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LiQin Tan | |
|---|---|
 Tan, at Rutgers University, 2018 | |
| Born | 1957 |
| Nationality | American & Canadian |
| Education | Painting |
| Known for | Singularity Art, Animation |
| Movement | '85 Art Movement |
| Website | www |
LiQin Tan (born 1957) is an American digital artist, animator, researcher and educator who has taught in Canada, China, Singapore and the United States. [1] [2]
Tan is a full professor and co-director of art program at Rutgers University-Camden. [3] He has served as a board member of the Digital Art Committee, SIGGRAPH and as a juror for the digital art gallery at SIGGRAPH. He was also one of the activists during the ’85 art trend of China. In addition, he has previously worked as an art director, animator, graphic designer and executive art editor in local and board industries. Since transferring to the field of digital art, he has pioneered the "Digital-Primitive” and “Digital Nature” concepts, which has won great acclaim and a number of awards from both American and international art scenes. [1] [4] [5]
His artwork has been exhibited nationally and internationally in both solo and group shows. Such as SIGGRAPH (‘02-’07) in USA, Electronics Alive IV in USA, iDMAa04-08 in USA, the National Art Museum of China, Moscow Int’l Festival of Animation & Media Art, the Beijing World Art Museum, the Vancouver Art Galleryin Canada, the Shanghai DuoLun Museum of Modern Art, the National Centre for Computer Animation in UK, the Centre D’Art Contemporaine in Montreal Canada, the Singapore Art Museum, the LaSalle Univ. Art Museum in USA, the Noyes Museum of Art in USA, the Jiangsu Art Gallery, Beijing Song Zhuang Art Museum and the Guang Dong Art Museum, amongst others., [6] [7] [8]
Tan's art research since 2000 has focused mainly on the merging of conceptual animation, animation installation, interactive animation, and digital prints on rigid materials. His resulting work was awarded first place from the 5th Digital Art and Computer Animation Competition by the Beecher Center for Art and Technology, the "Best of Show" at iDEAa. He has also been awarded first place, as well as the excellence prize from the China Academy Awards., the Award of Excellence by the International Digital IV, the Award of Excellence at the Global Media Competition from gallery international etc. [9]
In recent years, he has concentrated on exploring the relationship between technological singularity and art, and how this interface will change the creative force and provide a blueprint for future art expansion, which has conducted experiments with major advances art form such as ai-art, interactive-art, bio-art, nano-art, vr-art, 4d-printing and any other new art procedures combined. [10] His publications include a number of articles regarding technological singularity art, contemporary art, art criticism, art education, and animation. In addition to these articles are his books and catalogues, such as Singularity Art, Singularity: Subversive BioArt,Digital Natural Art, Digital Artwork Collection II, Character Animation & Rigging, and Tan On Art/Art On Tan. His in-progress books are: Singularity: Invisible Art.[ citation needed ]
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Primitive Level-Signals ( 2012 ) Digital Prints Installation w/ Signal Devices Applies spirit levels as a signal to describe a natural phenomenon in humans, where human brain development is an equalized procedure. The competing concepts of the brain—whether the battle of the brain's size versus its intellectual capacity, or of its technological versus its spiritual side—are always kept in equilibrium.
Refractive Brain Therapy Series ( 2010 ) Animation Installation w/ Digital Prints, Water & Glass
The project consists of a few large digital-brain prints on metal, which are placed into later, water-filled vats. This series shows a unique understanding of refractivity in both natural phenomena and social truth. These prints are placed alongside other animation installations and LCD monitors.
Agricultural Implements Series ( 2008 ) Interactive Animation w/ Agricultural Implements
This large animation installation emphasizes “cultural-revelation” and “great-leap-forward” content, and the conflict between industrialization and agriculture. It does so interactively, through ancient Chinese agricultural implements, such as a normal winnower, a middle-sized grindstone, and a Chinese scale.
Digitally Bloodless Series ( 2008 ) Installation in Kind w/ Digital Prints
This series explores the paradox of state that humans inhabit—physically passionate, yet technologically bloodless; though technologically advanced, we still operate off our primitive urges—an obvious and ongoing contradiction of state.
Rusty Faces Series ( 2006-2007 )
Animation Installation w/ Digital Prints & LCD TVs
This series consists of three, large digital prints on copper, and four rust animations displayed on seven LCD TVs. Our work ethic and life attitude determine the degree to which we rust. With digital animation technology, "Rusty-Faces" presents a contemporary artistic interpretation of the deterioration of mind, body, and spirit by harmful and self-destructive human behaviors.
BurlHair Series and LavaBody Series ( 2005-2006 ) Animation Installation w/ Digital Rock Prints, Mirrors & LCD TVs
3D lava body/hair images are printed on a rock surface, a procedure that involves using printing technology on exotic materials. Each of my rock prints is the result of extensive research in terms of color consistency and material experimentation.
The Matrox multi-display system allows the synchronized flow of animation among the six displays. The convex index, image shape, and dimension of the mirror generate an accurate virtual reflection of the lava animation. The convex index determines the size of the reflected lava animation, while the image shape determines the distance.
Burl + 4 Series ( 2004-2005 ) Animation Installation w/ Digital Wood-prints & LCD TVs
Includes various 3D images of different species, including human bodies and plants that are textured and formed by burl. These images are printed on various natural wood surfaces. The “Burl+4” series includes “BurlNuts+4,” “BurlBody+4,” “BurlFlower+4,” “BurlStampArm+4,” and “BurlHead + 4,” each of which is a group of pieces.
Natural wood shapes, human bodies, and primitive, folk, and contemporary art inspired the innovation of these 3D images. Related animation is screened alongside the prints on four LCD TVs. “Digital Nature” is the main theme in this art exploration.
Rawhide Series ( 2000-2004 )
Digital Rawhide Prints & Animation Projection 3D animation/modeling tribal-images are printed onto a rawhide surface using a digital inkjet printer. The rawhides are, in turn, stretched out by aluminum clamps and cotton strings, which are fastened to a naturally textured cedar wood frame. Various rawhides sizes and irregular shapes can be stretched using different lengths of strings at various angles.
All frames are made from 4” x 4” cedar wood, and stand at 60” wide and 72” high. By incorporating the LCD TVs, the 3D animations associated with the 3D images play in synchronization beside or above the rawhide prints.
Animation through Rawhide Projections 3D animation is projected onto both sides of the rawhides simultaneously. Due to the rawhides’ semi-transparency and roughly textured surface, the effects on the rawhides are spectacular, with both sides illuminated and in motion. This projection creates an illusion that the animation is permeating through the rawhides. The audience has the ability to admire the work from any angle.
Rendering or image synthesis is the process of generating a photorealistic or non-photorealistic image from a 2D or 3D model by means of a computer program. The resulting image is referred to as a rendering. Multiple models can be defined in a scene file containing objects in a strictly defined language or data structure. The scene file contains geometry, viewpoint, textures, lighting, and shading information describing the virtual scene. The data contained in the scene file is then passed to a rendering program to be processed and output to a digital image or raster graphics image file. The term "rendering" is analogous to the concept of an artist's impression of a scene. The term "rendering" is also used to describe the process of calculating effects in a video editing program to produce the final video output.
Digital art refers to any artistic work or practice that uses digital technology as part of the creative or presentation process. It can also refer to computational art that uses and engages with digital media. Since the 1960s, various names have been used to describe digital art, including computer art, electronic art, multimedia art, and new media art.
The Utah teapot, or the Newell teapot, is one of the standard reference test models in 3D modeling and an in-joke within the computer graphics community. It is a mathematical model of an ordinary Melitta-brand teapot that appears solid with a nearly rotationally symmetrical body. Using a teapot model is considered the 3D equivalent of a "Hello, World!" program, a way to create an easy 3D scene with a somewhat complex model acting as the basic geometry for a scene with a light setup. Some programming libraries, such as the OpenGL Utility Toolkit, even have functions dedicated to drawing teapots.
A television set or television receiver is an electronic device for the purpose of viewing and hearing television broadcasts, or as a computer monitor. It combines a tuner, display, and loudspeakers. Introduced in the late 1920s in mechanical form, television sets became a popular consumer product after World War II in electronic form, using cathode ray tube (CRT) technology. The addition of color to broadcast television after 1953 further increased the popularity of television sets in the 1960s, and an outdoor antenna became a common feature of suburban homes. The ubiquitous television set became the display device for the first recorded media for consumer use in the 1970s, such as Betamax, VHS; these were later succeeded by DVD. It has been used as a display device since the first generation of home computers and dedicated video game consoles in the 1980s. By the early 2010s, flat-panel television incorporating liquid-crystal display (LCD) technology, especially LED-backlit LCD technology, largely replaced CRT and other display technologies. Modern flat panel TVs are typically capable of high-definition display and can also play content from a USB device. Starting in the late 2010s, most flat panel TVs began to offer 4K and 8K resolutions.
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Computer graphics is a sub-field of computer science which studies methods for digitally synthesizing and manipulating visual content. Although the term often refers to the study of three-dimensional computer graphics, it also encompasses two-dimensional graphics and image processing.
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Morehshin Allahyari is an Iranian media artist, activist, and writer based in New York. Her work questions current political, socio-cultural, and gender norms, particularly exploring the relationship between technology, history, and art activism. Allahyari’s artworks include 3D-printed objects, videos, experimental animation, web art, and publications. As a 2017 Research Resident at Eyebeam, Allahyari also worked on the concept of "Digital Colonialism"; a term she has coined since 2015.
Copper Giloth is a new media artist based in Amherst, Massachusetts. Giloth's work involves digital media, mobile art, virtual environments, animations, videos, painting, and installations, and have been influenced by elements of her life such as her parents. She, along with Darcy Gerbarg, helped organize art exhibitions that showed alongside the SIGGRAPH conference, marking the exhibitions as the first to be shown at the conference. Giloth has been described as "one of the leading exponents of computer art".
Alex M. Lee (artist) is an American and South Korean artist who lives and works in Phoenix, Arizona. He is assistant professor of animation at Arizona State University's Herberger Institute for Design & Art and faculty affiliate at ASU's Mesa City Media and Immersive eXperience Center (MIX). His work uses 3D animation, game engines and virtual reality to explore temporality, language, perception and human interpretation in our technological society. His work has been presented at the Goethe Institut, SIGGRAPH, Toronto Digifest, anti-utopias amongst other international venues.
Victor Acevedo is an American artist best known for his digital work involving printmaking and video. He was introduced to computer graphics in 1980 while attending Gene Youngblood's survey class (based on his book Expanded Cinema) at Art Center College of Design in Pasadena, California.
