of volunteers. Join us by attending Volunteer Days every third Saturday of the month, organizing an art supply drive, assisting in workshop preparation, serving on an event committee or becoming an AWBW Advocate. Advocates help promote the organization and are invited to attend the quarterly Advocate Huddle, a dinner meeting where they come together to learn about upcoming opportunities to support AWBW, participate in an art workshop and hear from a survivor or leader about the impact of the art program. Advocate Huddles take place Tuesday evenings at our office in Venice about four times each year. About I Can We CanI CAN WE CAN is a socially engaged art project created by A Window Between Worlds to strengthen, connect and expand a community of individuals united to end domestic violence and sexual assault. This ongoing participatory art project invites everyone to create art as a symbol of solidarity, a commitment to doing what they can to help end abuse. Our shared vision is a world in which art is used to forge a sense of personal connection and shared responsibility to say WE CAN create a violence-free future.

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Life’s experiences are, in many ways, akin to computer operating systems – they are always working behind the scenes, manipulating our responses and having an indelible effect on the tone of our perceptions. Everyone experiences events and periods in their lives that are, shall we say, less than pleasant, and sometimes painfully traumatic. However, this does not mean that such episodes cannot become catalysts for change, and ultimately tools for transformation. Art has long been known to possess cathartic qualities for those who have used it to convert the negative into the positive, and one artist who epitomizes this principle of metamorphosis is Eugenia Ortiz. Her splendid mixed media artworks utilize, amongst other materials, partial and crushed eggshells. These are layered with a message that positive change

Walking On Eggshells

Eugenia Ortizis achievable. Eugenia proves that art is certainly a practice that can convey such awareness with beauty and creativity. Eugenia’s art excursions didn’t begin as a result of living with abuse, but stretch back to as far as she can remember. As a toddler, she would create imaginative sculptures with her mother’s pots and pans. Her very first significant piece of art was made when she was just five years old. She painted her grandmother’s television set with bright red nail polish! Although this performance was less than joyously received, Eugenia remembers feeling that it was less a mischievous misdemeanor and more a marvelous masterpiece. Eugenia explained, “The need and passion for me to be an artist had a very strong pull even as a child.” As a survivor of domestic abuse, we asked Eugenia to tell us about her experiences and how she has managed to

A New Gleam, Mixed Media on Canvas, 36 X 36 inches

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-Tim Broughton

overcome the trauma associated with this immensely difficult period in her life. She explained, “My experience with domestic violence, although extremely painful and traumatic, has fortunately culminated in a miraculous healing process. I honestly think that the years spent recovering from the abuse has made me a stronger woman. Through this journey, I have learned a great deal about the cycle of violence and patterns of behavior. As I consciously move forward towards my goal of creating a beautiful life, I know that I need to continue the practice of looking deep within myself in order to keep growing as a person, as well as an artist. I want to continue to evolve so that I can create better experiences in my life. I know that going through domestic violence does not define me as a human being, but the experience has ultimately helped me to have substantial empathy and understanding for individuals who may be in similar suffering. My wish is that I can inspire others that have suffered similar traumas, so they can truly believe that they can change their lives into ones that are blessed with inspiration and beauty. I have discovered that no matter what obstacles or challenges arise in my life, through perseverance I am able to walk through them and shine.” Many artists experience life-changing challenges, but not all of them are able to apply the perspicacity gained from dealing with such traumas to their creative

process. We asked Eugenia to elaborate on the method she adopts in order to channel this positive energy into her art. She told us, “All of my work comes from within. It is an intuitive process as well as one that can be fueled by any range of emotions, from sadness and anger to happiness and love. I express these emotions through color, texture, shapes and visual movement. My works reflect how I feel as I create. Many times, I even create works at an unconscious level, and then I realize the meaning of a work and am able to heal that thread of my life. I find it fascinating when a work of art flows through me unconsciously. I go with the flow and only then do I come to see what is truly wanting to express through me…I am planning on creating public art in the future, and I believe that will be a fantastic environment for my emotive expressions to flourish.” Every artist has at least one influence that they cite as being the core of the glow that propels them and with Eugenia that inspiration is very close to home and heart: “My son has been the biggest influence in my life. He has always shown me unconditional love and kept me grounded. I want to be a successful mother, and it is important for me that he sees me as a successful woman. That goal gives me a laser focus to succeed in the art world.” We quizzed Eugenia about who (alive or not) she would like to sit down with and interview. Her answer was concise and

Despertar (Spanish- To Awaken), Mixed Media on Canvas, 60 X 36 inches

unequivocal: “I would interview Frida Kahlo because we both have dealt with strong subject matter and trauma in our respective work. In addition, I like Georgia O’Keeffe because I feel a lot of my work flows like hers. I would like to know about her life and her creative path. I’d like to know how they both broke through personal and professional barriers to become recognized as great artists.” Finally, when asked to describe herself in one simple word, Eugenia replied in a way befitting to someone who possesses such great inner strength. She considers herself to be “empowered, radiant, growing, human, vibrant and optimistic.” We think those words describe her unique and beautiful artistic creations as well. Please view more of Eugenia’s artwork at http://artla.com/Eugenia/dashboard/gallery.

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Luxury At Its Finest

The greeting card industry has remained robust in the physical realm even in the face of a multitude of electronic choices with which to convey specific salutations. Most people agree that holding a beautiful, handwritten card in their hands is a moment to be cherished in a way that gazing at something on a computer screen will never equal. Whenever we visit the store seeking “the perfect card,” we are often numbed into confusion by either the sheer volume of choices, or the ubiquitous banality of the sentiments expressed within the cards. Where do we go if we need a card that states unequivocally that we are passionate about the message we are conveying and wish to make an indelible impression with our choice of card? One company that offers a standard above the norm is Gilded Age Greetings, whose range of intricate cards reflects their considerable experience as top-quality illuminators of and experts in penmanship. This month, we will take a look at some of the offerings that Gilded Age Greetings has available and should you need to make an extra special statement with a greeting card, rest assured, it will say all that you intend, and more!

Perfect Greetings!Angels We Have Heard Holiday Card Limited Edition 2013

“Angels We Have Heard” is presented on a stunning cobalt ground paper, providing a rich background for the magnificent gold workmanship of this card. The wings of the angel are striking with their ethereal use of shell gold and the capital “A” as a focal point of the card showcases master craftsmanship of the ancient gilding technique. A limited edition of just 250 pieces and a great seasonal choice at just $375.00.

An Act of Kindness Greeting with Flora and Fauna Limited Edition

This Chanukah card (limited edition of 250) is a finely-engraved and hand-signed document containing the edition number, history of illumination, artist’s biography and information exclusive to the card. “An Act of Kindness” draws on magical scenes with a managerie of animals, set within a border of lavish 23k gold. Additional gold is also hand laid as “seed pearls” cascading throughout the landscape. Price: $450.

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Beautiful Birthday with Roses Limited Edition

Inspired by the garden parties of the Gilded Age, the “Beautiful Birthday” limited edition celebrates both the beauty of the botanical and the beauty of a joyous birthday. Each card of this edition features pink and yellow roses, escorted by eager ladybugs, surrounded with scrolls and letters elaborately tooled in 23k gold. Price: $375.

Valentines Day I Love You Original Couture Card

Valentine’s Day, celebrated each year on February 14th, is known as the Holiday of Romantic Love. The Gilded Age Greetings “I Love You” Card is a classic and traditional card for this very special holiday. Each card is adorned with cascading flowers, hand gilded in 23k gold, and individually inscribed with your perfect romantic sentiment. This one-of-a-kind, exquisite card has been hand-inked, painted and gilded by Master Artist Rosemary Buczek and is certain to impress your cherished Valentine. Truly unique! Remember to order early to ensure satisfaction. Say “I Love You” in the most memorable way for just $2,250.

The Gilded Age Birthday Greeting Original Couture

Renaissance master works of illumination, so prized by Gilded Age magnates JP Morgan and Henry Clay Frick, are the inspiration for this namesake birthday greeting. This original work is a true gift of style and luxury. The bold capital letters that dominate this card are surrounded by extensive amounts of layered shell gold, all painstakingly hand applied, just as in Renaissance times. True to the period, the pigments used in this work have been hand-ground and chosen specifically for this card. As an original, this one-of-a-kind holds true to traditional techniques having been drawn, inked and then painted by hand from the master penman and illumination artist, Rosemary Buczek. “The Gilded Age Birthday” couture signed original can be ordered with a custom sentiment or blank to be penned by the hand of the giftor. The card is presented tassel bound, within a lavish silk presentation box. Complimentary white gloves are provided for proper handling of the fine gilt work as well as the painting itself. The presentation box is handmade of couture quality silk, each finished with fine gold embroidery gracing this gorgeous presentation. Each card includes a Certificate of Authenticity – a finely-engraved and hand-signed document, containing edition number, history of illumination, artist’s biography and information exclusive to your card. A real statement at $3,450.

For more selections of custom and limited edition greetings cards from Gilded Age Greetings Cards, please visit https://www.gildedagegreetings.com/

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ART CALENDAROctober 2013

AustraliaThrough January 19, 2014Sydney, AustraliaART GALLERY OF NEW SOUTH WALESStill LifeAt first, they were painted representations of inanimate objects — food, flowers, books and kitchen utensils. In later centuries, still lifes acquired a third dimension, like ‘‘Killing Time, 2003-04,’’ left, a sculpture by Ricky Swallow, which illustrates the riches of nature and its transient character. This work is at the core of the show of 20 paintings and works on paper by Australian artists. (Collection of the Art Gallery of New South Wales, Sydney)http://www.artgallery.nsw.gov.au

FranceThrough October 31, 2013Giverny, FranceMUSÉE DES IMPRESSIONISMESHiramatsu, le Bassin aux Nymphéas: Hommage à MonetWhen Reiji Hiramatsu (born 1941) visited Giverny for the first time, in 1994, he was

struck by the serenity and poetry of the place. From then on, working with gold, silver and platinum leaves, he recreated, in his own Japanese and contemporary idiom, Monet’s pond, water lilies and flower garden. His poetic paintings are juxtaposed with Monet’s Japanese prints and a few works on loan from the Musée Marmottan Monet in Paris. “Motifs de Nymphéas - Divertissement, 2010.” (Musée des Impressionismes, Giverny)http://www.mdig.fr

FranceThrough November 4, 2013Paris, FranceCENTRE POMPIDOURoy LichtensteinThe clever serpentine itinerary winds through chronological rooms of paintings and etchings, and a long open gallery of sculptures that echo the two-dimensional works and can be seen from several angles. A leading figure of American art after World War II, Lichtenstein’s (1923-97) work is immediately recognizable for its primary colors, Ben-Day dots and inspirational imagery — comics, advertisements and popular culture. In later years, Lichtenstein reinterpreted the works of classical and modern masters, such as Picasso, Matisse

and Léger. At the end of his life, the artist returned to classical nudes, Chinese-inspired landscapes and still lifes. http://www.centrepompidou.fr

GermanyThrough November 24, 2013Berlin, GermanyMARTIN-GROPIUS-BAUKapoor in BerlinFrom early pigment works inspired by his native India to recent motorized red wax works, Anish Kapoor (born in 1954 in the former Bombay and working in Britain) reinvents techniques and shapes and the use of different media — pigments, stone, mirrors, wax. He melts the borders between architecture, sculpture and installation, and challenges the audience’s imagination and perception of harmony. The 70 exhibits were created over the past 30 years, some specifically for the show.A view of “Symphony for a Beloved Sun, 2013,’’ installed in the atrium of the museum. (Photo: Jens Ziehe. Courtesy the artist. © Anish Kapoor / VG Bildkunst, Bonn, 2013)http://www.berlinerfestspiele.de

GermanyThrough November 10, 2013Karlsruhe, GermanyZKM |MUSEUM OF CONTEMPORARY ARTMatthew Day Jackson: Total AccomplishmentThe philosophy that underlies Mr. Jackson’s works in painting, sculpture and video, is based on his belief of a world order based on destruction. Predominantly a sculptor and a bricoleur, the artist (born 1974) creates unusual works out of found artifacts and high-tech materials that symbolize destruction, such as “Axis Mundi, 2011,’’ the repurposed cockpit of a B-29 bomber, and a cube representing a certain volume of TNT. (Private collection)http://on1.zkm.de

Hong KongThrough February 16. 2014Hong Kong, Hong KongHONG KONG MUSEUM OF ARTMaritime Porcelain Road: Relics From Guangdong, Hong Kong and Macao MuseumsWith 170 artworks from the collections of the three museums, the exhibition, which opens Friday, documents the importance

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ART CALENDAR October 2013

and impact of Chinese export ceramics on Southeast Asia, the Middle East and Europe, where porcelain production started in the 18th century, after a Jesuit priest revealed Chinese manufacturing secrets. A celadon bowl with incised design, Longquan ware, Southern Song dynasty. It was salvaged from South China Sea. (Collection of Guangdong Museum)http://www.lcsd.gov.hk

CanadaThrough January 5, 2014Toronto, CanadaTHE ROYAL ONTARIO MUSEUM, ROMMesopotamia: Inventing our WorldThe significance of Mesopotamia as the cradle of our civilization perdures. Agriculture, irrigation, urbanization and writing were born and developed in the lands fertilized by the Tigris and the Euphrates, now present-day Iraq and part of Syria and Turkey. The innovations, beliefs and achievements of successive civilizations — Sumer, Assyria and Babylonia — over 3,000 years are illustrated by about 170 artifacts on loan from the British Museum, many of them the results of recent excavations at the legendary cities of Ur, Nineveh and Babylon. They are complemented by artifacts drawn from

the ROM and on loan from several North American museums. A ninth-century B.C. magnesite statue of Ashurnasirpal II, from a temple in the ancient Assyrian city of Nimrud, on the Tigris river. (The Trustees of the British Museum) http://www.rom.on.ca

United KingdomThrough October 20, 2013London, United KingdomTATE MODERNSaloua Raouda ChoucairA first exhibition in Britain for the Lebanese artist (born 1916). From the beginning, Ms. Choucair was resolutely more modern than her Middle East peers. In the 1940s, she studied under Fernand Léger in Paris but her works, a combination of the modular forms, lines and curves of Islamic aestheticism with western abstraction, were not well received when she returned to Beirut, where she now lives. The display features 120 sculptures in metal, wood, stone and fiberglass, as well as early abstract and figurative paintings. “Self-Portrait, 1943.” (Saloua Raouda Choucair Foundation) http://www.tate.org.uk/modern

JapanThrough October 29, 2013Nagoya, JapanNAGOYA/BOSTON MUSEUM OF FINE ARTSSisters in Art: Women Painters and DesignersIn the late 19th century, with a greater independence, came the possibility for women to study and practice art. Some did it independently, some thrived artistically thanks to a supportive partnership, such as Berthe Morisot and Edouard Manet, and Georgia O’Keeffe and Alfred Stiglitz. About 75 works figure in the display. Marie-Louise Elisabeth Vigée-Le Brun’s “Portrait of a Young Woman (Countess Worontzoff?), c. 1797.” (Robert Dawson Evans Collection. Photo: 2013 Museum of Fine Arts, Boston).www.nagoya-boston.or.jp/english

United StatesThrough January 1, 2014Houston, TexasTHE HOUSTON MUSEUM OF NATURAL SCIENCEFabergé: A Brilliant VisionOn loan from the McFerrin Collection, whose owners are prime collectors of Russian art, more than 350 Fabergé creations — cigarette cases, eggs, picture frames, boxes and clocks — including the Empress Josephine Tiara, whose diamonds were a gift from Alexader I to Josephine; the renowned Nobel Egg, commissioned by an eponymous Swedish industrialist, a rare private client of Fabergé’s; and a fan owned by Queen Victoria. The Nobel Ice Egg and Surprise Watch Pendant, created in 1913 for an Swedish industrialist by the name of Nobel. (Houston Museum of Natural Science)http://www.hmns.org

United StatesThrough January 26, 2014New York, United StatesTHE METROPOLITAN MUSEUM OF ARTEveryday Epiphanies: Photography and Daily Life Since 1969Epiphany: the instant when a trivial object or idea reveals its radiant meaning, according to

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ART CALENDAR October 2013

James Joyce. In a medium like photography that mirrors reality, epiphanies take a different meaning, as illustrated by four decades of photographs and videos by John Baldessari, Robert Gober, David Salle and Fischli & Weiss, among others. The photos explore the forgotten aspects of ordinary, intimate moments. Some even carry the Joycian radiancy, such as Nan Goldin’s 1953 photo of a heart-shaped bruise on a woman’s thigh. Stephen Shore’s “Clovis, New Mexico, 1974” from the series “American Surfaces.” (The Metropolitan Museum of Art. Courtesy of Stephen Shore)http://www.metmuseum.orgArt Calendar October, 2013

GermanyThrough December 1, 2013Berlin, GermanyMARTIN-GROPIUS-BAUMeret Oppenheim: Retrospektive‘‘Freedom isn’t given, it has to be taken,’’ the Swiss artist said in 1982. Oppenheim’s (1913-85) humorous first attempts at blurring the lines between dream and reality, nature and culture, and men and women, turned her into one of the main protagonists of Surrealism and the muse of Surrealist artists. Her inspiration found its sources in Jung’s writings, in myths and in her own dreams. Samples of Oppenheim’s creativity include self-portraits, erotic objects, images of the

invisible, dream scenes and fabulous beasts, among others http://www.gropiusbau.de

IsraelThrough November 2, 2013Jerusalem, IsraelTHE ISRAEL MUSEUMColor Gone Wild: Fauve and Expressionist Masterworks From the Merzbacher CollectionAbout 40 masterworks from the notable collection of modern art returns to Jerusalem where it was first admired in 1998, expanded to include some recent acquisitions. The Fauve and Expressionist paintings share similarly energetic brushstrokes and vibrant colors, that the artists — Georges Braque, André Derain, Alexej Jawlensky, Wassily Kandinsky, Henri Matisse, and Maurice Vlaminck, — used to express emotions. http://www.imj.org.il

South KoreaThrough November 3, 2013Daegu, South KoreaDAEGU ART MUSEUMKusama Yayioi: A Dream I DreamedMs. Kusama’s (born 1929) complex world of dots, mirrors and fluorescent lights is her refuge, and her obsessions the main themes

of her art. Her paintings, sculptures, videos and immersive installations are in high curatorial demand, but her boundless creativity allows simultaneous exhibitions of her works on different continents — now in Manila, Buenos Aires and Oita, Japan. About 100 paintings, eight sculptures and seven installations explore the boundaries between reality and fiction, life and death, the finite and infinity. Ms. Kusama has elected to live in a mental hospital close to her studio in Tokyo. http://www.daeguartmuseum.org

United StatesThrough January 26, 2014New York, USATHE MUSEUM OF MODERN ARTAmerican Modern: Hopper to O’KeeffeBetween 1915 and 1950, American artists expressed ambivalent views of the rapid transformation of their country marked by industrialization and skyscrapers. Four themes run through the paintings, photographs, works on paper and sculptures selected by the curators: rural and urban landscapes, industrial scenes, portraits and still lifes. Masterpieces are

juxtaposed with rarely seen works from the collection. Stuart Davis, Edward Hopper, Georgia O’Keeffe, Alfred Stieglitz and Andrew Wyeth, among others, figure in the showhttp://www.moma.org

United KingdomThrough November 24, 2013London, United KingdomTHE NATIONAL GALLERYMichael Landy: Saints AliveA former artist in the Saatchi stable and today the artist in residence here, Mr. Landy (born 1963) has constantly created provocative installations and performances. Inspired by Tinguely and his kinetic sculptures made from discarded material, the artist has selected images of saints (Jerome, Catherine, Thomas, Apollonia, Thomas) from paintings in the gallery’s collection and assembled refuse into seven three-dimensional figures of saints, complete with life and martyrdom attributes. Using a foot pedal, the visitor brings the contraption — it can hardly be called a statue. http://www.nationalgallery.org.uk

When popular video games first burst onto the arcade scene way back in 1972 with Atari’s Pong, the notion of connecting the words “video game” and “art” existed only in the context of the product packaging. Limited to embryonic processors, the power to produce real frames devoid of pixelated disturbances existed only in the imaginations of the designers and users. It wasn’t until 1983, with the advent of the third generation of video games, that we began to experience anything approaching credible art in that particular entertainment medium. Since then, technology has advanced in leaps and bounds, or chips and bits to be more precise. We now live in a world where not only has video game art become accepted as a bona fide beauty-centric craft, but the creators of such visual elements are lauded each year in many awards extravaganzas. Classifications like “The Best Visual Arts Award” acknowledge the overall excellence of visual art in a game including, but

Video Game ArtA World Pixelated

- Luis Ages

not limited to, art direction, animation, modeling, character design and texture creation. As part of an industry that, as of 2013, boasts global sales of $66 billion dollars, the artistic elements of the games have been of key importance. These components represent the visual result of the interactive relationship between the player and the game. Oftentimes it is easy to take such immense advances in quality for granted, given that we seem to easily forget how things were in the past. For example, who remembers being amazed at pixelated images clumsily trudging around a very low-resolution screen, or flames that at the time would have been rejected by the designers of electric faux-wood fires? Now we are spoiled with some of the most beautiful imaginations possible (today), and this, in and of itself, has sparked a vibrant debate between the proponents of digital and video game art (who maintain the medium to be a respected part of our creative craft) and

the “traditionalists” (who argue that such definitions need to be restricted to more direct kinesthetic performance that connects the artist with the art in a literal manner, omitting the “middle-man” device of the computer). Like it or not, video games are here to stay and will, rest assured, continue to march forth in quality, sophistication and creativity. Likewise, the art will progress in harmony with the technology and, without doubt, we will look back on today’s digital “masterpieces” with the same curious bafflement as we do now with the super pixelated Super Mario Bros. game of 1985. Video game art is truly only limited by our imagination, and thirty years ago, who would have imagined that?

1985 Supr Mario

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