The University of California Institute for Research in the Arts supports embedded arts research through critical exchange

UC Riverside California Museum of Photography Winter 2012 Exhibitions

Render: New Construction in Video Art
February 4 – April 21, 2012


Ethan Turpin: Stereocollision
January 14 – April 14, 2012


Render Panel Discussion, Saturday, February 18, 5-6 p.m., followed by receptions for both exhibitions, 6-9 p.m., free admission.


UCR California Museum of Photography presents two new exhibitions that explore the use of both old and new photo-based and moving image technologies.


Render: New Construction in Video Art explores the physical and phenomenological processes of video in contemporary art. It examines the intermingling of the materiality of technology and video in which artists use pixels and particle units from film to produce a new layer of mediated work. Used in computer editing programs, “rendering” is a required process to generate and solidify special effects and transitions. Consequently, the works in the exhibition apply artistic uses of translating visual data from analog to the digital, and vice versa. Render: New Construction in Video Art also includes Culver Center of the Arts’ Digital Mural Projects’ presentation of Jason Heath: Resonant Bodies, an interactive audiovisual installation that treats the main entrance of the Culver Center as a resonant space where people in motion affect harmonic sounds, as well as the colorful video feeds displayed on two custom-built screens flanking the Culver’s front doors.


Ethan Turpin: Stereocollision is a series of digitally-recomposed historical images drawn from the California Museum of Photography’s Keystone-Mast Collection, world’s largest stereoscopic photography archive. In his first solo museum exhibition,Ethan Turpin creates new narratives from the historic photographs steeped in twenty-first century meaning. Collecting elements from historic photographs which were originally intended as documentary and educational, he digitally recomposes them to create fantastical images with a sly sense of humor and a strong sense of the cause-and-effect relationships between nineteenth and twentieth century practices and contemporary social, cultural, spiritual, and ecological issues.

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