Wednesday, October 3, 2007

scanner players

Here are some early (as in, eighties and nineties) uses of (then) new tools toward artistic ends... Above is a manipulated scan by artist Dieter Huber, who, in his Klone series (1994), took biological realities and adjusted them to make comments on sexuality, genetic engineering and perfection.

Nancy Burson, using morphing software, also commented on the perception of beauty and perfection by, for example, joining all of the faces of beauty icons from different eras:

First and Second Beauty Composites (First Composite: Bette Davis, Audrey Hepburn, Grace Kelley, Sophia Loren, and Marilyn Monroe. Second Composite: Jane Fonda, Jacqueline Bisset, Diane Keaton, Brooke Shields, and Meryl Streep), 1982

Joseph Scheer's images of moths are simple, elegant celebrations of the patterns of the natural world. Because he uses a scanner to capture moth wings, we get a hyper-real picture when he blows them up to poster-sized prints. How is a scanned image different in effect from the single-lens effect of a camera eye? Which type of image is closer to the perception our own eyes and brains?

No comments: