logy

raphic synthesis

Oubhik Chakrabarti

feed it to Aleph Null, and you'll have
something for your show and I'll
have something for my website and
other stuff that I do’,” said Andrews,
recounting the exchange.

Some of the prints at the show,
such as pome that frees and 2 th see,
resulted from Andrews using Aleph
Null to combine some of bissett’s
archived poetry from the 1960s and
his more recent works.

“The new stuff looks kind of like
computer code and the old stuff
looks typewriter-ish,” Andrews said.

Viewers have told Andrews that
this work is “really striking visually,
but also very readable.”

Bissett calls Andrews a “genius”.

“The way he collages text is really
wonderful,” bissett said of Andrews’
work with Aleph Null. “You can see
more than usual, the stitches in the
letters and the letters in the pictures.

Most languages are [pictographic],
so language in letters... comes alive.”
One of the pieces in the exhibit,
USAMERICAN HITLER, mashes
images of Adolf Hitler and U.S.
President Donald Trump together.
Although he was commissioned to
create the work, Andrews said he’s
“not all too fond of Trump’ either.

"He's going to contact the band,
the Nine Inch Nails, and hope-
fully get them interested in using
these images in a music video,” said
Andrews, of a potential collabora-
tion. He said that the project is his
and the commissioner’s attempt to
“fight fascism”.

Peter Courtemanche, an exhibit
attendee, thought Andrews’ work
was unique. “It’s different because of
the painted look. It looks more like
printing on paper, like multi-media,”
Courtemanche said.

ae

" synthesized from Aleph Null. Andrews likens Aleph Null to a music

the outside world. i@AGE vim ANDREWS

he entirety of the
impressionist movement,
similar to Jim Andrews’
Aleph Null, made audiences ques-
tion what counted as art.
Impressionists such as Claude
Monet and Paul Cézanne painted
quickly as if to capture fleeting
moments in their paintings, like early
morning or evening light.
‘The results were frequently panned
by conservative art critics of the
time, who thought the scenes looked

resolution of
an Aleph Null print reaches 12,000
by 6,750 pixels, about 50% higher
than 8K resolution monitors.

LEFT: Vincent van Gogh's Starry Night, a well-known post-impressionist painting. PHOTO PRUDENCE HEWARD VIA FLICKR
RIGHT: Fountain, a controversial 'readymade' piece by Marcel Duchamp. PHOTO ARTIS A WORD VIA FLICKR

sloppy and unfinished.

The Impressionist movement was
all about breaking hyperrealistic and
academic tradition within art of the
period.

‘The movement rejected traditional
subjects, such as scenes from history,
religion, and mythology, in favour of
capturing middle-class urban scenes
and landscapes.

Historically, they weren't the
only ones to get push back. In
1917, Marcel Duchamp submit-

a similar
graphic synthesizer program called
dbCinema, which he used in an ear-
lier collaboration with Jim Leftwich.

TOP: Attendees at the exhibit's opening night
look at (from left to right) care uv th earth, isis
sisi, and turning 2 him.

LEFT: USAMERICAN HITLER, commissioned
by Bob Kasher, is both Kasher's and Andrews’

attempt to "fight fascism with images". PHoTos
SOUBHIK CHAKRABARTI

ted a urinal to the Society of Inde-
pendent Artists. Fountain is a
‘readymade’, an everyday object
considered art simply because the
artist said it was.

Baffled audiences of the day
wondered what the evaluation
process was for submitted art, and
asked whether Fountain and other
readymades should be even called art.

Regardless, the piece shaped
the direction of art created in the

20th century.

pieces will be on
display during the exhibit, including
Andrews’ collaboration with bill
bissett's dirtee konkreet poetry from
the 1960s.