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The Convergence of Text, Image, and Aesthetics after Computers and the Internet, Saturday, February 27, 3pm

Looks like a good event if you have time to make it – Eddo Stern from UCLA’s Game Lab will be part of.

The Convergence of Text, Image, and Aesthetics after Computers and the Internet

“Evidently, code works like poetry in that it plays with structures of language itself, as well as our corresponding perceptions.”

Geoff Cox, Alex McLean, and Adrian Ward in

The Aesthetics of Generative Code

Saturday, February 27, 3pm

Cirrus Gallery, 2011 S Santa Fe Ave
Los Angeles, CA 90021

Art.Exe is a series of presentations that will focus on developments in the aesthetic realm due in part to the novel understanding of the convergence of text and image after computers and the Internet. Presenters include Gaby Cepeda, Sterling Crispin, Eddo Stern, and Charlie White.


By its very design, the computer is an interface for text and image. Since the 1980s, with the advent of personal computers, they have been a combination of keyboard and screen. This call and response between the textual and visual coupled with the rise of ubiquitous computing has allowed for the development of alternative language modes. But the connection between the computer and language extends much deeper. Language lies at the core of how computers and subsequently the Internet function. HyperText Markup Language, Java, and Python are just some of the languages that form the software, websites, and applications that populate the net and the devices we interact with on a daily basis. The entirety of the Internet is itself a domain of language. Every part of the web is interpreted and archived through text-based processes. The virtual sphere is a hologram knitted from the fabric of language.


We have come to understand and experience computer languages through interactions mediated by visual interfaces. For example, when we open a .jpg file on a computer we expect to see an image, not the code that produces that image. Yet, one cannot exist without the other. The computer translating the code is what allows us to perceive visual information instead of some undecipherable computer jargon. In this context, text and image exist as one.

As computers and the Internet increasingly inform art and visual culture, our understanding of text and image begins to mirror the logic facilitated by these technologies. This is a moment where information can vacillate between text and image. Text can be activated; it can be performed visually as a script or command. Images can be generated from autonomous code and can operate linguistically.


Art.Exe is organized by Heber Rodriguez. 

Gaby Cepeda is an independent curator, art writer and artist, born in Veracruz in 1985, currently based in Mexico City. Her work focuses on the confluence of feminist theory and the Internet in contemporary art, with research specifically located in the Americas. She obtained her BA in Photography from the Universidad Autónoma de Nuevo León (MX), is working on her thesis for MA on Curating of Visual Arts at Uneversidad Nacional 3 de Febrero (AR), and was a participant of the Artists & Curators’ Program at Universidad Torcuato DiTella (Buenos Aires, 2013). She has curated and participated in exhibitions at Bikini Wax, Mexico City; Museo Nacional de Bellas Artes, Buenos Aires; Sala Luis Miró Quesada Garland, Lima; Art Gallery of Ontario, Toronto; Church of Templehead, Chicago; and White Box Art Center, New York.


Sterling Crispin is an artist and technologist born in 1985 in Maui, Hawaii. His work explores the relationships between the exponentially growing technological-other as it relates to our human bodies, minds, and psyches. He received his Master of Fine Arts and Master of Science in Multimedia Engineering from the University of California Santa Barbara. His work has been exhibited in museums and galleries worldwide and has been published in Frieze, Wired, BOMB, Rhizome, Creators Project, Fast Company, Y-Combinator’s Hacker News, and the Post Internet Survival Guide. He was an invited speaker at the first annual Drones and Aerial Robotics Conference in NYC as coauthor of OpenDroneControl, an open source software platform for developing interactive artworks and research projects with aerial robotics. Lectures include Stanford, NYU ITP, LACMA Art + Technology Lab, SFAQ, YouTube LA, and UCLAArtSciCenter.


Eddo Stern is an artist, game designer, and professor at UCLA’s Design | Media Arts Department. His work explores the uneasy and otherwise unconscious connections between physical existence and electronic simulation, surrounding the subject matters of violence, memory and identification. He works with various media including computer software & hardware, game design, live performance, digital video, and kinetic sculpture. His work has been widely exhibited at international venues including The Tate Gallery Liverpool, The Sundance Film Festival, The Haifa Museum of Art, Museo Reina Sofia, Electronic Entertainment Expo(E3), MuHKA, The Walker Art Center, The Game Developers Conference, Kunsthalle Düsseldorf, The Institute of Contemporary Art, The New Museum for Contemporary Art, IndieCade, The Rotterdam Film Festival, The Kitchen, The Hammer Museum, Light Industry, ICC Tokyo, The Australian Center of the Moving Image, The Art Gallery of Ontario, Machine Project, Forum des Images, Image Forum Tokyo, The British Film Institute, The Adelaide Film Festival. He is a recipient of a Rockefeller Foundation new media fellowship, an emerging fields grant from the Creative Capital Foundation, and a Media Arts stipend from the Edith Russ Foundation.


Charlie White is an artist and academic whose work ranges from photography, film, and animation, to public events, popular entertainment, and documentary archives. White received his BFA from the School of Visual Arts, New York, and his MFA from Art Center College of Design. His work has exhibited at institutions such as the Oslo Kunstforening, Norway; Magasin 3, Sweden; Domus Artium, Spain; Oberösterreichische Landesmuseen, Austria; Shanghai Museum of Contemporary Art, China; PS 1, New York; Institute of Contemporary Art, Philadelphia; Los Angeles Contemporary Art Museum; Museum of Contemporary Art, Los Angeles; Harvard University; and many others. White’s writing has appeared in ARTFORUM magazine, Words Without Pictures published by Aperture, and most recently Vision Anew: The Lens and Screen Arts, published by the University of California Press. His films have screened at the Sundance Film Festival and at Director’s Fortnight at Cannes. Six monographs of his work have been published, most recently Such Appetite (Little Brown Mushroom, 2013), and American Minor (JPR| Ringier, 2009). White is the editor of THE ENEMY, an online journal of art, culture, and positions, and holds the position of Professor of Fine Art at the University of Southern California.

Heber Rodriguez is a Los Angeles-based curator and writer whose research areas include Art and Technology, Internet culture, and experimental sound practices.


2011  S. Santa Fe.  Los Angeles, CA 90021 

Tuesday-Saturday 10am- 5pm  (213) 680-3473

Student Work by Jay Carlyle

Student Jay Carlyle recent shared a fascinating project he completed, incorporating photography as well as something that will be familiar to many students – the Braille wall in the entrance to the 1010 Westwood Center.

Check out Jay’s project below, as well as an explanation of his inspiration and process.


Jay Carlyle artwork

“A friend of mine (a real life individual, a CSUN student, who is in the composite, with permission), is deaf-blind, with low vision, and has had a Cochlear implant for most of his life.  I talked with him about my photography and the projects I was doing here at Extension.  The whole vision of it all sort of came to me spontaneously; I was taking a set of courses that quarter, including one with Michael Powers.  I think I mentioned in passing my concept and Powers had encouraged me as well.

For various years and times, having attended a variety of courses at 1010 Westwood, I passed by the plexiglass installation which to most just appears as an architectural part of the stairwell near the entrance of the building.  But, upon closer examination, it is in fact in Braille.

It is untitled, and a complete Google and otherwise mystery to me as to who created, authorized, the whole installation process for 1010 and for UCLA Extension.   My friend, though Braille is not his primary method of visual-like communication (a CCTV enlarger, Computer Assistive technology, and other magnifications are), can read some Braille.

The 10-15 ft fall installation there appears to be in both simple and complex Braille, and I had him read some of it, which appears to make some references possibly to the Greeks and such, and learning, and mathematics. The whole statement, I do not know.

I photographed him there, as well as shots of him signing and other photographic elements and blended it all into an idea of what was a fantasy composite for class, but as well, a cover jacket for an actual autobiography that I am aware of, he may finish writing at some point.

With the exception of the feather, the brain image scan, and some freely available braille and finger-sign fonts, the entire work used personally photographed elements and created artwork.

As Powers has noted of myself, I have a documentary style of photography, and that is perhaps the inspiration for the project, as well as just personal beliefs about helping, and depicting in a good light, those who are marginalized in society.   I have had some interaction with the deaf community before personally, but only more recently became aware of someone who was deaf-blind (as Helen Keller was and other noted individuals).”



Go Beyond Tourism with Clare Kunny

Clare Kunny.2013

This winter we’re excited to announce a new course offering! Beyond Tourism: Inside the Art Museums of Los Angeles will give students an in-depth look at the rich and rewarding museum and art scene in Los Angeles. It’s designed to take you off the beaten path and learn the history of the collections and movers and shakers you may not be aware of.

We spoke with instructor Clare Kunny about her goals for the class, and what might surprise you about art in Los Angeles.

What inspired you to teach this course? 

Last February, almost a year ago, I founded a company to offer private, educational tours of LA-area museums. A primary goal of this business venture is to acknowledge the wealth of cultural institutions found in the greater LA area. Most people think of LA in terms of popular culture, such as Hollywood and Disneyland. I want people, locals and visitors, to be aware of and experience the many remarkable art museums of Los Angeles and Southern California. My company is called Art Muse Los Angeles; I’ve organized a team of art historians, artists and art educators to offer a range of perspectives on art to our clients. All of us have professional museum experience and we’re eager to share it. I thought that offering a class about the art museums of greater Los Angeles would be a way to share my ideas in-depth with like-minded art enthusiasts.

What is something people might be surprised to learn about the history of Los Angeles museums?
The history of independent art museums in LA is quite young. In 2013, The Fowler Museum at UCLA is celebrating its 50th anniversary. The biggest, most public of LA art museums, the Los Angeles County Museum of Art (LACMA), won’t mark its 50th anniversary until 2015. Yet, in spite of the relative “youth” of art museums in LA, our city and its environs holds a rich and varied array of collections and institutions.

What do you feel is something unique Los Angeles has to offer art lovers?
There are two unique aspects of the LA art community: 1) the predominance of private collections that were formed with the notion of creating eventually a private museum– Henry & Arabella Huntington, Norton Simon, J. Paul Getty; 2) the layers of activity in visual arts– art schools, art galleries, private collections, public museums– make this robust art community a great place to see art,both historic and contemporary.

Which collections or works are you looking forward to sharing with your students?
My favorite collection in the LA area is The Norton Simon Museum. We’ll have fun exploring this museum’s history and what it offers today. In addition to the well-known museums, students will become familiar with smaller, newer museums that have entered the LA cultural landscape, such as ESMoA and the Wende Museum.

What do you hope students take away from the class?
I want students to develop an active awareness of the many art museums we have in greater Los Angeles. Each student undoubtedly will have his/her favorite museum, but he/she will also possess a full view and knowledge of the many art museums found in this amazingly complex urban center.

GettyCenter.Renaissance painting gallery (6), 01-23

Arts ReSTORE in Westwood

arts restore LA westwood

Beginning this Friday, Nov. 1st, Arts ReSTORE LA will take over empty storefronts throughout Westwood Village, bringing a range of events and workshops to the local community.  From a ping-pong club and zine workshop, to student run swap meets and dance performances, Arts ReSTORE promises to be an incredible month of creative classes and events.

Arts ReSTORE LA was made possible by the LA2050 initiative, and as their site states: “Our vision is to inspire the retail property owners of Westwood to tap the extraordinary creative community of Los Angeles as a strategy to activate the Village long term. Everyone benefits if these empty spaces come alive with locally produced goods, crafts, apparel, and furniture, and the neighborhood becomes a vibrant community where consumers can buy unique, locally-made products.”

For more information and a full schedule and map, please visit the Arts ReSTORE LA website.

Artist’s Select with Janine Vigus

Our current installment of Artist’s Select comes courtesy of designer Janine Vigus, who writes:

“Many of the works that inspire me are longstanding sources of interest—I find that even when I discover a new artwork/artist/designer, there is often a reference to the artists/designers and movements that I have this history with.  So in a free-associative manner, and in no particular order, I have included here the work of Nouveaux Réalistes Raymond Hains and Jacques de la Villeglé from the late 1940s and early 1950s, works by Arte Povera artists Mario Merz and Guiseppe Penone from the 60s, 70s, and 80s, and work by Robert Smithson from 1971 and by Bruce Nauman from 1965–8.  The themes that draw me to this work include an interest in work that is concerned with public sites, work that explores ideas of entropy and reversal, and work that involves forms of collaboration.”

Thursdays at the Hammer

Thursdays are free admission at the Hammer Museum, which is a great service to students and the community. It’s been a while since we’ve been there, so we dropped by today to see what’s new.



Maya Hayuk’s murals greet you upon entry – an impressive and colorful introduction to the space.



There was also a fascinating exhibition of Forrest Bess’ work. An eccentric and visionary artist, it’s definitely worth a close look at his life and work, which is rich with symbolism and myth.

It’s easy to forget about these resources, but we encourage artists and art lovers to visit, and get inspired. The museum also hosts musical events, readings, and discussions with cultural figures.

So stop on by. This guy is waiting for you.


Upcoming APA LA Events

 creative relationships APA LA event image

Two great events from APA Los Angeles are coming up this month.   A free panel discussion on October 22nd will host three pairs of photographers/clients who have collaborated over the years on various projects.  And on October 12th APA Members can register to have your work and website reviewed by top industry professionals: art buyers, photo editors, in-house creatives and entertainment companies.

For more information and to register, please visit APA LA’s website.

Artist’s Select with Alison Blickle


Welcome to Artist’s Select, a new series on our blog featuring compelling imagery that provokes and inspires – selected by some of our favorite artists, designers and instructors.  Our first selection is courtesy of artist Alison Blickle, who writes:

“Recently I’ve been looking at images from a variety of times and places– ancient Egyptian art, alchemical illustrations from the Middle Ages, textiles and patterns from the Middle East and the American Southwest, old Russian fairy tale illustrations, and the photography of Studio Manasse from the 1920s.  I’ve also been inspired by a recent trip to Alaska– the wild landscape and the art of the native people there are so beautiful.  Looking at the work of other artists is always important to me too.  Lately I’ve been into Edouard Vuillard and William Blake, and the paintings of my friends Jeni Spota in New York and Howard Eige in Oakland, CA.”

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