TRANSFER's curatorial vision is to support emerging techniques across media, agnostic of form, centered on a humanistic encounter with networked culture.
installed in our Brooklyn-based gallery. TRANSFER is focused on supporting the studio's interests through experimental exhibitions.
operating with open relationship agreements. TRANSFER works in collaboration with likeminded galleries to cast a wide net of support.
This catalog highlights a selection from the gallery's inventory – it is a snapshot of the works available including some of the most popular pieces with collectors, critics and curators of contemporary art.
Technology connects us to porn, our partners, and whatever other bodies we might desire. We lust after bodies "behind" the screen or "inside" the device but all the while we interact, always, with a thing--a machine.
'It Needs You' is an installation work consisting of ethernet ports plugged with cables, arranged in a tangled mass on a pink plexiglass protrusion. Lubricant is dripped generously over the cordage, creating a glistening and alluring sculptural work.
Faith Holland 'It Needs You' – Ethernet Cords, Ethernet Wall Plates, Lubricant and Plexiglass measuring 7’ x 8’ x 4’. Unique 2015
Filmic media has put pressure on sex to be visually consumable. Actors perform for a camera and an audience, for maximum visibility rather than pleasure. Hollywood, too, has faced this problem of visualization but for the opposite reason: restraint and censorship. Faith Holland's 'Visual Orgasms' exaggerates this mandate to ‘make-visible’ by creating excessive moving image collages that depict metaphors for orgasm with no actual depiction of sex.
Faith Holland 'Rockets' – Animated GIF 1619x1080px/20 Frames, 2014. Edition 5 + 1AP
Faith Holland 'Popcorn' – Animated GIF 1500x1000px/20 Frames, 2015. Edition 5 + 1AP
Faith Holland 'Fireworks' – Animated GIF 1000x667px/20 Frames, 2013. Edition 5 + 1AP
Faith Holland 'Waterfalls' – Animated GIF 1000x667px/20 Frames, 2013. Edition 5 + 1AP
'Ookie Canvases' are “paintings” composed of cum shots sampled from pornography or submission isolated from their background, colorized, and collaged together to form an all-over composition. By using cum shots, Holland appropriates the phallus in order to infiltrate a male-dominated medium. 'Ookie Canvas I' is created from cum shots from RedTube.
Faith Holland 'Ookie Canvas 1' – Digital Print on Canvas 84” x 47”, 2015. Edition of 3 +1AP.
'Mountain/Light Time' is an animated GIF of a speedy sunrise over mountain tops with each loop timed to match the duration of a deep breath. A virtual inhilation and exhalation of mountain air and light
Lorna Mills 'Mountain/Light Time' – Animated GIF and 1080p Video, 1920x1080px, 2015. Edition of 3 +1AP.
Lorna Mills 'At Play in the Fields of the Lord' was a large-scale installation of 25 Animated GIFs at TRANSFER in October 2015, a selection of works available are featured below.
Described as a ‘wall of resistance to data formation’, the animated GIF work of Lorna Mills reflects her obsession with subcultures, absurd perpetual conditions, endless anxiety, human folly and masturbating monkeys. With elements culled from a variety of online sources, her moving image collages are in a state of constant oscillation; the particular and peculiar rapidly expanding to universals and then, just a quickly, contracting right back again.
Lorna Mills 'Dream Muscle' – Animated GIF and 1080p Video, 1920x1080px, 2015. Edition of 3 +1AP
Lorna Mills 'Histokay' – Animated GIF and 1080p Video, 1920x1080px, 2015. Edition of 3 +1AP
Lorna Mills 'Boom' – Animated GIF and 1080p Video, 1920x1080px, 2015. Edition of 3 +1AP
Lorna Mills 'Clouds' – Animated GIF and 1080p Video, 1920x1080px, 2015. Edition of 3 +1AP
'Ways of Something'is a contemporary remake of all four episodes from John Berger’s BBC documentary, “Ways of Seeing” (1972). The project consists of one-minute videos by over 100 web-based artists who commonly work with 3D rendering, gifs, film remix, webcam performances, and websites to describe the cacophonous conditions of artmaking after the internet.
Featuring formal, figural and kitsch practices to videomaking, “Ways of Something” consists of aesthetically diverse interpretations of Berger’s ideas on looking at art after the introduction of digital media. Ultimately, it turns the highbrow nature of documentary film into a wondrous and disjointed series of alternative outlooks on how artists understand art today.
The series is curated and compiled by Mills, available for appreciation by collectors in an edition of 30.
Compiled by Lorna Mills'Ways of Something' – Single Channel HD Video in Four Episodes, approx 30 minutes each, 2014-2015. Edition of 30 + 1AP
‘The Garden of Emoji Delights’ a full-scale in-visioning of Hieronymous Bosch’s iconic altarpiece. Gannis re-inscribes the triptych by using the newsecular, pop vocabulary of signs and digital symbols, contextualizing Emoji within this iconographic lineage. These symbols are as pervasive now as religious symbology was in the 15th and 16th centuries.
Carla Gannis 'The Garden of Emoji Delights' – Archival C-Print mounted on plexi with semi-gloss front lamination 13' x 7', 2014. Edition of 3 + 1AP
‘The Selfie Drawings’ series consists of 52 drawings which were published in online public space over the course of 52 weeks – the set represents a year-long project in which Gannis performs "the self" through digital drawings, hybridizing contemporary selfie photography and traditional self portraiture. The digital drawings are printed with archival giclee process and finished by Gannis with hand-drawn detials in ink and colored pencil.
Carla Gannis 'Selfie Drawing 41 – Babel in Wonderland' – Ink and Colored Pencil on Archival Pigment Print, 12” x 12”, 2015. Unique
Carla Gannis 'Selfie Drawing 23 – Skulls, Flowers & Dots' – Ink and Colored Pencil on Archival Pigment Print, 12” x 12”, 2015. Unique
Carla Gannis 'Selfie Drawing 39 – Little Green Woman 01' – Ink and Colored Pencil on Archival Pigment Print, 12” x 12”, 2015. Unique
Carla Gannis 'Selfie Drawing 13 – Chess' – Ink and Colored Pencil on Archival Pigment Print, 12” x 12”, 2015. Unique
‘A Subject Self-Defined’ is a new body of work from Carla Gannis that addresses issues of branded identity; age and body estimation; catastrophe culture; and online agency via static, dynamic and interactive “selfie” imagery.
Gannis' self-portraiture video series takes shape as 12 square format 4K videos installed as ‘contemporary predellas’ extending the narrative of 4 primary full 4K videos (1:9:1 panoramic) representing Gannis's four seasons of the mind.
Carla Gannis 'Nude Descending a Staircase' – 4K Video (Panoramic) 4096x2160px, 2016. Edition of 3 +1AP.
In‘Glitchometry’ each image begins as simple black shape. These images are sonified -- imported into an audio editor. Sound effects are added to individual color channels, as if they were sound, transforming the image. The resulting abstractions are printed on duratrans – an archival transparent medium – and installed in lightboxes as vibrant illuminated artworks.
Daniel Temkin 'Glitchometry Circles #9' – Digital c-print on Duratrans, 36” x 72”, 2013. Edition of 3 + 2AP.
‘Glitchometry’ is an ongoing body of work from Daniel Temkin, an artist and programmer who produces humanistic collaborative works with the machine. The collaboration is an uneasy one, where the artist and algorithm have conflicting agendas and trade off control in building the work. The result is an exploration of our relationship with machines; a collision between our desire for accessible forms in chaotic processes and a compulsiveness arising from our attempts to think logically.
Daniel Temkin 'Glitchometry Stripes #8' – Digital c-print on Duratrans, 24” x 24”, 2013. Edition of 7 + 2AP
Daniel Temkin 'Glitchometry Stripes #14' – Digital c-print on Duratrans, 24” x 24”, 2013. Edition of 7 + 2AP
Daniel Temkin 'Glitchometry Circles #4' – Digital c-print on Duratrans, 36” x 36”, 2013. Edition of 3 + 2AP
Daniel Temkin 'Glitchometry Triangles #7' – Digital c-print on Duratrans, 20” x 30”, 2013. Edition of 3 + 2AP
'Light Pattern' is a programming language where one communicates with the computer through photographs instead of text. 'Light Pattern', like other programming languages, is a list of rules, a grammar to communicate with a compiler. In 'Light Pattern', this communication happens through source code made up of photographs. Instead of using words to communicate to the machine, it uses changes in color and exposure from one image to the next.
The Light Pattern Language and .NET Compiler is available at lightpattern.info.
Daniel Temkin 'Light Pattern' – Light Pattern Machine (Filter Wheel, Arduino, USB Host Sheild, Cannon Rebel XTI) Video Documentation, 2014. Unique.
‘Myopia’ is a wall-sized glitch image that zooms into JPEG 2000 compression artifacts, revealing what is lost in image compression. Menkman's maximal view of JPEG2000 wavelets transforms an interior space into a psychedelic installation.
Rosa Menkman 'Myopia' – Digital print on wallpaper. Unique installation series, size variable depending on installation space, 2015. Unique.
A seminal text in the development of the genre of Glitch, Menkman's‘Vernacular of File Formats: A Guide to Databend Compression Design’ studies "ways to exploit and deconstruct the organization of file formats into new, brutalist designs." -Menkman, 2010
Rosa Menkman'GIF Vernacular File Formats' – Direct print on dibond, 40cm x 30cm, 2010. Edition 3 + 1AP
Rosa Menkman'TIFF Vernacular File Formats' – Direct print on dibond, 40cm x 30cm, 2010. Edition 3 + 1AP
Rosa Menkman'PSD Vernacular File Formats' – Direct print on dibond, 40cm x 30cm, 2010. Edition 3 + 1AP
Rosa Menkman'PNG Vernacular File Formats' – Direct print on dibond, 40cm x 30cm, 2010. Edition 3 + 1AP
'Xilitla' is a hallucinatory, futuristic 3D architectural environment consisting of moving images, laced with polygons and dysfunctional objects. Inside this algorthimic piece, a Janushead is used to navigate Menkman's digital dreamscape. Taking advantage of the tensions between gameplay and audiovisual art, this aesthetic experiment opens up a new, eerie poetic and fantasmatic universe.
Rosa Menkman 'Xilitla' – 3D Software, MAC Mini, Gameplay Videos, 2014. Edition 3 +1AP
The images in Silva's 'En Plein Air' series are created at the locations they depict — an encounter between the tools of digital communication and the unbuilt environment. The works exists in serial format in public space – online and for takeaway via exhibition. Five unique large-formats archival prints are offered from the series for private appreciation of this public artwork.
Rick Silva 'Athabasca' – Archival Pigment Print, 46" x 66", 2013. Unique.
‘Sky Burial’ takes as its starting point the Tibetan Buddhist funeral practice in which a body is placed on a mountaintop to be eaten by birds of prey. In lieu of bodies and birds, Silva uses quadcopter drones and digital images to reflect on ritual and ascension in the 21st century. Silva’s 'Sky Burial' series includes prints, sculpture and moving image artworks that explore a world of post military drones and future rituals.
Rick Silva'Ascension' – Archival Print on Aluminum 22 ½" x 40”, 2014. Edition 3 + 1AP
Rick Silva'Declination' – Archival Print on Aluminum 22 ½" x 40”, 2014. Edition 3 + 1AP
Rick Silva'Meditation' – Archival Print on Aluminum 22 ½" x 40”, 2014. Edition 3 + 1AP
Rick Silva'Circling' – Archival Print on Aluminum 22 ½" x 40”, 2014. Edition 3 + 1AP
Silva says “Gardens are a fluctuating intersection of nature and culture. Likewise, rendering is a digital state in flux, between the software program and the final output.” In 'Render Garden' Silva works within themes he has explored in the last 7 years, including the digitized landscape, remix, and glitch aesthetics. Despite a knowing nod to the "render farm' — the large computer clusters used by visual effects studios to create Hollywood-style 3D animations — Silva's “garden” reflects a more personal and experimental style of making.
This piece is informed by Stan Brakhage’s 1981 film “The Garden of Earthly Delights”, Mary Menken’s 1957 film “A Glimpse of the Garden" as well as the works Jennifer Steinkamp. Silva studied with Stan Brakhage during his undergraduate studies at the University of Colorado, and much of his work and aesthetics is influenced by American experimental filmmaking.
Rick Silva 'Render Garden' – Realtime 3D (MAC, PC, Linux and video version) + Video 16:9 HD, 10 minutes, 2014. Edition 3 +2AP
'360° / 18 Lilia' exploits the mathematical concept of ‘highly composite numbers’ and what the artist dubs ‘visual elasticity’ (a common thread in Leonard’s work). The number of photographs in this work totals 360, a highly composite number and one with an extraordinarily large number of divisors. This allowed for several timelines to be abstracted evenly from the set and to optimize the time it takes to syncopate again. The result is the face falls out of and back into order in the fewest frames possible.
Human faces, bodies, and familiar objects are frequent subjects for the artist partly because of our innate ability to recognize the objects despite scrambling or distorting the image. A face, a subject with high visual elasticity, is especially resistant to being obscured or lost in pattern. Just as you see faces in wood grain, clouds, and shadows, your mind easily knits Lilia together even when fragmented.
Rollin Leonard '360° / 18 Lilia' – High Definition Photographic Video, 16:9 HD, 36 Seconds (Looped), 2013. Edition 5 +2AP
In 'Freeform Water' light is refracted and distorted in water droplets suspended on glass plates. Leonard shoots high-definition self-portraits through the water droplet formation, and produces resin-domed prints that match the optics of the original photographs. Completely absent of digital manipulation, the resulting forms are quasi-3D face blobs. The series consists of 500 unique blobs, mounted directly to the wall in custom groupings.
Rollin Leonard 'Freeform Water' – UV Epoxy Resin, Mylar, Archival C-print, Dimensions Variable, 2015. Unique.
Similar to his 'Freeform Water' self-portrait series, Leonard's 'Water Portraits' are domed in resin, photographed through water on glass which refracts the faces of a variety of models. In this series, the water is masked off using a hydrophobic material to form these specifc shapes, capturing the personalties and physical structures of his subjects. The resulting portraits range in size from 6 inches to 18 inches.
Leonard offers commissioned portraits for particularly interested patrons.
Rollin Leonard'Ana' – UV Epoxy Resin, Mylar, Archival C-print, 2015. Unique.
Rollin Leonard'Meagan' – UV Epoxy Resin, Mylar, Archival C-print, 2015. Unique.
Rollin Leonard'Derek' – UV Epoxy Resin, Mylar, Archival C-print, 2015. Unique.
Rollin Leonard'Michelle' – UV Epoxy Resin, Mylar, Archival C-print, 2015. Unique.
'Menina' exists within a new series of work from Hart, drawn from the scion of a fallen empire: the gowns of Margaret Theresa of Spain, among the last of the Spanish Habsburgs. This child princess was also the central figure in the famous painting Las Meninas, a canonical masterpiece by the great 17th-century court painter, Diego Velázquez, and the subject of many of his paintings. Hart models the Velázquez princess dresses in 3D as part of her 'expanded cinema' series 'The Dolls'. This series continues its evolution as a solo exhibition opening at TRANSFER in 2016.
Claudia Hart 'Menina' – Archival Inkjet Print of a Virtual Model, 40" x 30" (size variable), 2015. Edition 6 +1AP
'After the Party' is a real-time 3D installation created for DiMoDA, a virtual reality institution from Alfredo Salazar-Caro and William Robertson. Hart presents an Op art palazzo inhabited by her 3D modeled flowers which algorithmically grow and decay. This artwork is contained in the inaugural instance of the DiMoDA which includes works from Claudia Hart (NY/CHI), Tim Berresheim (DE) Jacolby Satterwhite (NY) and a project by Aquanet 2001 (Salvador Loza and Gibran Morgado) from Mexico City.
DiMoDA is available for download at digitalmuseumof.digital as a computer-based application and is available for collection as a golden edition Virtual Reality application (viewed wearing the Oculus Rift), stored within a 3D printed pediment sculpture from Alfredo Salazar-Caro.
Alfredo Salazar-Caro and William Robertson, with works from Claudia Hart, Jacolby Satterwhite, Tim Berresheim, and AQUANET 2001'DiMoDA' – 3D Print Sculpture, custom-built PC with Oculus Rift VR installation, 2015. Edition of 3 + 2AP
Hart installed 'Room 13' in the summer of 2015 within Panther Modern – a file-based exhibition space created by the virtual artist Laturbo Avedon. The models originating with that installation continue to evolve in the form of new work from Hart's studio – these prints represent the earliest works in the series. The direct prints on aluminum are elegant, glistening wall-hung objects easily collected at an accessible price point.
Claudia Hart'Room 13 – #2' – Direct print on Aluminum, 32" x 18", 2015. Edition 6 +1AP
Claudia Hart'Room 13 – #3' – Direct print on Aluminum, 32" x 18", 2015. Edition 6 +1AP
Claudia Hart'Room 13 – #7' – Direct print on Aluminum, 32" x 18", 2015. Edition 6 +1AP
Claudia Hart'Room 13 – #10' – Direct print on Aluminum, 32" x 18", 2015. Edition 6 +1AP
Films are experienced over time. We watch them from start to finish, but that's not how we remember them. They become a collage in memory; our minds replay moments out of sequence. Then, as the details fade, we are left with the impression, some shadow of the film object itself, whatever that may be.
The grid display of Sequence in Parallel shows one complete film at a time, split into twenty, consecutive, equal-length segments. The segments loop simultaneously across the screens, allowing viewers to glimpse the entire film object as a whole.
Jamie Zigelbaum 'Sequence in Parallel' – LCD Displays, Raspberry Pis, Software, Cables, Hardware, 32 × 68 × 20 in, 2015. Unique.
Zigelbaum presented works reconsidering the false dichotomy of the natural and the digital in his exhibition 'No There There' at TRANSFER. In ‘My Television’ the artist waterjet sliced his own TV into 40 square pieces and cast them in clear resin to produce a sculptural object. Zigelbaum explains “The cutting of the television like this highlights the irreality of the images I viewed on it.”
'Doorway to the Soul' is a digital sculpture that displays the faces of mechanical turk workers as they are recorded. These workers are paid $0.25 to stare into their webcam for one minute. The videos are scaled to life-size and played directly on a display mounted at average human height.
Jamie Zigelbaum'Doorway to the Soul' – Microtile Display, Mac Mini, Amazon Mechanical Turk, Webcam Video, Software, 66 × 12 × 12 in, 2015. Unique.
Jamie Zigelbaum'My Television' – The artist's 50" TV, Resin, 56.5 × 34.5 × 4in, 2015. Unique.
Debuting for the first time in Switzerland as Design Miami/ Basel’s 2014 commission, the large, tetrahedral forms of 'Triangular Series' respond with a unique sensitivity to the people sharing their space, creating an immersive environment as visitors arrive and depart the installation. The result is an emergent, undesigned dance of light from the ceiling swarm and triangular projections below. Walk beneath them and you become part of a new, syncopated dialog – an autonomic communication with the other.
Each form in Triangular Series is programmed as an independent, synthetic organism with digital senses, internal respiration, and luminous ‘breath.’ The forms communicate with each other through the process of entrainment—they are in a constant process of synchronization and disruption. The installation can be appreciated in four arrangements ranging from just four triangular forms up to 56 total objects.
Jamie Zigelbaum 'Triangular Series' – Custom Electronics, Printed Circuit Boards, LEDs, Software, Variable Sizes 2014.