Category Archives: Art

Night, Peter Terezakis, Heart Beats Light, Yuha Desert 2007

Pictures at an Exhibition

“Pictures at an Exhibition,” as in I have one included in a group exhibition.
Night, a 2007 image from an installation of Heart Beats Light is included in New York University’s Photo and Emerging Media 2014-2015 Faculty and Staff Exhibition.  The exhibition opened on September 2, 2014 and closes on October 9, 2014.  The show is in two locations: the Gulf + Western Gallery (1st Floor, rear lobby) and the 8th Floor Gallery, 721 Broadway New York, NY 10003.

My piece is at the 721 Broadway location.  Admission is free and open to the public.

NYU’s Photo and Emerging Media faculty and staff of 2014-2015 include Ulrich Baer, Matthew Baum, Michael Berlin, Wafaa Bilal, Terry Boddie, Isolde Brielmaier, Kalia Brooks, Mark Bussell, Edgar Castillo, Iliana Cepero Amador, Charlotte Cotton, Yolanda Cuomo, Erika deVries, Thomas Drysdale, Brandy Dyess, Cate Fallon, Adrian Fernandez, Kara Fiedorek, Nichole Frocheur, Mark Jenkinson, Whitney Johnson, Elizabeth Kilroy, Elaine Mayes, Editha Mesina, Charles Nesbit, Lorie Novak, Paul Owen, Karl Peterson, Christopher Phillips, Shelley Rice, Fred Ritchin, Joseph Rodriguez, Bayeté Ross Smith, Abi Roucka, Peter Terezakis, Cheryl Yun-Edwards, and Deborah Willis.
Night, Peter  Terezakis,  Heart Beats Light, Yuha Desert 2007
Peter Terezakis, MPS
New York University Artist in Residence
http://www.terezakis.com
http://www.allthenamesofgod.com
http://www.sacredskysacredearth.com

Art and Muzak

“It seems obvious, looking back, that the artists of Weimar Germany and Leninist Russia lived in a much more attenuated landscape of media than ours, and their reward was that they could still believe, in good faith and without bombast, that art could morally influence the world.  Today, the idea has largely been dismissed, as it must in a mass media society where art’s principal social role is to be investment capital, or, in the simplest way, bullion.  We still have political art, but we have no effective political art.  An artist must be famous to be heard, but as he acquires fame, so his work accumulates ‘value’ and becomes, ipso-facto, harmless.  As far as today’s politics is concerned, most art aspires to the condition of Muzak.  It provides the background hum for power.”
Robert Hughes, The Shock of the New

 

The Wrecking Crew • A Film by Denny Tedesco

Denny and I worked as production assistants one summer. I never met his father in person; but like a lot of us I knew his musical work. Click on the image to get to Kickstarter to see – and hear – the trailer for this film and help get it made.

“The Wrecking Crew” The Untold Story of Rock & Roll Heroes

by Denny Tedesco

Screen Shot 2013-12-12 at 4.11.16 PM

The Uncertain Destiny of Nature, Humanity, and Technology.

My final project for PCom will revisit a theme from a previous work. The project will consist of an aquatic environment with lights controlled via an Arduino through users on the web. The environment is a fish tank: It’s a fish reality show.This is a team project which will be built with artist Vitor Freire (Vitor’s ITP blog).
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FORCES: Art for the End of the Century

Sara Garden Armstrong, Gregory Barsamian, Rudi Berkhout, Timothy Binkley, Dennis Oppenheim, James Ossi, James Seawright, Stephen s’Soreff, Babis Vekris, Francis Whitney, Mary Ziegler, and I were in a traveling exhibition for few years titled, “Forces: Art for the End of the Century.” The first exhibition of “Forces” was at the Humphrey Gallery on Mercer Street in 1994. It was produced by Richard Humphrey and curated by both Richard Humphrey and me. The New York exhibition included work by Jesus Rafael Soto. The front and back of an origami-inspired catalog from our show in Reading Pennsylvania is below.

forces-catalog-front-reading-pa-1995 forces-catalog-back-reading-pa-1995

Sun 2 Me

Sun 2 Me was built by gleaning through 25,000 frames of satellite imagery obtained through NASA’s Solar Dynamics Observatory (SDO).  Due to the rapid rate of frame changing, the video below is a low resolution version of what is some of the most amazing stellar imagery ever seen:  period end of story.

Thanks to William T. Bridgman, heliophysics visualization scientist at NASA, and all the taxpayer dollars which funded the infrastructure, platform, research, and salaries which made these amazing photographs possible.

Dedicated to my life’s partner and love of my life (who is the Sun 2 me) this video was inspired by British electronica-dance (sadly, now disbanded) group Faithless. whose eponymous sound track has been unabashedly lifted for this project.

Sun 2 Me
[KGVID width=”640″ height=”360″]http://www.terezakis.me/video/sun2me_terezakis.mp4[/KGVID]

Peter Terezakis
ITP Master’s Candidate
Tisch School of the Arts
http://www.terezakis.com

Introduction to Computational Media: Reactive Planar Dimension using Processing and a MacBook Pro

In the 1990s I created a series of grid structures using acid-etched industrial steel parts.  A sensor was located at each intersection.

l’Autre, Terezakis, Here Gallery and performance space, 1996

They were all connected with a combination of RJ11 and RJ45 connectors and appropriate cable. For ease of touring and installations, I designed six grids to be 48″ x 96″.  Plywood, sheetrock, and other building materials in the United States typically max out at those two dimensions.   Correctly fabricated the modules would have easily fit in cargo vans, elevators, and trucks.   Much to my chagrin, I did not factor in the additoinal length caused by the couplings and the additional offset of the pipe.  This caused some extra challenges. But that’s for a different text.

The grid structures were created for people to be able to play music and/or poetry either in a random manner or by controlling where their shadows fell on the grid. In this manner they could then control the placement and pattern of sounds or words if they chose.

I always liked the idea of creating participatory volumes and felt that their must be a better way to get control signals to the computer.

Processing and the availability of low cost web cameras would seem to be one way to update the mechanics of the artwork.

Serial port communication is a lot like it was in the 1990s.  Except that it is more robust, runs over a USB (then non-existent!) cable, has relaible physical connectors,  and Apple computers which can do things undreamt of back then.   The Arduino was essential in making this project work.  (This seemed like a heavy-handed solution for the task at hand. I can’t help but thing that a simple 16C58B could have given me the hardware interface I needed for this project.) I used the Arduino because I wanted the experience with the platform as well as the fact that its language is nearly identical to that of Processing.

A screen grab of the Arduino code appears below. In its uncommented out incarnation, the code allows me to see which outputs are firing and when. For the demonstration and testing I am using incandescent bulbs. Due to the heat they radiate, I prefer to have the lights “off” while waiting to trigger them using camera input.

LED test code for Arduino and AC power moduletest-test

Clicking on this link will open a new window with a screen cap showing the code testing with the laptop webcam. A white rectangle will appear with contiguous moving black segments, showing where my arm passes in front of the camera. (QT controller is at the bottom of the file.)

The above example is the code portion working. The file at this link shows the lights changing in response to the detected movement.

Peter Terezakis
ITP, Tisch School of the Arts
New York City