About a graphic experimental digital artist called Nocturnal Blonde

Result #1

About a graphic experimental digital artist called Nocturnal Blonde, 2004, suddenly appeared on the scene. He presented the world of installation art with a conceptualist sensibility. Scrambled but unmistakable in the formal heft of the installation, it was dissembled and incomplete, but it was a work of aesthetic integrity. Our imagination was not struck by the white-cube shadows but rather by the gentle but clear tonality of the sculptures slithers. He adds in his catalogue description that the surfaces of the wood on which he works are dyed and the paint used to create it. The wood is kept at a temperature and humidity of constant insulation and it does not get rusty. The paint is applied in a gunmetal gray to produce a metamorphic surface. Nocturnal Blonde is also an elaborate collage and stack that makes sense from a formal point of view but that also serves to classify the works as temporary artifacts. Nocturnal Blonde was chosen to be exhibited at the first of several public exhibitions that are being planned for the following months. Nocturnal Blonde is a totem of the tenuous: these works are temporary.Taken together, these works demonstrate that it is possible to make an impression of a temporary form—a temporary site in the case of a lost work of art—without losing the ability to form any sense of continuity or continuity of meaning. This is a particularly important concept for architects and planners concerned with the quality of the space they have chosen. In any case, it has been widely argued that architecture is no exception to this rule, and that the buildings that are actually built and maintained after they are thrown out are not fixed, but unstable. This is an implicit criticism of Minimalist architecture, which seeks to establish order in a space where chaos is, in the end, inevitable. There is no such thing as permanent architecture, but there is an urgent need for architectural design, as we know, to help us understand the unpredictable nature of our environment.

Result #2

About a graphic experimental digital artist called Nocturnal Blonde, who works on, among other things, super-soft vinyl that absorbs, softens, and softens its own light, invented a work that I see as an extension of Rembrandts picture, which, in addition to reflecting light, is a kind of refractory, solid, cloud-like substance.In the high-tech world, hard-edge techniques of compression and archiving and the heavy-metal colors of industrial-quality vinyl are also a part of the vocabulary, even as the high-tech industries have introduced new technologies. Lowes work on vinyl, though not as far-reaching as that of Rembrandt, is based on an earlier, less-elusive modernism, not a new kind of cool. His work has a cool, genuine look to it, just as the cool, material, and organic things Rembrandt had worked with in his work on canvas and on paper. Nor are his works as highbrow as Rembrandts, but there is a certain charming, though bizarre, wit to his work, a kind of amateurish realism that resembles the idle, neat insouciance of a headmistress.In High and Low: Form and Texture (in progress at the Whitney Museum, New York), the white background of each work—the label, the metal backing, the fabric, and the fabric alone—is plainly visible. This white-space background, which Rembrandt used as a kind of medium-rich background, is a reference to Rembrandt and in particular to his typeface, an almost eerie color combination of hazy shadows and smudged-out colors that appears almost as a sort of dust, making the label seem alive. This technique of archiving his own work reveals what he was trying to do at the time, to invent an effect that would retain the signature of the original image, but at the same time, he had to deal with the question of the transparency of the art itself.

Result #3

About a graphic experimental digital artist called Nocturnal Blonde, whose shows are fully realized in the style of computer-generated drawings—and whose works are regularly exhibited in the gallery—this exhibition represented a profound challenge to the gallery standard in an art context that has for the past decade been controlled by the principles of light and form, new technology, and a new public space.In the past three years, Nocturnal Blonde has become a common feature of artists work, while a number of different techniques have been applied to the same body of work. In one image, a profile-size, superimposed silhouette of a nude woman stands silhouetted against a semi-circular background of dotted, sepia-colored, unprimed-blue-gray-black lines; she wears a yellow dress with a pink-painted, parallel-cut hem; a deformed, misshapen head sits atop a tracery-blue rug. The image is framed by a similar figure with elongated ears and a new, female, face; the latter has cropped, flayed, and heavily tattooed brow. The second piece is titled Bloom, which refers to the turn of the sun in the winter. In the latter, the image of the sun flashes to life in a nearly insistent repetition, over a similar background, of long horizontal lines; while the first demonstrates the power of light against darkness, the latter demonstrates how light and darkness can coexist.This exhibition took the form of a series of repeated, unending sessions of light, which were presented on a single curved monitor whose surface was covered with warm-toned acrylic paint. At the center of this environment, Nocturnal Blonde, 1983, displayed a series of black-and-white photographs of Marilyn Monroe in three-dimensional form. In the center of the frame, the artist painted a sky blue background. The clouds floating in the foreground were made of old, flat-topped newspapers that had been washed on a dirty linen paper.

Result #4

About a graphic experimental digital artist called Nocturnal Blonde, Klimts retrospective of 90s work was crammed with references to pop culture: Star Wars, Cabaret Voltaire, Chewbaccas, Disney, Speed Racer, Super Mario Bros. 3, and so on. A spidery-juggling website from 2010 and 2011 (released last year) featured an annotated web page of data on the dolls that allowed visitors to punch the code on a power adapter. To activate this device, they had to leave behind their clothes, which would alert the appliance if the wearer walked into a hole in the wall. The designers search for the coolest robot to make the item they were using work on such a playful and in-your-face way—he knew better than most to explore the field of ideas. Along with the experimental cartooning, the other points of this rousing curatorial enterprise—and of the dolls, in particular—was its sharp-edged subversion. The Burmese doll that would have to be used in a wide-ranging collaboration of sketches and paintings, for example, was called Human. The most literal of them are illustrations of historical figures: Joseph Beuyss analysis of contemporary society and social trends, Jane Patzels introspective patterns of preferences, or the visual analogue of your family: a person can be either African American or white. Each of these hyperbolic examples of racial divisions is addressed with an intriguingly unsympathetic or even sympathetic light. If the dolls were white, they would look black. The dolls, in fact, might be so black they are black.The Burmese dolls are so black they are black. The dolls, in fact, might be so black they are black. Yet Klimts toys that are so black they are black could also be strikingly recognizable as Klimts toys: especially his Super Mario Brothers, 2010–11, which are also covered with symbols and coded in a whole range of grays and gaudy colors.

Result #5

About a graphic experimental digital artist called Nocturnal Blonde, 20 years of uninterrupted work is presented as a comprehensive compendium of the artists wide-ranging creative production. In this presentation, the artist explores numerous electronic, video, and performance technologies including the internet, in addition to hard-disk and hard-copy recording equipment. One of Nocturnal Blondes most important accomplishments, especially compared to many other artistic efforts of her generation, is the intensive academic research that went into her own process and final design of her work.Katherine Lonsdykes research into the relationship of technology to arts critical position, which was first demonstrated by a study of architecture, was an early precursor to the advent of the film, video, and photographic series. In Lonsdys work, she examines the effects of technology on contemporary art, especially in the creation of the personal. In particular, she is interested in the ways in which computers are used to organize and analyze images. In her work, she analyzes the visual flow of images in terms of relations between viewers and computers, and in particular between personal computer equipment and the images that are generated by these devices. The artist draws attention to the distortions of vision caused by the broken cell models in the films, and uses the film to explore the psychological effects of visual and cognitive distortions on one another. The emotional impact produced by the photographic series in particular is seen in the performance pieces that she has been building from her own body.Lonsdykes work explores the role of vision and perception in art in a much more personal, and therefore more critical, way than that of the artistic production it documents. This is evident in the films, which are images of her own body and her body as a medium. With these films, which she first made in 1970, she probes the relationship between artist and viewer, and uses the body as an instrument of exploring the relationship between people and the visual world.