21 Views
1
View In My Room
Lilla LoCurto and Bill Outcault
United States
Photography, Digital on Paper
Size: 96 W x 48 H x 0.3 D in
Ships in a Crate
21 Views
1
In 1996, Bill and I attended a show of Buckminster Fuller’s work where his projection of the world as an icosahedron revealed gave us the idea of mapping the body as a world map. The simplicity of his projection made us understand what mechanics were involved but, like most people, we'd never really thought too much about how a map originated from a three dimensional surface. We saw connections between this and the artistic problem of rendering a three-dimensional object on a two-dimensional surface as well as with the Cubist and Futurist ideas of simultaneity, experiencing that three-dimensionality at once in its entirety. Out of these thoughts, we made a series of large scale photographic prints showing flat topographies of our own bodies. To create these body maps, we scanned ourselves in a whole body scanner we were able to use at a military base and fed the scanner's data into custom software, as well as a cartography software program called Geocart, that was capable of importing various databases. We collaborated with cartographers, computer scientists and mathematicians in creating these pieces, the outcome being two-dimensional representations of our bodies splayed out on cartographic grids, flattened as terrestrial globes.
1999
Digital on Paper
3
96 W x 48 H x 0.3 D in
Other
Not applicable
Ships in a Crate
Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Ships in a wooden crate for additional protection of heavy or oversized artworks. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
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Bill and I explore issues relating to the human body, its physical and psychological vulnerability and cultural identity, using advanced technologies. We often collaborate with mathematicians, physicists, cartographers, computer scientists, and others to create our work. Computer graphics, three and four-dimensional scanning, and motion capture are employed to uncover new ways of imaging the body, both still and in motion. We have collaborated as visual artists since 1991 and in 2013 were awarded a Guggenheim Fellowship Grant. Solo exhibitions include MIT List Visual Arts Center; Bellevue Art Museum, WA; Fundacio Joan Miro, Barcelona; Orange County Museum of Art, CA; Harvard University; Samuel Dorsky Museum, NY; Ringling School of Art, FL; Block Museum of Art, IL, the Lyman Allyn Art Museum, CT, the Smithsonian American Art Museum, Washington D.C. and Neuberger Museum of Art, Purchase, NY. Selected group exhibitions include Kohler Arts Center, WI; Brooklyn Museum of Art, Weatherspoon Art Museum, NC; Art Center College of Design, CA; Maryland Institute College of Art and Guild Hall, NY. Among artist residencies are Ohio Wesleyan University, Wexner Center for the Arts, Yale University, Maryland Institute College of Art, MIT, Harvard University, Max Planck Institute, Tübingen, Germany and the University of North Carolina Charlotte. Public collections include The J.P. Getty Trust, Weatherspoon Art Museum, Orange County Museum of Art, the Oakland Museum, Carnation Corporation, New Orleans Museum of Art, Lyman Allyn Art Museum, Ross Art Museum, Samuel Dorsky Museum of Art and The Smithsonian American Art Museum. Publications and articles of their work include The Meaning of Photography, Clark Institute; Mapping in the Age of Digital Media , Yale University, and the journal Cartographic Perspectives. Published essays on their work include Lilla LoCurto and William Outcault: Self-Portraits for a New Millennium by Helaine Posner for Art Journal, spring 2006, [un]moving pictures by Patricia Phillips in 2006 for a ten year survey exhibition at the Samuel Dorsky Museum of Art at SUNY New Paltz and in 2019, Much Madness is Divinest Sense, Neuberger Museum of Art, Purchase, NY.
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