Artie Vierkant

The work of Artie Vierkant. Aesthetically I was drawn into Vierkant’s work, though upon inspecting it closer, my eyes register something created maybe in Photoshop not objects displayed in a gallery. The confusion is due to the fact the images I am looking at are from a past exhibition. I keep looking closer trying to unfold his technique and understand what I am looking at. The reality of it is I am looking at his work on my screen via the Internet. I was trying so hard to make out three dimensional objects with tangible qualities that existed in a space even though the space I am looking at is merely a flat screen. This dichotomy is something in my own practice I tend to investigate. Vierkant’s work is a perfect example of an artist working with this slippage of real and perception within the Internet platform. I highly suggest you download and read The Image Object Post Internet essay he wrote if you have any interest on this subject. Below is an excerpt from it.

In the Post-Internet climate, it is assumed that the work of art lies equally in the version of the object one would encounter at a gallery or museum, the images and other representations disseminated through the Internet and print publications, bootleg images of the object or its representations, and variations on any of these as edited and recontextualized by any other author. The less developed stratagem for pointing to a lack of representational fixity is that of taking an object to be represented (to be more direct, presented) as another type of object entirely, without reference to the “original.” For objects after the Internet there can be no “original copy.”

Even if an image or object is able to be traced back to a source, the substance (substance in the sense of both its materiality and its importance) of the source object can no longer be regarded as inherently greater than any of its copies. When I take a moving image and represent it through an object (video rendered sculpturally in styrofoam for example), I am positing an alternative method of representation without ever supplying a way to view the source. A source video exists. The idea of a source video exists. But the way the object is instantiated denies both the necessity of an original and adherence to the representational norms that follow the creation of “video” as both
technical device and terminology.

**All images are from his show at China Art Objects, Los Angeles – 29 October to 10 December 2011 via

Writings and essays can be found Here.


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