Salon 84 // Independence

Hello, everybody! It's July 4th here in America. And the topic today is independence. It's great to see all of you, because we weren't really sure how many people come being a national holiday. But the topic independence I want to stress is an international one and a private one artist. It's all about being independent. But before I go further, tell you a little about my get up here. How I feel about this. I just wanted to shout out to Zoe from Mana museum Joey Zaza and maybe Tommy might want to say a few words. I'm not sure. But, Zoe, do you want to say a few words before we start the session.

Yeah. So hi everyone. My name is Joey Zaza. I'm a co-founder curator for the Museum of Wild, the newfangled art in October we will be having an exhibition of Techspressionism work. That exhibition is going to follow Tommy Mintz's work, and we have an open call. All that will be available for the next 2 weeks that you can send into, either at the museums page at mauna dot org, or also at the Techspressionism website. So you should be able to find it, and that calls open to anyone. All mediums, all media is allowed any kind of wild and newfangled work that you are making Somewhat related to the Techspressionism sort of concept. We're probably gonna be a little bit more lenient even than The regular kind of Techspressionism, curation that has been on so feel free to send into that we will also be doing nft sort of release. So it's exhibition of art, and the sales are optional. So if you'd like to be a part of that, we're happy to partner with you on any kind of like blockchain or platform to try to promote and sell your work. But that's all optional. So we're just looking to exhibit Good old fashioned art and have a have a good fun time and get the word out there about expressionism.

joey zaza

So that's all for me. I'll put into the chat in here for people who are on the zoom. Thank you.

Great. Thank you. Yeah, Tommy, did you want to say a few words where we get going on the theme of independence today?

Thanks, Roz. I was not planning on it.

Thank you. Thank you, Tommy. I totally agree. As you know, I'm usually not too residents to speak out here, and so I am going to be speaking out about what's going on in our own country for a minute. But we are an open, independent, interdependent group here. I mean, everybody has their opinions and their beliefs, and I also feel, you know, I wanted to start with the words like here in the us. The Constitution it starts with we, the people. And that's a really important fact, and I feel rights are really, I'm very distraught. I feel it is a time to speak out, and I'm speaking out that I'm very, very upset about what's going on in this country, and especially with the Supreme Court. And what's going on with Donald Trump.

Roz Dimon

And the reason I'm wearing this is because in this country nobody kings or queens are not allowed, and we don't believe in that. We do not. And we gotta fight like hell, man and I am. We gotta bring everything we can to the table and Heather. Cox Richardson today. Put out a wonderful piece where she said, whatever you do, whether you plant plants or you're an artist or you're a writer. It is time to speak out at some point. You know it's things are worth or worth speaking out about, and we must. So I just encourage everybody to.

Roz Dimon

However you do it in your art. My art happens to be. Politics seem to be in there all the time, and theology, so it may not be. You don't want to change your work. But I'm just inspiring everyone to speak out, and not only for America, but for your own country, where you think you need to speak out for people's freedoms through your work, or whatever you do, maybe change the color to blue your work. And you do a series right now. I mean, I'm just put it out there. I also say that the wonderful thing about art and the word independence is that we have freedom and especially in this country, still to put out what we feel in our work. And I just encourage all of us to do that.

Roz Dimon

It's a it's a solo position, but it's also a democratic one, and I have to say that I think the greatest works of art, even though they might be done by one individual has that universal. I think of the Pieta, or just Monica, or so many pieces where the greatness of the work is that it has a universality that everyone everyone can feel in their hearts somewhere. Okay, with that, said, I don't want to be the bully pulpit here, but I've taken my crown off, and I'm just one with the masses, all of you who I really care for. This is such a great group I love, that we have so many recorded sessions hats off always to Colin Goldberg for starting this group. I've said this before, but I just want to say, I think the fact that these Zooms are recorded and our interviews. And so for the last years, since 2,019, I guess I don't know when we started exactly, but you know they're all recorded on Zoom, and I think they are a wonderful place for people to see what artists are doing.

With.

With art and technology, and the bar's been pretty high here. It's been fairly impressive and the warmth and the friendship we've generated. I mean, I never thought I'd be collaborating with a woman from Iran, and that was so great. Anyway.

Shout out to Davo, who is not here? We all hope he comes back. But it was his idea to record these sessions to begin with, and that was really the birth of the YouTube Channel. So we love you, Davo. Hope you come back soon.

Yes, absolutely. We miss you, Tabo. Hope you'll be back. Okay. So today's theme is independence. Thanks for everybody for being here and we will start with, I think, Cynthia, you put together a few pieces if Renata, if you show up. Oh, Renata is here. Renata! I didn't. You weren't here for a minute, so we just got a few other people on board. But would you start, Renata? Because she's the one who contacted me first.st Then we'll go to Cynthia. Renata, you're gonna keep yours about 10 min, I think. Yeah.

That's right.

Welcome and then we'll go to Lee and we'll open it up so all of us can chat, and maybe like we usually we just wait till the presenters finish, and then we open it up. I mean, you could certainly say things in the chat, but we'll just open it up for all of us to discuss things. And if you don't have art, it's a great day to discuss what independence does mean.

And if you're not presenting please, mute your microphones if you, if you don't mind.

Okay. Now, Colin. This do I need to do anything? Or is Renata? You're all set.

I'm all set.

Roz, you're muted.

Oh, everybody mute, that's all I said. Thanks.

Can everybody see.

No.

Not yet. We just.

See you, Renato. We don't see anything else.

Okay. Okay, I'm sorry. I didn't share my screen in the correct manner. Can we go to the next person? And I'm going to figure this out and then come back. Please.

Sure that's fine. Cynthia, can you share with us? Will you.

Well, I hope so. I have to say one of the issues that I'll point out to everybody, cause I had this the other day. Is that the zoom interface is now change when you're recording. So the button that says leave meeting. And next to it, it says, Okay, and it looks like if you click it. You're gonna be booted out. But really, you're supposed to say, Okay, I think I'm gonna hit. Okay. And it I think it prevents you from sharing and it blocks a lot of things. So anyway. So I'm gonna try sharing.

Cynthia, do you mind reporting where you're coming in from? There are a few people here might not have been here before, and it's nice that we have such a broad spectrum here. And it's just I think it's important that people know where you're.

Yes, I am coming from New Haven, Connecticut. I'm not originally from Connecticut, whatever, and I just unblowered my background so that people can see that once upon a time I was a painter. You know, there's a big painting from 1985 that was like the star painting the one that was art in Arts Magazine, and kind of published all over the place, and you know people offered to buy it. But like this is the only one of the few that no, I'm keeping. So I think I'll go back to blur in my background because it's a little distracting and I'm gonna share. I have a few things to share. So I'm gonna try to share the whole desktop over here is this working now the share.

Yes.

Okay. Good. Just quickly.

It's.

This is from. We had a wonderful Round Table on art and science. This is a piece that I did with Andrea Miller, who's a scientist at the University of Rhode Island. She just graduated the Master's degree. So I just wanna mention to everybody, go watch that round table. So you don't need to see this and in terms of independence, what I wanted to bring up was the influence of my work right now of Lady Krasner, and the fact that she went into her old work and she tore it up.

Cynthia Beth Rubin

And I just found this online 2 seconds ago when I knew I was presenting. So these are not necessarily. You know what really influenced me is. Last year, before Siggraph. Which was in La we went to the La County use Lac, my La County Museum, and I was with a couple other early digital people Copper gill off, and Jane Vieder. And there was not this one, but there was a big red painting that, you know. If you're on Facebook, you saw a picture of us in front of it, and it's like, Yes, that's and that is independence. So you're talking about independence. It's like, Do away with the precious object. Who cares if you can take something and tear it up and make it into something you know more meaningful, and take you to the next level. That it's really great, and I have to say that Lee Krasner is one of the women artists who influenced many of us. You know I come from the generation when I went all through grad school, undergrad and grad school, with all male teachers in my field, in art and. It's a different story. I wish this were not changing. Oh, okay, forget it. I'm going back to this because it's moving and distracting. And one day I was running around the upper East Side galleries when the galleries were in the fifties with some friends, and I said, I really want to go see the Lee Krasner show, and they're like, and I walked into the gallery, and there was this little old lady sitting there, and I thought, What's this little old lady doing sitting here on a Saturday afternoon, and then I went. So I got to meet Lee Krasner, and she was showing this work. So you know those kind of.

Cynthia Beth Rubin

And my friends, you know, they didn't get to meet her. So this is partly a tribute to that independent way of thinking so on to what I've been doing. These, I think I've shown before. These are small pieces that I was already doing when I got to La and saw. This is a very small one that's cut up. And if I can enter full screen here, I think you can see it a little better. So cutting up and then drawing on it and going in and out. So this is just to give context. I think this is the one I sent Tommy. This is actually very small print that I did not draw on. And this is a working in progress. One of the pieces that I thought was going to be a finished piece, but it never quite made it. So I started cutting it up. And this is the piece I post on Instagram lately recently. That's going to be printed in the La Center for Digital art and their reboot, and we'll see how it comes out. So this I can't say enough for the good things about the Tuesday co-working group. Everybody who's in that group lived through the pain of this with me. There was one day when I didn't know what to do, so I just put up a big piece of paper, and I started drawing, and that's a seratium, a kind of plankton. And there's the Seratium drawing in here with that other piece that it never quite come together. So that group has been really fabulous independence. So this is what I wanted to end with. And The group told me this side shot works better than the real shot, so I ordered something from target and somebody in the distribution line just made a mistake.

Cynthia Beth Rubin

And instead of sending me $40 worth of cedar chips to keep the malls away from my clothes, the malls are probably in there eating right now. Sent me about a hundred $20 worth of. Well, these blocks. And so I'm accepting the gift. And I thought, this is a sign that I should be working on these. Get on these blocks. And so I started ripping and collaging on, and this one's very shiny. That's why the side view is important, because the only thing I had on hand was some golden varnish. So head on I was told by the group this week. You don't really get the effect.

Cynthia Beth Rubin

I reshot it in dimmer light. It's, you know, this is probably closer in terms of the colors, but I am now going to try to do. Every week. I have 12 of these Little blocks of ripping up, and obviously I tinted the varnish and painted on it and experiment with painting. And it's you know it's that it's independence, right? You can do whatever you want with it. So that's what I wanted to show for today. I'm going to stop the share. And I do want to say again that these are times when these are very trying times. So thank you, Roz, for pointing that out.

Cynthia Beth Rubin

And whatever we do, we, some of us will do it through our art. Some of us will do it in other ways. Some of us will just do what we can in terms of making monetary political donations, and then talking it up with our friends. Every single thing counts. K.

Cynthia, thank you so much that was really great. I love seeing what you're doing, and I've enjoyed, and I think the others, too, have enjoyed hearing about this collaboration that some of you've been doing. It's really cool. Yeah in. Yeah.

I want to encourage people to join, and if that time doesn't work for you, we had said at the said at the outset that if enough people want a different time. I think cynthia Dean and Otos on here, and she and I were the ones who got it started. We probably would be willing to go on a few times to help people get a different time of day going if that or different day of the week.

Great alright we'll save questions for later people wanna ask Cynthia something. We'll come back to that. Renata, are you ready. Now is that good.

Yes, thank you.

Buddy sure make sure everybody mutes. And you can put comments in the chat.

Right happy. July 4th to all the American tech specialists who are out there. I'm coming in from Lions Head, Canada. And I put the American flag on my opening, because I think it's just such a terrific design. I have gained a lot of freedom from working digitally. I've solved a lot of artistic problems that way. But now I really feel I've found a new kind of independence in terms of The dimensions of a picture, and I have been working in a 4 d. Space. So this is the painting that I put into the space.

Renata Janiszewska

And I photographed it from within the space, and it's surrounded by 3 3D. Objects which I get from a particular kind of software. The reason I started using this technique was I needed to make an animation or a moving image work for the work. The rocket escapes. The flytrap which is going to be is in the Brooklyn show, and some of you may know it from the poster. So I dragged 2 copies of the work into the 3D. Space. Put the objects you see tumbling through the air here, the teapots, the rings, the branches, and I photograph from below. So I'm looking up into the space. And of course I could animate this image fairly easily in the way that I'm I normally animate. But the 3D space gives me the option of being a moving camera.

Renata Janiszewska

And so I'm gonna zoom in on this image. Well, 1st I'm gonna say what you see on the right hand side are the 3D objects and what you see. On the left hand side are some of the 3D objects in front of a flat Quasi flat work. But what's amazing is the dimensionality of the work, the brush strokes which are custom brushes that I make. They seem to come out at the viewer. It's very difficult to tell what is foreground, what is mid ground, and what is background?

Renata Janiszewska

And the clarity of the image, too? So let's see. Zoom. I'm going to zoom in 150. You can see really how clear all the lines are in the custom brushes, and again the white, the white shapes are the 3D. Shapes. But the background shapes in the painting seem to push forward through the picture plane. And this is a problem or something that has preoccupied artists since before the Renaissance. The idea of session into depth. The idea of let's see. Sorry The idea of A picture.

Renata Janiszewska

There! Having having a particular like, almost like a stage. And I'm really excited by this. This is really new for my work to be able to travel through a 3D space. Here I am. I'm the camera, and I'm moving through the space. And I haven't worked out exactly how to use this kind of footage, but I am going to edit it so that those pauses aren't in it, because those pauses are the way that the software is guiding me through the space as I'm being the camera. And I call this the canyon effect, where I have 2 identical paintings on one side of each other and my shapes in the middle. Now, where do these shapes come from?

Renata Janiszewska

They come from something called the everything canvas which is free software. And I will drop the link into the chat. And it's made by an animator. He's Irish. He lives in Los Angeles, and if there's there are thousands of, or at least 1,000 images of objects that you can employ here I am at the base of one of my works, looking straight up, and again, there's tremendous distortion, and yet there's tremendous clarity. There's no loss of resolution in these images. And this painting reminds me when shot from below like this.

Renata Janiszewska

It reminds me of mannerism which was a movement that took place after post, Italian Renaissance, where human form was elongated and distorted. And you have that same kind of distortion. Here. Is like standing at the bottom of a gigantic billboard and shooting straight up without any loss of Sharpness. So here's 1 of the finished works, and I. What I like about this is how The shapes in the foreground echo some of the some of the movement and shapes in the composition behind. So, for example, this.

Renata Janiszewska

This movement of gramophone gramophones at the top, the beige shapes Echo the composition behind it, and then the teapots on the left. They take your eye right out of the picture and off to the side. I'm all. I'm also really happy with the shape in the right hand foreground, because it does look like it's actually farther out. But it's part of the painting in the background. So wonderful play and ambiguity. Where is your eye going, and this one I got from one of my paintings where I used some AI components, and I had given the AI the direction Robots in love or sorry robot love in the time of Leonardo.

Renata Janiszewska

And I got back these kind of cyber cop robots. And again my! My brush strokes in the bottom look like they're coming right out of the painting and touching those green shapes at the left, which are, in fact, 3D shapes. But again, this amazing dimensionality it's almost like the painting is moving out of out of its frame. One more example of a picture with the shapes Photographed from to from the side and below a little. And I'm going in really close now to show you that the 3D shapes retain their integrity. Even if you go blow them up enormously. So the bottom right the white. That's 1 of those floating loops, and you can just see how it doesn't lose any clarity.

Renata Janiszewska

This is one other view of the painting I just showed you. So again, depending on where I photograph from, I get different Effects. And this is the very center. This is the very center of that painting. So you can see the little head in the middle. And when it's blown up this big. You can see that the head is actually the brush. So I'm painting with that head. And I get these sinuous. Tube-like, satiny pink forms. I'm really happy with how much clarity there is. And also you can see to the right of the head the exuberance of those splatters.

Renata Janiszewska

No detail is lost in this space. It's really, really exciting for painters. Also, I quickly. I'll just show you how I could make A picture out of what you just saw by cropping and adding. And then here's a more traditional what I've been doing prior to the 3D. Space. And it's good. But I'm much happier with this, because again, you have this terrific ambiguity between the planes and also the great variety and the types of strokes. For example, the bottom left. You see, this almost looks like oil paint squeezed out of a tube, or a very vigorous Brush scrubbing technique. But that's just a custom brush. And on the top left, you see this very, very clear custom brush that has so much dimensionality. I'm just I'm really happy, and I'm thankful that I could share this with you today.

Renata Janiszewska

So thank you and. Stop sharing.

Thank you, Cynthia. That was great. Wow! That is so exciting. Yeah.

Thanks.

Wonderful presentation.

That was Renata. You said Cynthia.

Oh, I'm sorry I'm so sorry. And yours was as well since you. But yeah, that was great. And again, we'll save our questions, or quite a few comments in the chat. And let's go on to Lee. Did you say some? You wanted to share something.

Sure. Yeah, I'd love to. But 1st I'd like to say, everybody's stuff has been so beautiful. Thank everybody for sharing the gorgeous ran out of those purple ones. I want one. I don't have the money to afford one, but I'd love to find a way because it's beautiful. I'm just looking for my share screen. Button. Okay, so think this is screen number 2. Is that working? Do you see this.

Yes.

Okay, so it's interesting what Cynthia was saying before about independence, from being locked into making images or being locked into anything. And, as you know, I often shoot the same things over and over again, and I really like the process sometimes instead of just the just the actual work. And this is I can't seem to. I can't seem to. Can you still see it? Because now I'm trying to get back to the screen. Okay? So I'm hoping you can still see the screen.

Yes. I can.

I know it's not the same image. I apologize. I'm sorry I'm gonna start all over again. I apologize. I'll be let really quick here. So often I've been become kind of independent of am I still sharing the screen? Oh, God, I'm so sorry! Actually, you know what? Let me.

You're not sharing the screen you're not sharing. We're back at our multiple view. Do you want to go back in share.

Okay. So yeah. So I think I can go alright. I. My problem was, I was trying to be fancy, and I shouldn't be fancy. Here, I think this is gonna work. Let's see. Share screen. Here we go. Okay. So.

Yes, yes, yes.

A boring picture in my backyard under my stairs. There's a ladder and these grills. I don't even know where they come from. But I've been collecting them and finding more and more of these grills and building materials, and there's a roll of stainless steel which is slowly been unraveling and talking about independence. I felt like I wanna get away from the images that I've been shooting so much of like the one that is it an angel, or is it Goddess of Liberty? But it looks like something with wings or the forest. I always shoot the forest. And I was like, Okay, well, what about this thing?

Lee Schnaiberg

I've been pretty amazed by this because of the vertical lines and the busyness of it. And I do like shooting things that are sort of left over, and detridice and garbage. And lately, because of what we've been seeing we see a lot of broken construction things or blown up construction things. So I've been like, what can I do with this stuff? And I? It's been a bit of a fixation for me lately, and these aren't all of them like I've probably 1,000. But I just pulled a bunch quickly. You can see here there is a ladder and the steel, and I find the amazing part of the steel is that every day I look at it the colors of this guy. And I'm like, Okay, what colors is still gonna look like. And sometimes I get this pink. And I'm like.

Lee Schnaiberg

Where did this come from, and I get really excited by different pieces of it, and no, like all of my pieces. They're really big, they're like, you know, 10 feet long. And I played a lot with the this idea of rust and the and the grills, and the vertical lines, and the horizontals, and sort of the busyness of it that I could create out of this refuse and blown up pieces and destroy things that really could go to the recycling. Or could go somewhere, but have been like left behind by builders or left behind by God knows who. And so I've just been kind of like adopting these Abandon things.

Lee Schnaiberg

And I feel like The like talking about liberty or independence. I feel like a freedom that I can create with these abstract pieces that don't nobody's gonna look at and say, Oh, that's an angel, or Oh, that's a goddess, or Oh, you're in the forest again. I'm like. I don't know what these are. And sometimes I look at these, actually was thinking about sending one of these, submitting one of these to Tommy recently for the show in the museum, but then I chickened out. I went with something pretty.

Lee Schnaiberg

But I just I love the harshness of these, and when I look at these, I mean, I've been spending a lot of time like a lot of people have looking at the destruction that's going on around the planet specifically in a place that's very close to me. And I look at this horrible disruption, and people had homes. And now it's just Bricks and steel bars and useless things. So I'm trying to give them some kind of dignity or some kind of a bit of wow! Still and a little bit of magic still.

Lee Schnaiberg

So that's been kind of my latest. Obsession, you can see here this there's like it's not just steel and bars, but there's even boards of wood. There's Gip Rock. It's all this stuff that people are. I've ignored, and I really could just bundle it up and send it off to the garbage. But I've been making this my muse for the past Month. And I feel like it's been giving me a little bit of independent creativity and like, look at this one, this, this little piece in the middle is the bar of steel, and it's got like these blues and these skin tones and sometimes there's still junk like the rusty stare, or the this giant pot. I actually know somebody brought the pot over to do an experiment with some Biochar, and which is really good. It's a whole different story. It takes carbon out of the atmosphere. But he left the pot. And I'm like, Well, okay, that was really environmental dude. But now it's become part of part of this composition like, it's not still life, but it's some kind of. Something that I've just been just finding that the Freedom to get away from any images. And it's funny, you know, we often talk about Pollock or Lee Krasner, and I definitely feel like when I'm doing a piece like this. I'm so not thinking about content at all, I figure out my brush stroke before I do it, and then this, you know, this will take like 4 min, a 4 min exposure. And so for those 4 4 min I've got like a little movement, and it's going through my bones, my spine, my breathing, everything to get this done.

Lee Schnaiberg

It's just so freeing and liberating. And so I just wanted to share this with everybody, and thank you for letting me indulge with everybody. I really appreciate your time, and I love this group, and I'm glad that I can actually share these things with people who can sort of understand my weirdness, and I don't know how many I've put here, but I think that it'll go on for way longer than it should. Oh, no, it's probably right at the end of this. But thank you so much.

Lee Schnaiberg

And maybe onto some other people. How do I stop sharing stop sharing? Thanks so much. Everybody.

Great Whoa, man! Another great salon here. I have to say, you know, as dark as these times may seem to so many of us. I get so inspired with this group, and also with other works of art. I see occasionally, that just you know the beauty and the and the thought and the complexity, and Of the work going on here. It's The power of the I mean. You just cannot underestimate the power of the imagination and how beauty. Which is truth. I know I sound like Keith, but I'm an idealist, and I believe that.

Roz Dimon

But it! It's so inspiring it. We can still make things. And we can still make people feel things that are just so wonderful. I mean, this has been a really great presentations, all of you, Ali, those that was really fantastic. Does anybody else want to present? We're coming up at quarter of one Colin. Would you like to present.

Yeah, I'll present really quickly. So thanks for us for your service, taking the meeting and you know, appreciate all the share so far. So I wanted to kind of. You know, frame this idea of independence in a different way, not necessarily in terms of the content of my work, but more Of the idea of, you know, artists being independent in terms of financial independence, which lends itself towards, you know, being able to continue doing the things that we love to do, or, you know, allocate more time to doing things that we love to do. So you know, when I went to college I was a painting major. I was a studio art major with a painting concentration and ended up in New York City, in 1994, which was really the year that the web became sort of mainstreamed and was involved doing CD-ROM development at the time.

Colin Goldberg

And I was, you know I consider myself very lucky to have been in New York a at that time, and you know, I remember the day when the owner of this little multimedia shop in the East Village it was called Nomad multimedia. It was basically like 4 guys. And he came in and said, You know, there's a new way to distribute multimedia globally. It's called the World Wide Web, you know. We gotta get in on this thing. And you know, since then I've been building websites, my 30th year of building websites. And you know th that has allowed me some degree of independence as far as being able to maintain a studio practice alongside. You know, commercial work, and in that year, in 1994, I came up with a brand for myself called Ever Beta, which the idea is, it was my 1st website. But it was also my 1st website was basically a portfolio of the stuff I did in college, but also design work that I did in internships. And so I've always been, you know, an artist and a designer and I remember going to see a show at the Guggenheim by an artist in architect named Zaha Hadid.

Colin Goldberg

Who, I? You know I found this show extremely inspiring, because, there were automotive designs. There were buildings, and then there was wall art sculpture. It just crossed all boundaries, and you know this particular individual did not have to. It didn't seem like, you know, she had the need to define herself as one thing, and I thought that was very liberating cause. I always thought, you know, I have to box myself into this category, not let the art people know that I do this commercial design and essentially advertising work. In terms of building commercial websites. That's what it boils down to. And you know.

Colin Goldberg

On the flip side, the advertising and design people love the fact that I was an artist cause I would come up with ideas for them and stuff like that. So it's interesting, that duality. But you know, jump right in with ever beta one thing I liked about that was that I could create the logo with Ascii characters on a Mac. Option, 5 option s, will create an infinity sign. And then the Beta symbol, which shortly after establishing the website, I branded myself and tattooed on my shoulder at a place called Cappuccino and tattoo on 11th Street. I don't think it's still there anymore. But you know that kind of you know that brand has been this, the studio that I work under? It's basically has been my little apartment a basement, whatever it is, you know what I mean. And having having gelled those 2 things together, kind of allows me to operate in a way that you know. I'll make the money from commercial work and then spend it on my art habit, so to speak, and it all ends up being under the same umbrella. So I always encourage people, young people who are one, you know, following the artist path to use these skills like Photoshop illustrator or other things and find a way to apply them commercially. So instead of waiting tables or doing something completely unrelated to what they, wanna, you know, be doing ultimately, it's something that is synergistic, and you know, to. To sort of illustrate this, I just wanted to show a little backstory of the piece that I'm gonna be showing in the Brooklyn Exhibition. Just gonna share my screen here real quick.

Colin Goldberg

So. The body of work that this piece comes from is called metagraphs, which is, these digital drawings that I started in 1999. So most of these were done in either 1999 or 2,000. It's in 4 and the way that I ended up doing vector, based work is that I had a friend from college whose brother was a graduate student A Phd computer science student at Nyu. And he got me access to the lab. And he explained to me, you know, vector based work is defined mathematically. So you could zoom in Infinitely, and not ever see any pixels which I thought was interesting, and he said, You know. So at some point, you know, if you wanna ever produce these large, you can. And there's gonna be no loss of resolution. So I started drawing almost exclusively an illustrator at that point, and all these are done in Illustrator. This is the piece I'm Gonna be showing in Brooklyn which it's called circuit. That was done in 9.th That was drawn in 1,999 and. Basically, you know, all these works were drawn in New York City and Lower Manhattan East Village. So they were definitely urban, inspired. And you can kind of see zooming in. There's some detail in there. And the down the road. I started animating the pieces over the course of the pandemic. One kind of funny story with these is, I was living in Boston for a little while and I went down Newberry Street, which is where all the sort of hoty toy galleries were, and it brought in my work, and they sort of thumb their nose at it and said, You know, we don't show anything to do with digital work or computers. This is probably like 2,001, you know, and so what I did was there was these concrete benches in front of the storefronts, and I set up shop there, and I printed these out on my little ink chat, and, you know, sold prints on the street right in front of the gallery, and actually sold a bunch of them, which was, you know, gave me a lot of satisfaction, you know, for very little money. But still and then this kid wandered by, and he was sort of like became my assistant. Anyway, it was a funny story. So these are basically, the nfts which were generated from the pieces is they're all drawn in layers and illustrator. So I ended up.

Colin Goldberg

Yeah, animating them and creating this sort of soundscape for them. Some of them have been sold already. One of them is going to be in this amount of show that I'm leaving it up to The curators to select. But what I've been doing over the course of you know, since these works were composed is trying to figure out a way to actually monetize them and sell them, and nfts are one way. This piece I showed at the South Hampton Art Center, and, you know, had the fortune of an art consultant walking through there and seeing the piece, and she brought it into this show at Hearst Corporation in New York City, and they ended up buying the work. And part of that. What? What convinced her? What was interesting to her was that it's actually an augmented reality piece. So I took the still images, and I used a program or an app called to link them to the animations. So since then, and this is all kind of in the theme of financial independence. You know, I was able to put a book together using a platform called Kdp, which is kindle, direct publishing, actually heard about this from Davo, and anybody that can that wants to can sign up for this as long as you can put a Pdf. Together.

Colin Goldberg

Publish a book on Amazon. So it's available now, hardcover and paperback. And it's augmented reality. So The deal with that is that the book itself. I'll I've brought this as a little demo, and I'll try to cut this short. But basically and this is another thing that I know Renata has been working with. I just wanna show this particular piece. C. Well, I'll just pick one so this is the book. This is the way it ends up, being hard cover. It cost me about 15 bucks a copy, and then you just sell whatever you whatever you want on Amazon.

Colin Goldberg

So when the work is viewed through the app I don't know if you could sort of see it. Well, probably not on the camera. Let me see if I could get it a little closer.

We can see it a little. Yeah, no.

Yeah. Yeah. Very interesting. Hmm.

So speaking down here.

But you're in purview.

What's that?

I'm sorry I interrupted you because other people were talking, and then I lost you in Speaker View. So.

Oh, oh, okay.

Whenever someone else talks.

Gotcha gotcha. So yeah. And our divide is also something that is, you know, initially a free platform. I'd encourage you guys to check it out. It's an app. And then there's a companion website called Artive Bridge, which is where you upload your still image, and which is, you know, sort of like a trigger image. And then a video that's corresponding to that and lastly, over the last, you know, month or so, I started experimenting with the idea of drop shipping prints. So there's a an outfit called Luma prints, which is in California, and I've been proofing sheets of the prints, color correcting them. So I laid them all out on one sheet and then I've been proofing it like on canvas on various types of paper they do. Some are, said Velvet, and just trying to figure out a way that you know, I could sell the work online in a way that's relatively affordable. And it's an experiment. But you guys might wanna check that out, too. One cool thing about Luma Prince is they integrate directly with other platforms like shopify Etsy. Also through. There's sort of like a connecting platform ship station that allows you to sell it through Amazon and other stuff. So The thing is, it's a pretty cool way to monetize your work if you can sell, you know. Put together prints and kind of the game plan that I have is, once the orders come through.

Colin Goldberg

Sending the collector assigned certificate of authenticity directly that way. You know, it's not just like basically a souped up poster. But The purse, the purchaser is actually gonna get something that's signed by the artist. So I think that might be a decent business model. Certainly something that any of you guys who produce digital work could experiment with. You know, shopify has, you know, a small monthly charge bloom. Prince does not so At any rate, that's kind of like my. My little message about independence is that you know us. We, as artists, have the ability, especially digital artists, have the ability to commodify our work in a way that traditional artists do not.

Colin Goldberg

And you know, this group was sort of born out of the idea that. We're not getting as digital artists. A lot of mainstream support and acceptance at least back a couple of you know, before the nft situation that actually opened it up quite a bit for many people, but before that, you know, is extremely fringe. So I love the idea that Tommy brought up interdependence. I mean, that's kind of like what this group is all about. And yeah, that's enough out of me. Thanks.

Oh, that's great, Colin. Thank you. Yeah, I love the interdependence idea. And also having worked in top corporations myself. In the nineties. That. You know. You learn about fonts and design and graphics and all these exact attitudes of craftsmanship that. You know, mixing it with ideas and fine art. I mean that's where Renaissance is. The 1st Renaissance was kind of bored of all that I mean. People worked on these altar pieces, and there are always Michelangelo's, and they're people who rise above the cream goes to the top. But there's there was a huge collaborative attlee like structure. And you know it's not a sell out to work in corporate. It's 1 of the most exciting chapters of my life. And I was. It influenced a lot of my fine art as well, because you're in. You're in the structure of life, you're in the you're right in it. And anyway, thank you. I really admire your work, Colin. You're you really have such a breath?

Roz Dimon

Thanks so much, and sharing those I would love to if you could share the Amazon Publishing site. I'd appreciate that.

Absolutely. I'll drop some links in the chat for the different platforms I mentioned.

That would be great. This is there anyone else who would like to present? Oh, Renata, yeah, I see your hands up. Sorry.

Yes, I just wanted to make a quick shout out about Artivi, or Art of Colin has an entire book where I Trigger. I. I aim my phone with the Rv app on, and I get not only images that move, but music for each one. And currently we have a number of works like that coming up in the Hello Brooklyn Show, which Tommy Mintz is the chief curator of M. My particular one is now live. So if you if you have art of, live on your phone and it's free, then you can just point it at a screen and trigger it. You don't have to have an object.

Renata Janiszewska

Thanks, Chris.

Thanks for sharing that. Yeah, would people like to have some? I mean, I could show a few images, but we don't have to make this any longer than it needs to be, or how long we want to be here. I want to share one image before we open it up myself. Oh, so, Stefan. I think you're muted.

Roz Dimon

I still can. We still can't hear you.

I'm sorry. Are you talking to me?

Yes.

Yes, it's been a fantastic.

Oh, is it, Stephanie? Oh, I was talking to Stephen Carpenter. But, Stephanie, go ahead.

It's been a fantastic eye opening experience for me, seeing all of your work. Thank you.

Thank you. Thank you, Stephanie. It's great. She's been quite an incredible woman in the world of film as a professor and a new friend of mine who I invited, and I'm so glad she could be here. But now I was talking to is it staff and carpenter who has his hand up. Did you want to say something? I can't hear. We can't hear you, though.

Roz Dimon

Yeah, I don't know. Maybe the volume isn't working. We can come back to you, though, if you want. Still not hearing.

Roz Dimon

Yeah, I don't know. Maybe press the volume up on your audio, or something. I'm not sure. Check it out on zoom does anybody else want to present? I'm going to probably present one or 2 little pieces before we open it up but it won't be long People can unmute if you want. If we're not Okay, well, I don't do. I see. Am I missing anybody. Speak up and unmute if I miss you, but otherwise I'm gonna share my screen really quickly. And this has been really great. But I do want to just share a little background as the moderator. Go to desktop one Chair.

Roz Dimon

I guess. You see the big zoom screen and I'm going into something. Oh. Alright. 1st of all, some of you can you guys see Washington pig on the screen?

Yes, this is.

One of my, I have to say, when I was working I worked. I started the 1st new media department for Deloitte in the World Trade Center and At the time I felt I was working in the heart of capitalism. I worked there for a decade, off and on in digital, and I would go home at night. And this is done in 1995, and it's called Washington Pig. And it's kind of a celebration and a critique of capitalism, and you can see for sale. And George Washington's eyes The continent of Africa in his ear, which is something we're still wrestling with it, says Hawk. If you love Jesus has the word go in 15 different languages. Noam Chomsky is in here somewhere, saying, the manufacturer of consent. Everybody needs a house of wife and a dog. There are tons of little pig buttons and no dominion. It's a dollar bill, kind of gone berserk, and it's all about capitalism. And it's really a celebration and a critique of capitalism which is kind of at the heart of this country. And I was working at the in the heart of money at the World Trade Center for a long time. This is not an interactive diamond state piece. You can't enter into it, but you know what I just it. It's just one of my strong pieces, and I felt like it was appropriate for today's topic of independence quickly. I'm going to show more recent iPad drawing of Ted Cruz felt kind of fast here. This was my 2022 there is no happy. That was my July 4.th I put this up today, and a few people thought it might be misconstrued, so I took it down because the name of this piece is supreme injustice.

Roz Dimon

And it's not me that's so happy. It's Ted Kavanaugh. I actually did it right when he was. Elected to the port, and I put it up today. But friends said that people might see it as not in the direction I'm talking about. And finally, I want to end with oh, there are a few more. Here's Giuliani. Oh, I've been doing these drawings lately and talk about Techspressionism. Lately I have not been going digital, these just pulling them right out of my 19 by 13 drawer paper, taking out the Conti Cray on the pencils and just going after these guys. I recently saw a show of, you know, the whole period of the Weimar Republic of George Auto Dex, and they just inspired me so much. It's like they're looking at the heart of evil in some of their pieces, and I feel like I had to stop drawing Lincoln and Eleanor Roosevelt. And just look at what I what I had to just get into it. So this is not, I mean a pencil is a tool, you know. So and I'll let's see who else? Oh, here's Marjorie Taylor Green. These are just pictures of the pieces off the wall. I'm sorry the kind of granular I'm used to like having things made right in the computer. So I can show them to you perfect perfectly. But they're about 19 by 13. Here's Ted Cruz.

Roz Dimon

And they have these funny titles like she says, so happy, plus I'm a blonde. Ted Cruz is like, oh, I just love myself, and only me. Giuliani is feeling the joy, and I think I'll finally end with my latest one of Mr. Trump himself. I can't call him President and this is called trump. Turkey gobbler and a there you go. All right. I'm gonna unshare. Thank you very much. Thank you. It's been a great session. Do, people? We can open up our mics and Hey? Yeah.

Hi, Susan! Here, I ha! I it's gonna be super hot here today. So I had to be outside doing some, getting some watering started before I could concentrate. But I would like to share one piece that I've done that, I think, is connected, and I've had trouble sharing recently from my iPad. So I'll try it if it doesn't work. I have the link to the video in YouTube. And we'll try that. I shared this in my in the co-working group and here, I wanna get my video on so you can see me. I want to reinforce The. Positivity and Importance currently, in my work of the co-working Techspressionism group. It has, supported being. Part of that group has supported my work. I feel connected to people in ways that I didn't imagine.

Susan Detroy

And I feel influenced in a caring and supportive way. I'm often given ideas that I go away from the group and think, oh, I think I might enter enter Integrate that into my work. So I feel an interdependence in a very positive way with the co-working group, and I want to share A film that I have been working on over the past. I think couple of months that I shared and got a lot of positive feedback. And I just loved it. Okay, so I'm going to. Everything's changed on the iPad once again. Okay, share. I'm gonna try sharing.

Susan Detroy

And as I said, if it doesn't work. I will then put a link in the. Okay. Can't optimize for Alright. So are you seeing my desktop.

Yes.

Just wonderful.

Are you seeing capcut.

Yes.

Yay!

Good.

Going to go full screen and share this video. And hopefully, you'll hear the sound. Also, I push the button for sound. A. I don't know.

Not saying it.

Yeah, we're not. We're not seeing. We're just seeing your screen tab cut with a lot of different images on it.

Okay, let's try it a different way. Let's try it from here. See if it do. You see, are you seeing this? Are you seeing the a film.

No, we're still seeing the Cap. Cut it, says Cap, cut in the top left, and they're about 20 images, or more than that.

Okay. This is what happened. This is what was happening. I don't know why it in the zoom. It's not letting me do this alright. So I'm going to try going to The chat and opening it from the chat. Hold on! I'm gonna stop sharing.

Susan Detroy

Alright. I'm gonna try this now. And maybe you'll see it, and maybe you won't. We'll see.

Susan Detroy

Are you? Seeing that YouTube.

I don't think you're sharing.

Okay, just a second. Yeah, yeah, I'm not sharing yet. Alright. So many buttons to push. Okay. I'm working at it.

Understand. I put out all the lights and The Shangri-la Hotel in Singapore, like.

Start, broadcast, okay.

Share.

Screen.

Susan Detroy

Okay, start brought. Okay. Says it's broadcasting. Alright. So now, do you see the YouTube.

Yeah.

Okay. You see the big screen.

Do with a little text underneath it. But yeah, we see the start button, the play button.

Okey dokey! Good! Here we go. A. A Shoo!

We're not seeing it!

No, we're hearing music, but the.

Damn it.

Like welcome somebody else.

I have it up. I'm happy. If you stop sharing, I'll just jump in and share.

Okay.

You're great, I don't know. Thank you.

Why it, I'm pushing optimize for video, but it's not doing it.

It has to do, I think, with some of the permissions that we now have.

Okay, that makes.

Like this?

Nothing I need to do ahead of time.

When it's being recorded. Are people seeing this.

Oh, cause it's being recorded. Okay. A. Thank you.

Susan Detroy

The. A.

Susan Detroy

An Oh. A. Wow!

Susan Detroy

A.

Susan Detroy

A.

Susan Detroy

Oh! Oh! Oh! Oh! An Oh Lord! Oh. A.

Susan Detroy

Oh. Love you! Oh. E! A.

Susan Detroy

A.

Thank you.

You're welcome.

I'm glad you finally got it to work.

Yeah, thank you, Cynthia. Cynthia.

I just done that quite a few times, jumped in. And that cooperation in this group is something I love. Yeah. Alrighty.

Yeah, thanks. I have to. I'm assuming I need to go into my settings, my zoom settings in some Pre online in some way to make it. So I can share when the video is being recorded. So anyway, thanks everybody, yeah. It was. It's a piece that is still speaking to me. I'm I have not entirely verbalized what it's about entirely. But it does have influences about what's happening in our political, in our country and some inner twining of the Environmental crisis. We are living as well as the political crisis. Thank you.

Absolutely. Okay, we're getting about 1 15. We have a few minutes here. Does anybody have any questions for anybody who was presenting today. You can either raise your hand or just unmike. And. And if nobody does, I have a question for Renata or not so much a question. But just Yeah, maybe you could talk a little about you talked about the 4 d. And 3D kind of perspective that you're in. It's fascinating. How you're moving in and out of the picture plane and it! I'd love for you. I'd like for you to talk about that if you would just for a minute I did want to add, from my own point of view, I've been thinking about this a lot lately, because my interactive diamond scape works, they were influenced actually by studies of Byzantine icons and icons. Instead of going to a threed perspective where you go into the canvas, you know, from the Renaissance on, or even before, or you know Renaissance, and you have the vanishing point, you know, and it comes out with icons. It goes the opposite. It's like the painting comes to you, and the vanishing point is in the person. And that was one of the influences for my interactive pieces, the diamond scapes where you enter inside it, sort of a different kind of artiv, or whatever that software's call where I program, the paintings where you go inside. But I wondered if, following what I'm talking about with that kind of difference of perspective that is happening and with us, using technical media and being able to immerse ourselves in this screen like that. We're on today. If you could just talk about that for a minute. I don't know if it's a question, but I'd just like to hear a few more comments about it.

Well, I wanted to go back to something that expressionists were talking about at least a year and a half ago, breaking the boundaries of the of the frame. I think. Since Beth Ruben has been working on that for a long time. And we had a panel discussion. And now this is for me completely. It's a in French, they say, Boul verso like you're completely turned over and around because I can go anywhere in the 3D. Space, and every time I be behave like the camera, and I shoot what I'm seeing I can get a totally different picture. So it's like having an infinite number of vanishing points, if you will.

Renata Janiszewska

But from the point of view of the Byzantine icon.

Fascinating, great, great, great! Great! Thank you. That's very cool. Very, very cool. I love how we bring history into this our studies, and you know, things don't just come out of nothing. So thank you so much. Cynthia.

It sounds like we have our next topic, which is vanishing points.

That would be good. Yeah.

Point point of view, or you know, you can come up with a better name. But it sounds like our next topic. And I think what's really great about that topic is that we need to look at non western wall painting and look at different ways of perceiving space. So it's an opening for that.

Yes, wonderful! That'd be a great topic. And to that point.

Sounds like a great introduction by a potential moderator. Cynthia.

I might be willing to work on that. We'll see. Not. August. But Wait. Is this is July. Right? Okay? Yeah. Bye.

Yeah.

No, I can't do it.

Anyway, anybody else does anybody else have anything to say or to add today, in our.

Since.

Cynthia.

Yes, I have a quick renata I'm also very interested. Excuse my voice. In what you have accomplished. Are you? Is this 3D. Space where you have the sense of camera in the everything canvas software? Or is it some other software.

It started when I was working on in most of the hubs with Siberiana. I'm not sure. Did you have work in so very, Anna Cynthia. I can't. I'm sorry.

Yes, I did. And I sent. Yeah, I sense that you were that. That was the 3D space. So is it the loop critique experience that.

Yes, the foundation. The MUD Foundation supports The platform that I'm working on. It's an Xr Creator. And because I was a juror for Loop Art Critique. I spent 6 weeks there in the metaverse with Joey Zaza and about 5 other artists, plus the staff from Loop, and I became really comfortable meeting in the 3D. Twice a week for a couple of hours, so they offered me use of the space as an artist. After the Residency was finished.

Wonderful. I'm fascinated with. The viewpoints that you were able to achieve in the extreme resolution that you're able to get. Bravo!

Thank you. Thank you, Cynthia.

Is anybody able to hear me.

Yes, yes, we can.

Oh, wonderful! I just wanted to introduce myself and how wonderful everything is, and how I feel like I'm a kindergartner with a whole bunch of support. So bunch of stuff that I've got to explore quick, quick thing. We were talking about interdependence today and dependence, and everybody stops at we, the people. But look at the next few words in order to form a more perfect union, which means it's not it, which means for me, anyway, my sermon that. We are all in this together, and it demands our work.

Stephen Carpenter

It's in order to form a more perfect union. And unfortunately. The people who really don't want to have the Constitution hang around anymore can forget that and insert their own will and make us all be something else. And that's the real battle right now. Because after the more perfect union is life, liberty, pursuit of happiness, whatever the hell that means. But it certainly doesn't mean me giving my whole life to somebody who doesn't want it. And that's the end of that. So if I can take one more minute I'll say that my background, like just about everybody else's, is design and painting, because my background goes back to the late sixties.

Stephen Carpenter

However. I lost the sight of my eye. My right eye temporarily in 2,017, which meant that I've had to work totally in digital, because otherwise there would be nothing happening, and I'd go insane. So that's how I've gotten here. And I'm so pleased to hear about all of this stuff, because it's stuff that I'm trying to do myself, and I'm glad that I've got friends anyway. So my background is art and music, so not only do I do the visuals, but I also am able to write the music that goes with it. And that has been a kind of a weird thing.

Stephen Carpenter

So maybe later on, when we get to the multiple viewpoints and things like that. I might have some stuff to present. But anyway, I'm Stephen Carpenter, and I'm in Central New York, and I'm so glad I was able to get here today.

Welcome. Thank you, Stephen. It's great to hear from you. Yeah. And there is a procedure that I think Colin might want to speak to for a minute about how this works, or I can talk to it. Colin. You know that if you want to be, you're on the list now, or you should be I think, and we meet once a month, and if you do want to present, we usually do 5 to 10 min Timing. Usually there are more people and you just come a few minutes before like 15, for, like 1145.

And make sure everything works.

Yeah, make sure everything works. And you know, just share the screen and all that. So it's really pretty easy, but welcome. Yes,

Good.

Is anybody else have a comment, for I might just say a few words and then pass it over to Colin.

I have questions.

Jerry, hi, yeah.

Hi, I have a question for either.

Oh, Lucy, Lucy, excuse me. Yeah, yeah.

Either Renato or Colin. Last time I was using our lupa and artifact a few years ago, the artist who was posting animations and images on the on their platforms had to pay a monthly subscription. So if you have a book that's gonna be out there in print for years. I, Colin, are you having to like pay monthly to have the augmented reality effects for people looking for.

Yeah, it basically is a paid platform, although there's multiple levels. So you know, I believe there is a free kind of level where you could have up to. They eliminated that Renata. Yeah, they there used to be but you know, I mean to me that's kind of like The cost of doing business. I mean, it hasn't really paid for itself yet. But ultimately, you know, the AR aspect has resulted in the sale of like larger physical pieces. So I think that you know for me, it's worthwhile there, you know, I don't think there's really gonna be a point where it's something that's free cause it has to be running on a server somewhere. You know that being said, I think it's possible that, like QR. Codes.

Colin Goldberg

It could be integrated into mobile operating systems at some point. You know, it used to be that you had to download a special app to view a QR. Code, and pretty much no one used QR codes until iOS and Android operating systems incorporated them, you know, directly into the camera app. So I don't know exactly how that could possibly work, but I think down the road that is plausible. But yeah, for now it is paid platform, and there's also other stuff with our divide, where you know they offer sale of the through their own commerce platform. But I think it's based in the Uk, so Footnote on that. But yeah.

How much is it a month. Say, like 10 bucks, or you're talking like 30 bucks.

I'm paying. I'm paying 30. I'm paying €1390 like almost €14 for a month. That's the lowest, cheapest tier.

Good thanks.

Sure. Well, thank you. Everyone. This was a really great session. And I want to say that, Yeah, I appreciate everybody's. Input, and it's funny. But I agree with John Avlon, who's out here running in the 1st district as a Democrat, and I agree with him that we can't let anyone take our flag from us or our religion actually, I must say as someone who is a big Jesus person. But I'm an interfaith minister. The whole idea of this Christian nationalism really makes me just like it's a travesty seriously. That it's just as far from Jesus as anything I've ever seen. So there's that, and no man or woman is above the law in this country, and even if we know that things are done incorrectly, and presence have a lot of power.

Roz Dimon

What we're up against now is like nothing else, and I won't like John Avlon said, no one can take my flag for me. It's funny, but if you wear a flag these days, sometimes people think that you know you can't possibly be a Democrat, and that just is not true. And that's why I have all these flags here today, because I believe in what the at least. We've messed up a lot of things. But the United States Constitution is a radical experiment in democracy, and I hope we can. We can keep it. And I just love being with you artists doing these amazing things. It's really, really inspirational. And let's it's been a great session. So thanks so much. Colin, is there going to be a an after session for those who wanna stay? Or are we gonna celebrate July 4, th or what we have? What's up.

Yeah. So I mean, I personally have to take off pretty soon after. The recording stops, which will be, I mean, we still have a little bit of time, cause we started, you know, 5 min after. But I if we're able to accomplish it. During the recorded session. The main thing that I always try to get done in the after party is essentially establishing a topic for the next salon and a moderator. If we can take care of that little piece of business. Now then, that would be great. So someone's on the record. But yeah, does anyone have a you know.

Cynthia, Cynthia, can you do it? The one that we talked about the point of view, or vanishing point or perspective.

I could pull that together, except that we pretty much covered a lot of it. I don't know how many other people ha! Are interested in it. So maybe that's an after party. Talk because it might be good to wait a month. A few months and revisit it where you know, people talked about it today.

Yeah, right? Cause we did have some immersive content here. Quite a bit. That's yeah, or different. That's true.

Right. It's the perspective idea. But if a lot of other people suddenly are going, oh, yeah, that's what I deal with. And I'm particularly interested in the idea of people deliberately looking at non-western wall painting and non-wall painting. Non, you know whatever, and looking at different ways of thinking about space.

I? I like that you mentioned perspective. I think that as a topic perspective could work really well, because it could be very open ended. And I tend towards single word topics for salons. I just think it. You know it leaves it very open for interpretation, and if you'd be willing to you know, to take the helm with that would be awesome. The next salon is actually August first, st which is the 1st Thursday of the month. That actually works out. Really? Well, I was nervous. It was gonna fall right when the Brooklyn Exhibition is opening. So, you know, people could also talk about if they're participating in the show how the work that they're showing might relate to that topic.

Colin Goldberg

But, I would like to make a motion that the next topic the next topic would be perspective. And I would like to nominate Cynthia Beth Rubin to be the moderator. So do we have a second. Well.

I do a little Ps. Today. Right before the Brooklyn show. Maybe we would consider doing preview of the Brooklyn show, because if there really are 70 artists in that show. It might be useful to do a little preview before we go. Those are.

Or maybe afterward, though, or how.

Yeah, I was thinking about that, Cynthia, and I think it would be really good to have something, you know, while the show is up like I know that. We did that with Southampton, where I think it was you, Roz. Right? You did a walkthrough in C 2, and we streamed it into the zoom. I mean, that was really cool. I think this the Brooklyn show is gonna run into the 1st week of September, I believe you know, so I think it'd be good to do the Brooklyn to talk about the work in the Brooklyn Show when the exhibition is open that way. People could show.

Colin Goldberg

You know, images of the work installed. Maybe there'll be documentation of the exhibition at that point that we could share with the rest of the world. You know what I mean. Because I was thinking the same thing actually but I think it just might make sense to do that like while when the show is up. So if people are watching it live and they happen to be in the Tri state area. They could just come down and hopefully see the exhibition. I mean, that's just my 2 cents on it.

Yeah. So my 2 cents about that is that when you go to an exhibition that has that many people and that many pieces, it's. It may be that you spend all your time just socializing and not looking so much so if you have a little idea of what to look for, but for those people who are not going to make it to the show at all, because they might be in Australia or whatever. Yeah, I we're still recording, by the way. So.

Yeah. Yep.

That's just my point of view. Otherwise, yeah, I could put something together for August first.st if that's what we really want. I'm gonna look.

Perspective and keep the surprise of the show. So that people, you know, I think it's kind of nice. Tommy would like people who can get there. I'm going to be going with a few friends to at least make the effort to get to the show. He's put a lot of work into it. So I just feel that it's kind of better to do it after, even though I get your point. But.

Oh, and so for those of you viewing at home. It's the details for this show is online, or are online at Techspressionism.com slash Brooklyn. This will be the last little bit to share, but I'm just gonna share my screen, anyway, because this will be the last salon before the opening. So Techspressionism.com slash Brooklyn. You could see this beautiful piece by Renata. And there's a press release and some other information about the exhibition. Google map. All that good stuff. And you could also get there from the Techspressionism, homepage.

Colin Goldberg

There's an oop. That's the back end. Nothing to see here. So yeah, on the homepage. There's a link here as well as to the open call for the Mount Exhibition. I think we.

Have a salon, though, will we? I mean Cynthia's salon would be before it opens, cause she.

Yeah, yeah, I just wanted to put a little plug in there for the show. So people could see it on YouTube, you know, and get the information if they wanna learn. But Cynthia, if you're willing to do it. Then I you know I would keep that motion open. If Roz you, you want to be a second, and I'm not gonna speak for you, though Cynthia.

Obviously. Yeah, I think I could probably do that. I haven't put in my calendar when I'm going to be on the Cape. But. You know I can do. I guess if I'm on the Cape I'll do it from the Cape.

Fantastic, and this will be your 1st salon, right? Moderating it.

I think the borders one I.

Oh, okay. Yeah. Yeah.

Okay, actually, I'm not gonna be on the Cape then, anyway. So wherever I am okay, awesome. I just wanna say to anybody who's listening from who uses different kinds of perspective. Please think about this. Think about it in the broader.

I'll definitely be submitting something. Cynthia. Yeah.

Okay. Great.

Excellent.

I'd I. This is a topic I love. And I will be on the road on August first, st so maybe I'll just submit my book or something.

Well, if you're on the road you might still be able to join in. Wi-fi is everywhere.

I know. But I'm gonna be in a car. I mean, I'm gonna be. I am gonna be traveling. So anyway. I'll catch it afterward. Maybe another time perspective will come around again. And the only reason I'm mentioning it is A friend of mine, my own, my old Prof. And I got together, and it was embarrassing because it was public. But we came up with 19 Viable historic things called perspective that are usable and at our are historic and presentable. So everybody stops at linear perspective. But that's just the beginning. And I'm very, very interested in it because of the Byzantine and non non Western kinds of work. And anyway.

Stephen Carpenter

I'll see you after August 1st is what I'm gonna say.

Okay, I just wanna remind you, Starbucks is everywhere.

For an hour and a half, and you'll be all set.

If only if only I could get all of the other people that are traveling with me to do that as well.

Alright, guys, we probably should cut this recording now. But so we have a motion. We have a second. All those in favor of perspective, moderated by Cynthia.

Any of.

Posed Alright. Motion carries. We have a salon. We have a moderator. August first.st thanks everyone for presenting. Thank you, Roz, for taking the lead, and look forward to seeing you all hopefully at the next salon, and you know, maybe some of you a week later in Brooklyn. So and big shout out to Tommy for organizing that. It's ton of work and much gracious. So with that we will stop recording in 3, 2, one, and.