HOKUSAI (1760-1849), From the series "Eight famous views from Edo" (Edo hakkei):
Evening rain in Yoshiwara - early 1800s

pictures of the floating world

Tony Oursler Eyes, détail, 1996

Eye in the Sky features a fiberglass sphere onto which is projected a single eye watching television. Although the rest of the body is not visible, we can hear the sounds of compulsive channel surfing. Without the emotive clues of facial expressions or gestures, we focus on the eye as an orifice, twitching as it gulps weather forecasts, commercials, sitcoms and game shows. For Oursler, the fragmentary nature of the piece -- the disembodied eye, the reflected television screen and the rapidly changing channels -- parallels features of mental illnesses that signal the disintegration of the personality and the inability of the individual to identify with and function in the real world.

Oursler breaks down the traditional boundaries between media by creating a freestanding video sculpture. Eye in the Sky was facilitated by the recent development of miniature LCD projectors that free the image from the cumbersome boundaries of the video monitor, the conventional film screen or the picture frame. Like some strange creature from a science fiction film or surrealist dream sequence, Oursler's eye is a metaphor for the human condition in a media-saturated age.

Tony Oursler Eyes, 1996

Tony Oursler
The Sum of Its Parts, 1997
Fiberglass sphere, Sony CPJ200,
VCR, videotape, and tripod
18 inches diameter (sphere) plus equipment (45.7 cm)

via thingsmagazine

KIKI SMITH

 
MOON 1997
lead paint on 83 Opal Remi glass panes, 16' x 13' x 3.5" overall

 
Tidal, 1998
Photogravure, phtolithography, and silkscreen
10 1/4 x 9 11/16” boxed, 19 1/2” x 126 1/4” open

St George Hall, Liverpool, Designed by Harvey Lonsdale Elmes at the age of 23 is one of the finest neo-classical building in Europe:

The project consists in fully covering the St. Georges Hall with the projection of ascii rendering of the same surface that it's being projected on.

Natalie Czech, uses vertical aerial photographs that are freely available on the Internet and combines them by multiple superimposition. she concentrates on industrial and railway facilities whose linearity lends itself to suchlike montage.

From the serie: Blattschnitte
 
Blattschnitte 28, 2005
80 x 60 cm

 
Blattschnitte 30, 2005
146 x 108 cm

 Spacetime - Created by nicolai_g. No digital horseplay other than basic curve corrections and resizing.

Part of a series of 23 installations. Each piece contains 1,000 blocks. of Artist John Powers

 
via http://tropolism.com/

Diane Grace Goodman - Garment Forms 2002

Corset form #4. Front view. 
Oil on canvas with photomontage, silk organza,
Swarovski crystals, #14 Japanese seed beads,
tulle, thread, muslin, gauze, metal hooks. 2003

Corset form #1. Front view.
 

Cotton cheesecloth, hide glue, oil glazes, wax.
Embroidery: tulle, thread, muslin. 2002

Corset form #3. Front view. 

Oil on canvas with photomontage, silk organza,
Swarovski crystals, #14 Japanese seed beads,
tulle, thread, muslin. 2003

Corset form #3. Back view.

Oil on canvas with photomontage, silk organza,
Swarovski crystals, #14 Japanese seed beads,
tulle, thread, muslin.
2003

Franziskus Wendels

 
Ten to twelve, 150 x 150 cm, 1994
Mischtechnik auf Leinwand 

Elisheva Levy HIBIS, markers on paper, 50cm X 70cm, 2003

I was touched very much by the work of artist Igor Tosevski, (living in Republic of Macedonia) and i'm honored that he let me post some of his work in here, and had explained about his concepts:

The Free Territories are conceived as traps for free spontaneous performative expression. They are in fact templums in whose borders any act, gesture, action/no-action or even shadow becomes a pure conceptual artistic action, echoing in space as a haiku whisper. This was based on an arrangement between the passerby and myself and achieved by means of various flyers and ads in the local newspapers and in the form of a Declaration of Free Territory.

The locations I saw suitable for creating the Free Territories were parts of the public spaces that maintain an undefined status, a kind of “no-man’s land” or neutral zones within the city scape. They were created consecutively. Outlined in yellow paint, their numbers grow by the day. Some were renewed while the others were left to fade away quietly under the footsteps of the crowd or the rain. None of them were made to last. They are all around us in the urban landscape existing also as an attempt to fill in the gap in the harmony of the specified site or perhaps - to create a new one.

Every single object or action caught within the borders of the Territory becomes an art-object, ready-made or social sculpture. Respectfully, every passerby is a potential performance artist, a poet of gesture or a creative activist.

Free Territories are pockets of creative freedom where the choice of the individual sways over the dominant vulgarity of politics. They represent junctions along the road to the essential state of Art. They are enclaves of social expression. Therefore, in the Free Territory there are no limitations or restrictions of any kind.

 I see the Free Territory as an opportunity for each individual to act as an artist. Stepping over the Territory becomes an act of the subtlest nature; within the yellow line, each uttered word, whisper or even thought becomes an autonomous conceptual action equal to Ives Klein’s leap into empty void.

Visiting again an Artist i'm deeply touched by, his video works has a dream-like quality that offer a magical transformation of an ordinary domestic space and all of them introduce elements that are surreal but characteristically serene. Here are some stills from various works by HIRAKI SAWA. The artist say that his works are about travelling without leaving a place and also about his own feelings of alienation and on arriving to Britain from Japan and a period of living in London flats. watch the Video project 'Going Places Sitting Down'

HIRAKI SAWA Going Places Sitting Down, 2004. 3 channel video projection,
Commissioned by the Hayward/Bloomberg Artists' Commission

IRAKI SAWA 8 Minutes, 2005. single channel video, Edition of 8

HIRAKI SAWA Migration, 2003. Digital video on DVD, 7 minute 10 second loop

HIRAKI SAWA Going Places Sitting Down, 2004. 3 channel video projection, Commissioned by the
Hayward/Bloomberg Artists' Commission

Hiraki Sawa. Still from Dwelling, at the Barbican

This concertina book draws its inspiration from antique maps. The light-weight drift wood covers continue the imagery in material form. Imaginary, symbolic writing is burnt through the pages - the effect of which adds to the concept of time when the book is viewed against a light source.