Claudia Hart

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	<title>Claudia Hart</title>
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	<pubDate>Wed, 26 Aug 2026 13:17:48 +0000</pubDate>
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		<title>Home Page</title>
				
		<link>https://claudiahart.com/Home-Page</link>

		<pubDate>Sun, 18 Aug 2019 19:32:17 +0000</pubDate>

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&#38;nbsp;</description>
		
	</item>
		
		
	<item>
		<title>Siggraoh Lifetime Achievement Award</title>
				
		<link>https://claudiahart.com/Siggraoh-Lifetime-Achievement-Award</link>

		<pubDate>Wed, 26 Aug 2026 13:17:48 +0000</pubDate>

		<dc:creator>Claudia Hart</dc:creator>

		<guid isPermaLink="true">https://claudiahart.com/Siggraoh-Lifetime-Achievement-Award</guid>

		<description>

&#60;img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/3a2aabad18dd96403ba65435dd2e31cd4e0d565d81de2b6e0928fdd3d4690143/image.jpeg" data-mid="251583597" border="0" alt="Claudia receives The Distinguished Artist Award for Lifetime Achievement in Digital Art, presented annually to an artist who has created a substantial and important body of work that significantly advances aesthetic content in the field of digital art.  Awarded to Hart for her influential contributions to digital art, media theory, and experimental practice, particularly her pioneering work in virtual, augmented, and mixed reality and her critical exploration of embodiment, feminism, and simulation through historically grounded digital media. Photo: Rebecca Allen " data-caption="Claudia receives The Distinguished Artist Award for Lifetime Achievement in Digital Art, presented annually to an artist who has created a substantial and important body of work that significantly advances aesthetic content in the field of digital art.  Awarded to Hart for her influential contributions to digital art, media theory, and experimental practice, particularly her pioneering work in virtual, augmented, and mixed reality and her critical exploration of embodiment, feminism, and simulation through historically grounded digital media. Photo: Rebecca Allen " src="https://freight.cargo.site/w/1000/i/3a2aabad18dd96403ba65435dd2e31cd4e0d565d81de2b6e0928fdd3d4690143/image.jpeg" /&#62;


Copper Giloth Presentation
July 20, 2026“The 2026 ACM SIGGRAPH Distinguished Artists Award for Lifetime Achievement in Digital Art is given to Claudia Hart in recognition of her decades-long, internationally influential contributions to digital art, media theory, and experimental practice. A pioneer in virtual, augmented, and mixed reality, Hart has advanced critical discourse on embodiment, the representation of female bodies, and socio-political power structures. Distinguished by her art-historical approach to simulation technologies, her work bridges digital and historical art forms through sustained artistic innovation, conceptual rigor, and pedagogical leadership at the intersection of art and critical theory.Originally trained in art and architectural history at New York University and Columbia University, Hart began her career in the New York City art scene before transitioning to digital media in the late 1990s. Her historical training remains foundational to her work. Rather than treating technology as detached from the past, Hart situates digital simulation within a long continuum of representation extending from Renaissance perspective and photography to virtual reality and synthetic worlds. Through this approach, she has become one of the most important voices examining how digital systems shape perception, embodiment, and ideology.

Hart’s artistic practice is distinguished by its feminist and humanist perspective. Her works frequently investigate the representation of female bodies within virtual environments; challenging traditions of objectification embedded in both historical painting and contemporary media systems. Drawing on literary, philosophical, and artistic references ranging from Jean-Jacques Rousseau and Lewis Carroll to Romanticism, Baroque painting, and modernist aesthetics, she transforms canonical cultural forms into immersive digital experiences. Projects such as The Flower Matrix, Alice Unchained XR, The Alices Walking: An Augmented Opera and Fashion Show, and The Dolls: A Mediated Ballet combine motion capture, 3D animation, augmented reality, and theatrical staging to create emotionally resonant environments that explore spectatorship, empathy, and power. Long before public discourse focused on artificial intelligence, virtual identity, and synthetic realism, Hart’s work critically examined how computational systems construct reality and mediate human interaction.Her accomplishments have earned international recognition through exhibitions, retrospectives, and major museum acquisitions. Hart’s work is held in the permanent collections of institutions including The Whitney Museum of American Art, Museum of Modern Art,, Hamburger Bahnhof, and Albertina Museum, among many others. Her recent retrospective at the Haus für Fotografie und Medienkunst in Linz further affirmed her importance as a major figure in contemporary digital art. In 2026, she was also included in Pixel Pioneers, the first major exhibition devoted entirely to digital art at Museum Boijmans Van Beuningen.

	
Beyond her artistic production, Hart has had a transformative impact as a scholar, writer, curator, and educator. Her essays, lectures, and conference presentations have helped define the intellectual framework of digital and post-digital art discourse. Her work is widely discussed in foundational texts on digital art history and media theory. Hart has also curated exhibitions and developed innovative pedagogical models that integrate theory, artistic practice, and emerging technology. From 2007 to 2023, she served as Professor in the Department of Film, Video, New Media, and Animation at the School of the Art Institute of Chicago, where she mentored generations of artists working at the forefront of media art. She now holds the title of Professor Emerita.
Whether through immersive installations, virtual performances, scholarly writing, or teaching, Hart has consistently expanded the language of digital art while cultivating a more historically informed and socially engaged understanding of technology. Her career represents a singular achievement that has shaped not only the aesthetics of digital media but also the critical discourse surrounding it.
We are honored to add the 2026 ACM SIGGRAPH Distinguished Artists Award for Lifetime Achievement in Digital Art to Claudia Hart’s list of accolades, recognizing Hart’s decades-long, internationally influential contributions to digital art, media theory, and experimental practice.”


SIGGRAPH Lifetime Achievement Award Acceptance, July 2026
Shot by Shane Mecklenburger, in this clip, I share my love story with both virtuality and with my beloved husband Kurt Hentschlager. It is rough but sweet, and true! I would also like to give&#38;nbsp; special thanks to Copper Giloth for her amazing critical introduction and to Cynthia Rubin for presenting the Award.


Siggraph Life Time Achievement Award Presentation, July 2026
This is my presentation and talk for the Awards presentation at SIGGRAPH. One of the most astonishing things in my life to date, is that I received their Distinguished Artist Award for work that “bridges digital and historical art forms" -&#38;nbsp; the very qualities that alienated me from my peers when I started working in the late 1990s. Most important to me now however is to be in the company of the eighteen other inductees, my most revered and respected of colleagues.
My Siggraph Powerpoint


</description>
		
	</item>
		
		
	<item>
		<title>Museum Boijmans Van Beuningen</title>
				
		<link>https://claudiahart.com/Museum-Boijmans-Van-Beuningen</link>

		<pubDate>Thu, 20 Aug 2026 13:25:24 +0000</pubDate>

		<dc:creator>Claudia Hart</dc:creator>

		<guid isPermaLink="true">https://claudiahart.com/Museum-Boijmans-Van-Beuningen</guid>

		<description>

Claudia Hart&#38;nbsp; extends the question of power into the spatial and architectural realm of simulation. Her newly commissioned installations Empire Failure and The Rise and Fall of Art &#38;amp; Other Histories (both 2026), insist that digital art is not confined to the screen but unfolds through immersive environments.  The music was composed and produced by Kurt Hentschlaeger in 2014.&#38;nbsp;


The Dolls is a media ballet by Claudia Hart, molding mathematical cycles into visual form, to create&#38;nbsp; rhythmic, animated patterns from the historical heraldry of collapsed empires of world history. They are projected onto Kristina Isabelle, choreographer and dancer, who wears a paper, hand-drawn tutu, functioning not only as wearable art but also as a movie screen.&#38;nbsp; Cello music improvised by Danielle DeGrutolla for the Alice series of ballets, performances and opera created between 2015 and 2019 in a family collaboration including Hart, Edmund Campion, Kurt Hentschlaeger and Danielle DeGrutolla. 

The Dolls was revived in 2026, curated by Amira Gad and produced by Heleen Kosse as part of Pixel Pioneers, the first major exhibition at the Museum Boijman Van Beuningen devoted entirely to digital art. Spread across two galleries in the Depot, the exhibition traces how artists have used digital technologies to experiment, critique, and reshape visual culture over the past decades.


The Dolls Grotesques evolved from my 2015 media ballet, revived in 2026 at the Boijman Van Beuningen. The music for The Dolls Grotesques was composed by Ian James Hicks, specially for this reel. The idea for this work was the translation of the i-Phone formulated "bounce" reflex into a contemporary form of flicker as it might exist in current techno club-culture. The original Dolls graphics were projected onto choreographer and dancer Kristina Isabelle, on&#38;nbsp; the Boijmans site, who wears a paper, hand-drawn tutu, functioning not only as wearable art but also as a movie screen.&#38;nbsp; 


&#60;img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/f37fd90971db77b447eb28c90424972bd3a0894373df22ce03e05216cc3d8937/image.png" data-mid="251434471" border="0" alt="Depot of Museum Boijmans Van Beuningen. Photo: Ossip van Duivenbode" data-caption="Depot of Museum Boijmans Van Beuningen. Photo: Ossip van Duivenbode" src="https://freight.cargo.site/w/1000/i/f37fd90971db77b447eb28c90424972bd3a0894373df22ce03e05216cc3d8937/image.png" /&#62;


Claudia Hart&#38;nbsp; extends the question of power into the spatial and architectural realm of simulation. Her newly commissioned installations Empire Failure and The Rise and Fall of Art &#38;amp; Other Histories (both 2026), insist that digital art is not confined to the screen but unfolds through immersive environments. Working with 3D modelling since the 1990s, Hart builds environments rather than images. Her installations draw on modernist abstraction and architectural design, translating them into immersive spaces. Within these rooms, corporate logos, failed cryptocurrencies, and references to historical empires sit side by side. The result is direct: today’s technological systems function like empires – circulating through images, embedding themselves in infrastructure, and shaping how we move through the world. Simulation, in Hart’s practice, names the condition we already live inside and puts on display the collapse of our techno-utopian ideals.
-Excerpt from Amira Gad’s Catalog Text


&#60;img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/29beeacb72474f6613f0aa42006fb2b91dc7fcadf93f4a3841d0989bd992cec8/image.jpeg" data-mid="251434469" border="0" alt="Empire Failure (2026)  Algorithmic projection and carpet developed with Licia He, Claude-AI and Firefly-AI computer-assisted wall-coverings. Commissioned by Museum Boijmans Van Beuningen.  Photo: Aad Hoogenboom" data-caption="&#38;lt;i&#38;gt;Empire Failure&#38;lt;/i&#38;gt; (2026)  Algorithmic projection and carpet developed with Licia He, Claude-AI and Firefly-AI computer-assisted wall-coverings. Commissioned by Museum Boijmans Van Beuningen.  Photo: Aad Hoogenboom" src="https://freight.cargo.site/w/1000/i/29beeacb72474f6613f0aa42006fb2b91dc7fcadf93f4a3841d0989bd992cec8/image.jpeg" /&#62;


&#60;img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/99999f10279e29707a5873530e600692222eb865374227b78d345412654baa1f/image.jpeg" data-mid="251434468" border="0" alt="The Rise &#38;amp; Fall of Art and Other Histories (2026)  Claude-AI + Firefly-AI computer-assisted 3D animation, algorithmic carpet, algorithmic animation developed with Licia He mounted in media objects combining wood and pure pigment submerged in resin applied with computer-assisted brush, and silk tapestry made with pure pigment submerged in resin applied with computer-assisted brush,. Commissioned by Museum Boijmans Van Beuningen  Photo: Copper Giloth " data-caption="&#38;lt;i&#38;gt;The Rise &#38;amp; Fall of Art and Other Histories&#38;lt;/i&#38;gt; (2026)  Claude-AI + Firefly-AI computer-assisted 3D animation, algorithmic carpet, algorithmic animation developed with Licia He mounted in media objects combining wood and pure pigment submerged in resin applied with computer-assisted brush, and silk tapestry made with pure pigment submerged in resin applied with computer-assisted brush,. Commissioned by Museum Boijmans Van Beuningen  Photo: Copper Giloth " src="https://freight.cargo.site/w/1000/i/99999f10279e29707a5873530e600692222eb865374227b78d345412654baa1f/image.jpeg" /&#62;

I’d like to add to Amira’s point that In both of my installations, Empire Failure, and The Rise &#38;amp; Fall of Art and Other Histories, Jacoba van Heemskerck was my specific source.&#38;nbsp; I produced what I think of as “the Jacoba algorithm” in collaboration with computer scientist Licia He. I was inspired by the abstract stained-glass windows in the Boijmans collection, so we called our piece In Conversation with Jacoba. Although I’d never heard of Jacoba before seeing her work in Rotterdam, Amira and the museum's curators of applied arts and design (Annemartine van Kesteren and Nora Leijen), thought I would want to know her. They were right! Jacoba became my inspiration. Her story fit perfectly into my mission, which started with a project I produced for the 2023 Armory Art Fair, celebrating the centennial of the original 1913 show that included Matisse, Duchamp and all of the modern male canons. In a section curated by Robyn Farrell, in the booth of Montreal gallerist Patrick Mikhail, I recovered nine women artists shown in 1913, all little known (I personally never heard of them either). These paintings remix post-Impressionist and Fauve works by Marion H. Beckett, Marie Bracquemond, Emilie Charmy, Marjorie Organ Henri, Marie Laurencin, Jacqueline Marvel, and Katharine Rhoades. None were minor figures in their day. They were founding members of Fauvism, celebrated in their times, then systematically erased when the art market made auction prices the meter of success. When Matisse reached the millions, the Armory Women sold for 2-3 thousand at small auction houses. They were removed from art history. It was economical! At that time, I also recognized myself as part of a pattern. I understood that my own position was not accidental — it was structural. Hence Jacoba, who inspired the central piece in the Boijmans exhibition.

-Claudia Hart

&#60;img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/1f12399dd0174bad7a2b0fda4d6c09044beec6b80c86699426b501e59b1042f8/image.jpeg" data-mid="251434467" border="0" alt="Empire Failure (2026)  Algorithmic projection and carpet developed with Licia He, Claude-AI and Firefly-AI computer-assisted wall-coverings. Commissioned by Museum Boijmans Van Beuningen  Photo: Aad Hoogenboom" data-caption="&#38;lt;i&#38;gt;Empire Failure&#38;lt;/i&#38;gt; (2026)  Algorithmic projection and carpet developed with Licia He, Claude-AI and Firefly-AI computer-assisted wall-coverings. Commissioned by Museum Boijmans Van Beuningen  Photo: Aad Hoogenboom" src="https://freight.cargo.site/w/1000/i/1f12399dd0174bad7a2b0fda4d6c09044beec6b80c86699426b501e59b1042f8/image.jpeg" /&#62;


&#60;img width="2048" height="1164" width_o="2048" height_o="1164" data-src="https://freight.cargo.site/t/original/i/7ad09f00008a2d32e1667ea82da33a11df31918da524d93400baa406fe68fadf/image.jpeg" data-mid="251434466" border="0" alt="Empire Failure&#38;nbsp;(2026)  Algorithmic projection and carpet developed with Licia He, Claude-AI and Firefly-AI computer-assisted wall-coverings. Commissioned by Museum Boijmans Van Beuningen  Photo: Aad Hoogenboom" data-caption="&#38;lt;i&#38;gt;Empire Failure&#38;lt;/i&#38;gt;&#38;nbsp;(2026)  Algorithmic projection and carpet developed with Licia He, Claude-AI and Firefly-AI computer-assisted wall-coverings. Commissioned by Museum Boijmans Van Beuningen  Photo: Aad Hoogenboom" src="https://freight.cargo.site/w/1000/i/7ad09f00008a2d32e1667ea82da33a11df31918da524d93400baa406fe68fadf/image.jpeg" /&#62;
&#38;nbsp;

Excerpt From Whitehot Magazine,&#38;nbsp; August 2026, In Conversation with Intermedia Art Pioneer, by Jakob Dwight

Jakob Dwight: Can you say more about the idea that you touched on in your talk with Museum Boijmans Van Beuningen curator Amira Gad for the Pixel Pioneers group exhibition, that you were trying to challenge technology - to 'break technology' as much as work through it?

Claudia Hart: I’m all about my inner life. When I say ‘break’, I don't mean to literally glitch technology, but rather to work against its inner logic: which is logocentric and rational. I want to use it fluidly, to paint with it intuitively, and to improvise with it. Nevertheless the softwares I use are still hyperrationalist. But they are also “simulators,” a special category of computer graphics developed to simulate wars, flying airplanes, or breaking through gravity in a spaceship. Their terms and languages reflect the natural sciences: things like gravity or the physics of fog, light, or optics. If you want to figure out how to use them, you have to go outside and observe nature in microcosm - like how leaves rustle in the wind. But when I use them, I try to work against nature, to make natural forces behave in unnatural ways. 

I think of the things I do as allegorical, like what happens to nature when you make plants “ungrow?” Is this actually a special form of “Digital Death” (I made a piece called that)? Maybe that appears to be Techno-Utopian because I am in fact using technology to visualize magic and magical worlds.


&#60;img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/8de4de35f09e2313cad3cb82a2c8707701bbe2c662205bfa0da889ea712dd79a/image.png" data-mid="251434465" border="0" alt="Digital Death, from Illuminations (2025), a mixed-media Installation at bitforms gallery, NYC Digital Death (2013) 3D animation, media object combining wood, pure pigment submerged in resin applied with computer-assisted brush, using a Dall-E Ai&#38;nbsp; computer-assisted Romantic period wallpaper using pigment suspended in resin, acrylic paint. varnish, ash wood and felt, 20 x 24 x 10 in." data-caption="&#38;lt;i&#38;gt;Digital Death&#38;lt;/i&#38;gt;, from &#38;lt;i&#38;gt;Illuminations&#38;lt;/i&#38;gt; (2025), a mixed-media Installation at bitforms gallery, NYC &#38;lt;i&#38;gt;Digital Death&#38;lt;/i&#38;gt; (2013) 3D animation, media object combining wood, pure pigment submerged in resin applied with computer-assisted brush, using a Dall-E Ai&#38;nbsp; computer-assisted Romantic period wallpaper using pigment suspended in resin, acrylic paint. varnish, ash wood and felt, 20 x 24 x 10 in." src="https://freight.cargo.site/w/1000/i/8de4de35f09e2313cad3cb82a2c8707701bbe2c662205bfa0da889ea712dd79a/image.png" /&#62;
&#60;img width="2048" height="1463" width_o="2048" height_o="1463" data-src="https://freight.cargo.site/t/original/i/7d6d4870534468ca9360ec3f0788ceaa393b2124392a96a47ff5c1ac2a900d48/image.jpeg" data-mid="251434464" border="0" alt="The Rise &#38;amp; Fall of Art and Other Histories (2026)  Media objects combining wood, pure pigment submerged in resin applied with computer-assisted brush, and Claude-AI + Firefly-AI computer-assisted 3D animation, algorithmic projection and carpet developed with Licia He, Claude-AI and Firefly-AI computer-assisted wall-coverings. Commissioned by Museum Boijmans Van Beuningen  Photo: Aad Hoogenboom" data-caption="&#38;lt;i&#38;gt;The Rise &#38;amp; Fall of Art and Other Histories &#38;lt;/i&#38;gt;(2026)  Media objects combining wood, pure pigment submerged in resin applied with computer-assisted brush, and Claude-AI + Firefly-AI computer-assisted 3D animation, algorithmic projection and carpet developed with Licia He, Claude-AI and Firefly-AI computer-assisted wall-coverings. Commissioned by Museum Boijmans Van Beuningen  Photo: Aad Hoogenboom" src="https://freight.cargo.site/w/1000/i/7d6d4870534468ca9360ec3f0788ceaa393b2124392a96a47ff5c1ac2a900d48/image.jpeg" /&#62;


Jakob Dwight: On the occasion of your Museum Boijmans Van Beuningen talk was a zine the museum published, Claude and Claudia Figuring it All Out, Claude being the the LLM created by the Anthropic Artificial Intelligence Company. Can you share more about this?


&#60;img width="2048" height="2048" width_o="2048" height_o="2048" data-src="https://freight.cargo.site/t/original/i/5c5370685021bb5f7f2729f77fe745c9bb0907e78d47991d8b761841ddc5f2de/image.jpeg" data-mid="251434463" border="0" alt="Empire Failure T-Shirt motif (2025) created for the Boijmans Depot giftshop, developed in dialogue with Claude-AI." data-caption="&#38;lt;i&#38;gt;Empire Failure&#38;lt;i/&#38;gt; T-Shirt motif (2025) created for the Boijmans Depot giftshop, developed in dialogue with Claude-AI." src="https://freight.cargo.site/w/1000/i/5c5370685021bb5f7f2729f77fe745c9bb0907e78d47991d8b761841ddc5f2de/image.jpeg" /&#62;

Claudia Hart: On December 15, 2025, I fell on black ice and was bedridden for a while, so as a distraction I listened to Oswald Spengler's The Decline of the West &#38;nbsp;as an audio book. Spengler fit my doomful ideas about the fall of our current US Empire as a result of technocolonialist capitalism. 

Spengler predicted, in 1918, that a demagogue like Trump would appear and he was correct in both time and place. It is uncanny. I decided to have a conversation about Spengler with Claude, my favorite bot, who I’d previously only used to code. Our conversation became the Boijman’s Zine Claude and Claudia Figuring it All Out (2025), in which I talk with Claude but also with myself about my insights into how he was programmed to think. This project has opened up my next body of work, a detective story about a Large Language Model called Claude, a police investigator, Detective C, and various other and sundry characters.&#38;nbsp; But more on this soon.....


&#60;img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/2d447f7523aa11fde31fc8fc48bf27d90556e0a7fa115ed4f221d6268d4b7bff/image.png" data-mid="251434462" border="0" alt="The Rise &#38;amp; Fall of Art and Other Histories (2026)  Shrine media-object combining wood and pure pigment submerged in resin applied with computer-assisted brush, algorithmic carpet developed with Licia He and algorithmic projection developed with Licia He in media object combining wood, and pure pigment submerged in resin applied with computer assisted brush, Claude-AI + Firefly-AI computer-assisted 3D animation, Claude-AI and Firefly-AI computer-assisted wall-coverings.. Commissioned by Museum Boijmans Van Beuningen.  Photo: Copper Giloth" data-caption="&#38;lt;i&#38;gt;The Rise &#38;amp; Fall of Art and Other Histories&#38;lt;/i&#38;gt; (2026)  Shrine media-object combining wood and pure pigment submerged in resin applied with computer-assisted brush, algorithmic carpet developed with Licia He and algorithmic projection developed with Licia He in media object combining wood, and pure pigment submerged in resin applied with computer assisted brush, Claude-AI + Firefly-AI computer-assisted 3D animation, Claude-AI and Firefly-AI computer-assisted wall-coverings.. Commissioned by Museum Boijmans Van Beuningen.  Photo: Copper Giloth" src="https://freight.cargo.site/w/1000/i/2d447f7523aa11fde31fc8fc48bf27d90556e0a7fa115ed4f221d6268d4b7bff/image.png" /&#62;


&#60;img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/3706798193651329b16402ded92c3ce24a00469be0223d7b3896a481bb9bd087/image.jpeg" data-mid="251434460" border="0" alt="Empire Failure&#38;nbsp; (2026)  Algorithmic projection and carpet developed with Licia He, Claude-AI and Firefly-AI computer-assisted wall-coverings. Commissioned by Museum Boijmans Van Beuningen  Photo: Aad Hoogenboom" data-caption="&#38;lt;i&#38;gt;Empire Failure&#38;lt;/i&#38;gt;&#38;nbsp; (2026)  Algorithmic projection and carpet developed with Licia He, Claude-AI and Firefly-AI computer-assisted wall-coverings. Commissioned by Museum Boijmans Van Beuningen  Photo: Aad Hoogenboom" src="https://freight.cargo.site/w/1000/i/3706798193651329b16402ded92c3ce24a00469be0223d7b3896a481bb9bd087/image.jpeg" /&#62;
&#60;img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/ebebc3a73782520ed9070763000b75c2a781b9420412af1cae12588b478f65d2/image.jpeg" data-mid="251434461" border="0" alt="Empire Failure&#38;nbsp; (2026)  Claude-AI and Firefly-AI computer-assisted wall-coverings, algorithmic carpet developed with Licia He. Commissioned by Museum Boijmans Van Beuningen.  Photo: Aad Hoogenboom" data-caption="&#38;lt;i&#38;gt;Empire Failure&#38;lt;/i&#38;gt;&#38;nbsp; (2026)  Claude-AI and Firefly-AI computer-assisted wall-coverings, algorithmic carpet developed with Licia He. Commissioned by Museum Boijmans Van Beuningen.  Photo: Aad Hoogenboom" src="https://freight.cargo.site/w/1000/i/ebebc3a73782520ed9070763000b75c2a781b9420412af1cae12588b478f65d2/image.jpeg" /&#62;


&#60;img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/f33320ef4c94745de542ed0981d402bbe4840a890b3cb50d7461778fad1203cb/image.jpeg" data-mid="251434457" border="0" alt="The Rise &#38;amp; Fall of Art and Other Histories (2026)  Shrine media-object combining wood and pure pigment submerged in resin applied with computer-assisted brush, algorithmic carpet developed with Licia He, silk tapestry made with pure pigment submerged in resin applied with computer-assisted brush, Claude-AI and Firefly-AI computer-assisted wall-coverings.. Commissioned by Museum Boijmans Van Beuningen.  Photo: Aad Hoogenboom" data-caption="&#38;lt;i&#38;gt;The Rise &#38;amp; Fall of Art and Other Histories&#38;lt;/i&#38;gt; (2026)  Shrine media-object combining wood and pure pigment submerged in resin applied with computer-assisted brush, algorithmic carpet developed with Licia He, silk tapestry made with pure pigment submerged in resin applied with computer-assisted brush, Claude-AI and Firefly-AI computer-assisted wall-coverings.. Commissioned by Museum Boijmans Van Beuningen.  Photo: Aad Hoogenboom" src="https://freight.cargo.site/w/1000/i/f33320ef4c94745de542ed0981d402bbe4840a890b3cb50d7461778fad1203cb/image.jpeg" /&#62;
&#60;img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/42f575c202c08c4e21c48d2bd1bd9e239ad541ecf9b637c613263b30943d6d82/image.jpeg" data-mid="251434459" border="0" alt="The Rise &#38;amp; Fall of Art and Other Histories (2026)  Shrine media-object combining wood and pure pigment submerged in resin applied with computer-assisted brush, algorithmic carpet developed with Licia He and algorithmic projection developed with Licia He in media object combining wood, and pure pigment submerged in resin applied with computer assisted brush, Claude-AI + Firefly-AI computer-assisted 3D animation, Claude-AI and Firefly-AI computer-assisted wall-coverings.. Commissioned by Museum Boijmans Van Beuningen.  Photo: Aad Hoogenboom" data-caption="&#38;lt;i&#38;gt;The Rise &#38;amp; Fall of Art and Other Histories&#38;lt;/i&#38;gt; (2026)  Shrine media-object combining wood and pure pigment submerged in resin applied with computer-assisted brush, algorithmic carpet developed with Licia He and algorithmic projection developed with Licia He in media object combining wood, and pure pigment submerged in resin applied with computer assisted brush, Claude-AI + Firefly-AI computer-assisted 3D animation, Claude-AI and Firefly-AI computer-assisted wall-coverings.. Commissioned by Museum Boijmans Van Beuningen.  Photo: Aad Hoogenboom" src="https://freight.cargo.site/w/1000/i/42f575c202c08c4e21c48d2bd1bd9e239ad541ecf9b637c613263b30943d6d82/image.jpeg" /&#62;
&#60;img width="2048" height="1152" width_o="2048" height_o="1152" data-src="https://freight.cargo.site/t/original/i/a24badca752f6e528820dd1cf7a4058fc9013774c7899d469e5db85d79627e95/image.jpeg" data-mid="251434458" border="0" alt="Empire Empire Failure&#38;nbsp; (2026)  Algorithmic projection and carpet developed with Licia He, Claude-AI and Firefly-AI computer-assisted wall-coverings. Commissioned by Museum Boijmans Van Beuningen  Photo: Aad Hoogenboom" data-caption="&#38;lt;i&#38;gt;Empire Empire Failure&#38;lt;/i&#38;gt;&#38;nbsp; (2026)  Algorithmic projection and carpet developed with Licia He, Claude-AI and Firefly-AI computer-assisted wall-coverings. Commissioned by Museum Boijmans Van Beuningen  Photo: Aad Hoogenboom" src="https://freight.cargo.site/w/1000/i/a24badca752f6e528820dd1cf7a4058fc9013774c7899d469e5db85d79627e95/image.jpeg" /&#62;
&#60;img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/510036f55242729e5a9f622f28e8d4d24395544fb7b41d89163da95163852fbf/image.jpeg" data-mid="251434456" border="0" alt="Empire Failure&#38;nbsp; (2026)  Algorithmic projection and carpet developed with Licia He, Claude-AI and Firefly-AI computer-assisted wall-coverings. Commissioned by Museum Boijmans Van Beuningen  Photo: Copper Giloth" data-caption="&#38;lt;i&#38;gt;Empire Failure&#38;lt;/i&#38;gt;&#38;nbsp; (2026)  Algorithmic projection and carpet developed with Licia He, Claude-AI and Firefly-AI computer-assisted wall-coverings. Commissioned by Museum Boijmans Van Beuningen  Photo: Copper Giloth" src="https://freight.cargo.site/w/1000/i/510036f55242729e5a9f622f28e8d4d24395544fb7b41d89163da95163852fbf/image.jpeg" /&#62;


&#38;nbsp;


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		<title>Ouutlands start page</title>
				
		<link>https://claudiahart.com/Ouutlands-start-page</link>

		<pubDate>Mon, 01 Sep 2025 15:44:55 +0000</pubDate>

		<dc:creator>Claudia Hart</dc:creator>

		<guid isPermaLink="true">https://claudiahart.com/Ouutlands-start-page</guid>

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Ouutlnds!#?&#38;nbsp;Ouutlnds!#?&#38;nbsp;Ouutlnds!#?&#38;nbsp;Ouutlnds!#?&#38;nbsp;


A New Alchemy&#38;nbsp;

&#38;nbsp; The Digital Combine
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		<title>A NEW ALCHEMY Outlands</title>
				
		<link>https://claudiahart.com/A-NEW-ALCHEMY-Outlands</link>

		<pubDate>Mon, 01 Sep 2025 12:52:24 +0000</pubDate>

		<dc:creator>Claudia Hart</dc:creator>

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Ouutlnds!#?A New Alchemy
Claudia Hart
June 28, 2024An artist reflects on Bitcoin’s status as digital gold and a substrate for her work.


	On January 10, 2024, the US securities regulator approved the first US-listed exchange traded funds (ETFs) to track bitcoin. The next day, 4.6 billion USD worth of ETFs were exchanged—a watershed moment for the cryptocurrency industry. I viewed these enactments as a kind of ritual performance, endowing Bitcoin with the aura already inherited by the US dollar when the gold standard was broken in 1971.

In February, not long after Wall Street listed its first Bitcoin ETF, I was invited to participate in the first Sotheby’s auction of Ordinals—digital assets that are like NFTs, but to me far more interesting. After those first trades, Ordinals by proxy had the mythological status of gold.
	Of course, Bitcoin had been known as “digital gold” for some time. On September 15, 2008, Lehman Brothers went bankrupt, triggering an international banking crisis. On October 31, 2008, Satoshi Nakamoto published the Bitcoin whitepaper, which literally equated the cryptocurrency to gold, and named the encryption process “mining”: “The steady addition of a constant amount of new coins is analogous to gold miners expending resources to add gold to circulation. In our case, it is CPU time and electricity that is expended.”The aura of Bitcoin was now newly enhanced by its stock-market listing.


	To better understand the implications, I contacted Rhea Myers, whose knowledge of cryptocurrencies is profound. She gave me a reading list of histories of digital currencies that were published in 2022–23, as Bitcoin was ascending in the global financial market. These books chart finance, science, business, and digital art. They are also cosmological narratives that express symbolic structural relationships and universal orders, where utopia’s glow emanates from just over the horizon. I spent the next month reading these books. This essay is a story of these stories: how mythmaking made a technology seem inevitable

In Norse mythology, Idun is the goddess of youth. She has a basket of golden apples that keep the other gods young—until the end of the world.


	In the open-world sandbox game Minecraft (2011), golden apples bestow special effects on players, keeping them alive longer, and heal zombie villagers.

Extropianists were adherents to a cult of the golden apple, in pursuit of immortality. They were an on- and offline group of Bay Area technologists instrumental in developing the coding language and culture that envisioned, designed, and finally encoded Bitcoin. Among those who attended meetups between 1994 and 2005 was Mike Perry, overseer of seventeen frozen heads and ten frozen bodies submerged in liquid nitrogen at the Alcor Life Extension Foundation in Scottsdale, Arizona. In a 1994 Wired interview, Perry predicted a future in which people will download their mind into a computer and make backup copies that lasts forever. “Immortality is mathematical, not mystical,” he said.


The Extropians aimed to build a society based on self-generating systems of order, in resistance to the legal structures imposed by a federal state.


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	In ancient Egypt, pharaohs were mummified by wrapping the body in cotton and draping it with amulets. A properly prepared mummy bridged the spirits of the deceased and the offerings from the living. Until Extropianism, the Egyptians were the only culture to have held the preservation of the corpse as a specific religious belief. But there is still a significant difference between the two. The ancient Egyptians believed that the heart, rather than the brain, was the organ of reasoning. It was therefore left in place within the body and, if accidentally removed, was immediately sewn back in.
	Death and decay are forms of entropy. Extropianism extolled entropy’s opposite—eternal life, the transhuman or the posthuman. Extropianists prided themselves for being supermen with augmented intellects, memories, and physical powers. Their goal was to build a society based on self-generating systems of order, in resistance to the legal structures imposed by a federal state. To finance it, they defined an anonymous digital currency that functioned outside the physical gold standard, yet garnered its mythologies. Some believe that Satoshi Nakamoto is the pseudonym of Nick Szabo, an Extropian. But even if that’s not the case, the connection between Nakamoto’s ideas and the Extropians’ is clear: both wanted to transcend the structures governing human life. 


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	The proof of work protocol is what enables Bitcoin. One party proves to others, who serve as verifiers, that a certain amount of computational effort has been expended. The system requires miners to compete with each other to be the first to solve arbitrary mathematical puzzles. The winner of this race gets to add the newest batch of data to the blockchain. The winners receive their reward in Bitcoin, but only after other participants in the network verify that the data being added to the chain is correct and valid. As a result, Bitcoin and the other cryptocurrencies do not have centralized gatekeepers. Instead, they rely on a distributed network of participants to validate incoming transactions, adding them as new blocks to the chain.
	Proof of work is necessarily relational, performed by a chain gang of players and effective because of that. It can therefore also be thought of as a performative ritual of enactment, as the parties go through the requisite set of actions to affirm value. This makes digital gold conceptually very different from physical gold and the financial standards based on it. It is a process of pure computation enacted by people and machines, together expending massive amounts of energy and heat. In doing so it produces a Marxian metaphor of work: heat driven by time, transformed into a monetary unit.Proof of work can be thought of as a performative ritual of enactment.


	My artistic motivation is to extend the arrow of art history, rather than break from it. When I started working with 3D animation and simulation technologies in the late ’90s, I was still a painter living in New York.

I started writing illustrated books in an era before the term “graphic novel” was coined. We had comix, a punk, political version of the mass comic-book form, meaning a thing not accepted as art (and mostly still not). I was a fan of Art Spiegelman’s cerebral comix Maus (serialized from 1980 to 1991). I was inspired by Spiegelman to produce two fake children’s books based on adult themes of power and its abuse: A Child’s Machiavelli (Realismus Studio,1995) and Dr. Faustie’s Guide to Real Estate Development (Nautilus, 1996), a reinterpretation of Goethe’s Faust. &#38;nbsp;
	More Life, my animation in the Ordinals auction, featured an avatar that I created in that period. I made a series of six-foot gouache paintings on paper, based on an illustration in Dr. Faustie’s Guide to Real Estate Development. This was my first confrontation with the “not-art” problem. An important New York gallerist sent a collector to my studio. After listening to me explain my paintings and how they used as their source illustrations from one of my books but repainted at a larger scale, the collector pronounced the work “not art” and departed. He intuited that, although the paintings of my Dr. Faustie pages looked like pop art and were made on traditional rag paper mounted on stretched linen using rabbit-skin glue—techniques developed during the Renaissance—they were nevertheless structurally different from it. When Roy Lichtenstein made paintings of comic book pages, he was being playful and naughty, but still acting within the acceptable framework of art. Lichtenstein conceived of comic pages like apples, an element in a contemporary version of a still-life painting.


&#60;img width="1000" height="1391" width_o="1000" height_o="1391" data-src="https://freight.cargo.site/t/original/i/2ed0c34148493e7e5c8ec7641a47bc651e9613dc3ccff1967965abca5048e797/DrFausite_GouachePainting4_InHisCorporateHeadquarters_Berlin.jpg" data-mid="237938771" border="0"  src="https://freight.cargo.site/w/1000/i/2ed0c34148493e7e5c8ec7641a47bc651e9613dc3ccff1967965abca5048e797/DrFausite_GouachePainting4_InHisCorporateHeadquarters_Berlin.jpg" /&#62;
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	A few days after the Sotheby’s Ordinal auction closed, February 8, someone unfamiliar sent me an email. He’d just bought a small untitled oil painting I made in 1994, exactly 30 years ago! It featured the same Dr. Faustie pink bear that figured as the avatar in More Life (2000), the 5-second animation I had inscribed as an Ordinal, and which also appeared in my 1996 graphic novel. He asked what the work was about. It was a painting that combined art and text, as all my work from the 1990s did. I thought of mixing the two as a kind of paradox, of pure perception and of analytic thinking., related to another impossible belief that inscribing a tiny file into one millionth of one millionth of a Bitcoin embeds it into infinity. A ritual enactment and an impossible thought, a logical syllogism in which language uses itself to cancel itself. A new alchemy.My production process is like my message, a&#38;nbsp; dance of opposites, of opposing forces, generative and destructive. Lately, when I make things, the conflict is embodied by computer-assisted production and the handmade, and by contrasting organic materials and simulated ones. I start with handmade pattern-paintings, tiling culled from monumental buildings plucked from the history of collapsed empires, then hand-painted with a tiny brush. I build on them, layering on top renditions of my still life stage set, built in game space that I then spray on top, using a computer-driven air brush, to be then sanded, repainted and stained. In so doing, I harness opposing forces - of creating and destroying, of making, unmaking and remaking, that then come together in a visually uncanny work -&#38;nbsp; a paradox, hovering in a liminal space somewhere between the real and the not.

	Similarly there is an idea that the Art Market and Art itself are opposites, that the art market corrupted the Art World, stripping it of profundity. I reject this.&#38;nbsp; The speculative market is a byproduct, resulting from the mythological status of art itself.&#38;nbsp; The Market didn’t destroy art. It is art. Not to say it isn’t dangerous. But good art should be dangerous, should be&#38;nbsp; melancholy and threatening. Art is more gold than money, but gold is not money. Gold is eternal life, and that’s why we want it. Artists typically eschew money.&#38;nbsp; Who needs money if you can make art?&#38;nbsp; If it enters the canon, or the ledger, or is inscribed into the blockchain, eternal life is a done deal. The good thing about Ordinals is that artists can inscribe them into the canon/ledger themselves (for a smallish fee). Perhaps we are worth a lot of money, or perhaps just a little (me), but in the end, it doesn’t really matter. The canon is the tablet, and crypto currencies are certainly both a symptom and a cause of the systems collapse we are now experiencing across many fronts. With Ordinals, the ledger and gold converge into a single canonical thread. So heaven help us
Bibliography

Adam Curtis, Can't Get You Out of My Head: An Emotional History of the Modern World, &#38;nbsp;six-part BBC documentary television series. It was released on BBC iPlayer on 11 February 2021, https://www.youtube.com/watch?v=hNsoMfuZZqk&#38;amp;list=PL-R20m4MXU6v109QyZ8BKkncR29_OUrWv

Brett Scott, Cloud Money, first published in Vintage, 2023, first published in hardback by The Bodley Head in 2022

Claudia Hart and Claudia Herbst, ‘Virtual Sex: The Female Body in Digital Art’, Bad Subjects, 2005 (https://www.researchgate.net/publication/228477156_Virtual_Sex_The_Female_Body_in_Digital_Art)

David F. Noble, The Religion of Technology: The Divinity of Man and the Spirit of Invention, New York: Knopf, 1997

Donna Jo Napoli with illustrations by Christina Balit, A Treasury of Egyptian Mythology: Classic Stories of Gods, Goddesses, Monsters &#38;amp; Mortals, National Geographic, 2013

Ed Regis, Meet the Extropians, Wired, October 1,1994, https://www.wired.com/1994/10/extropians/

Finn Brunton, Digital Cash: The Unknown History of the Anarchists Utopians, and Technologists who created Cryptocurrency, Princeton University Press, 2019

Greg LaBlanc, The Libertarian Roots of Cryptocurrency, featuring Finn Brunton, the unSILOed Podcast with Greg LaBlanc, 2023 
https://www.youtube.com/watch?v=uylh0FEI9No&#38;amp;t=1417s

Jamie Bartlett, The Dark Net: Inside the Digital Underworld, 2015, Melville House, republished in American Scientist, 2015, https://www.americanscientist.org/article/cypherpunks-write-code

Malaclypse the Younger and Omar Khayyam Ravenhurst, Principia Discordia: How I found Goddess And What I Did to Her When I Found Her (The Magnum Opiate of Malaclypse the Younger Wherein is Explained Absolutely Everything Knowing About Absolutely Anything, first published in a limited edition of five copies n 1965; Fifth Edition: Must Have Books, 2022
Neil Gaiman, Norse Mythology, W.W. Norton &#38;amp; Company, 2017

Rachel O’Dwyer, Tokens: The Future of Money in the Age of the Platform, Verso, 2023

Rhea Myers, Proof of Work: Blockchain Provocations, 2011-2021, Urbanomic Media Ltd, published in association with Furtherfield and distributed by the MIT Press, 2022

Suzanne de Brunhoff, Marx on Money, Verso, 2015 (Editions socialism 1973)

</description>
		
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	<item>
		<title>Digital Combines Outlands</title>
				
		<link>https://claudiahart.com/Digital-Combines-Outlands</link>

		<pubDate>Mon, 01 Sep 2025 10:38:14 +0000</pubDate>

		<dc:creator>Claudia Hart</dc:creator>

		<guid isPermaLink="true">https://claudiahart.com/Digital-Combines-Outlands</guid>

		<description>


Ouutlnds!#?The Digital Combine
Claudia Hart
June 8, 2022


The metadata field of an NFT’s smart contract offers a new way for artists to suture elements of hybrid works.
In 2020, I imagined myself as a forger, painting copies of famous works by the masters of twentieth-century modernism. My goal was to mint these forgeries, thereby reproducing them as unique digital objects and securing by contract my individual authorial rights. Later that year, I fabricated this series. I invented an elaborate process involving a computer-controlled airbrush machine. First, I built a series of 3D computer models. Then I “painted” them in a software program with a digital brush that simulated watercolors. I arranged the models to create 3D still lifes in virtual reality rooms. Then I rendered out these set-ups as the source files needed to drive my machine. At last the machine and I produced the paintings. They were illusionistic and uncanny, like trompe-l’oeil paintings of the nineteenth century. I exhibited my first forgery with its source file, which was the digital picture I minted. I conceived of these elements as two halves of a mixed-reality whole I called a “digital combine.”

	The more I thought about this combine, the more I realized that my true source file was not the digital one I described above, but the story I am currently telling. A digital combine is not a forgery or a version. Rather, it’s a poetic resolution of the mind-body problem: a concept plus a tangible object and the narrative that connects them. Although I coined the term to describe an artwork of my own, I knew it could also be used to describe the work of other artists who also make a certain kind of hybrid artwork, both digital and physical.I think of NFTs as a kind of magical enactment, an act of prestidigitation—something metaphysical.

	A digital combine mixes tangible materials—like paint, wood, or paper—with a file: a jpeg, mp4, mp3, txt, a piece of software, or anything else an artist might imagine. The digital object can be encrypted and stored in the cloud, verified by a smart contract that can include metadata linking the digital and tangible things together. My smart contract, a modification of the standard ERC-721 format, specifies that my digital combines consist of both digital and tangible elements, and that the metadata is also a part of the work. In doing this, I am expanding on the notion that the context of an artwork, including the language used to define it, is what makes it art.


&#60;img width="992" height="984" width_o="992" height_o="984" data-src="https://freight.cargo.site/t/original/i/17f78026959e69d54565cee77cc633aaa963aa910d5712f943e08ce1c43b6bd0/15-wp-repairs.jpg" data-mid="237855627" border="0" alt=" 3D visualizations of Digital Combines exhibition, curated by Claudia Hart, Bitforms Gallery, San Francisco, 2022." data-caption=" 3D visualizations of Digital Combines exhibition, curated by Claudia Hart, Bitforms Gallery, San Francisco, 2022." src="https://freight.cargo.site/w/992/i/17f78026959e69d54565cee77cc633aaa963aa910d5712f943e08ce1c43b6bd0/15-wp-repairs.jpg" /&#62;


Smart contracts aren’t really that smart. They’re more like a gentlemen’s agreement than a contract, because they are not enforceable under current laws. Yet they are still quite convincing because of their forceful and obscure style. Both the programming language used to code smart contracts and the legalese of regular contracts are comprehensible only to the initiated. The worlds of coding and of law each constitute a kind of priestly cult, and it is not coincidental that they are designed to uphold markets. Endowed with the power implied by the contract’s hermetic language, NFTs transform liminal things into ordinary, tangible ones. Once encrypted and minted, a digital object becomes nonfungible and unique in the same way that a hand-carved sculpture is. This is a powerful and seductive idea. I think of NFTs as a kind of magical enactment, an act of prestidigitation—something metaphysical.


	I borrowed the term “combine” from Robert Rauschenberg, who in the late 1950s strategized an art-historical category based on his own practice. One signature combine is Monogram (1955–59), which consists of a stuffed goat plunged through the center of a rubber inner tube, then glued upright to a wooden plank roughly painted with crude brush strokes and pasted with elements of paper collage. Monogram is monstrous, an impossible object, coming into existence as an artistic concept when Rauschenberg granted it status by naming it. A combine transforms a weird, implausible thing into a knowable—albeit very odd—one. I did the same for my own hybrids.


&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/d9a06bb0c57213ba53f1e762708038267ea69a1889ce0977831e51e36e5b21be/fs_lav.gif" data-mid="237701585" border="0" alt="Daniel Temkin: Floyd-Steinberg, 16.4% Lavender, 2020" data-caption="Daniel Temkin: Floyd-Steinberg, 16.4% Lavender, 2020" src="https://freight.cargo.site/w/1000/i/d9a06bb0c57213ba53f1e762708038267ea69a1889ce0977831e51e36e5b21be/fs_lav.gif" /&#62;


	To expand my taxonomy, I curated two exhibitions under the “Digital Combines” title, at Honor Fraser Gallery in Los Angeles and Bitforms in San Francisco, featuring artists working with mixed-reality painting, augmented-reality sculpture, and other hybrid forms. Each work is installed as a physical piece, with an associated QR code placed on the wall nearby, in a position where you’d find a wall label in a museum; this is the portal to the cloud, where the work’s digital element resides. Daniel Temkin was in both shows. His optical yellow Floyd-Steinberg, 16.4% Lavender (2020) unites a painting with an animated gif. To make the animation, Temkin starts with a solid color and then applies a dithering algorithm, which is normally used to simulate shading in digital photography. He then paints the resulting field, now filled with colored rectangles—a process he has dubbed “hand-rendering.” Temkin chooses a complementary color for his rectangles, which triggers the eye to hallucinate a flickering after-effect. With this gesture, he unites human perception with procedures of pure logic to create an optical glitch, a phenomenon seen by the mind alone.
	A combine transforms a weird, implausible thing into a knowable—albeit very odd—one.Auriea Harvey’s sculpture The Mystery v5 (tower), 2021, is a stack of grotesque gargoyles that evokes the Tower of Babel. Harvey begins her process by creating a 3D model, from which many works are then made. The Mystery v5 (tower) and its digital component, The Mystery v5-dv3 (axis mundi), use the same mask-like form, a remix of scans of the artist’s own face. Colored clay and pigment act as decorative embellishments to the tangible sculpture. This work is meant to be experienced interactively, not only by looking at it from various angles in the physical world, but also from within a wallet, on a touch screen, or in augmented reality, where a user may tumble the virtual version to access different views.


&#60;img width="2400" height="1350" width_o="2400" height_o="1350" data-src="https://freight.cargo.site/t/original/i/cbdc2ce8183682061066cae4eafd60fffcb4338d8acfb3f88fdb81a61c4d0ca7/finalHang11.jpg" data-mid="237939415" border="0"  src="https://freight.cargo.site/w/1000/i/cbdc2ce8183682061066cae4eafd60fffcb4338d8acfb3f88fdb81a61c4d0ca7/finalHang11.jpg" /&#62;
&#60;img width="3600" height="2025" width_o="3600" height_o="2025" data-src="https://freight.cargo.site/t/original/i/5bf6c96e1a0ac6390723a215b30d7223e075b5200eef943490eb294f2c5cd2e1/finalHang16.jpg" data-mid="237939421" border="0"  src="https://freight.cargo.site/w/1000/i/5bf6c96e1a0ac6390723a215b30d7223e075b5200eef943490eb294f2c5cd2e1/finalHang16.jpg" /&#62;
&#60;img width="2400" height="1350" width_o="2400" height_o="1350" data-src="https://freight.cargo.site/t/original/i/eb8abd55cbae555f7767a8391fbbeeb472aeba70e6f0222a3baf28e77bd4b067/finalHang13.jpg" data-mid="237939418" border="0" alt=" 3D visualizations of Digital Combines exhibition, curated by Claudia Hart, Bitforms Gallery, San Francisco, 2022." data-caption=" 3D visualizations of Digital Combines exhibition, curated by Claudia Hart, Bitforms Gallery, San Francisco, 2022." src="https://freight.cargo.site/w/1000/i/eb8abd55cbae555f7767a8391fbbeeb472aeba70e6f0222a3baf28e77bd4b067/finalHang13.jpg" /&#62;
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&#60;img width="2400" height="1350" width_o="2400" height_o="1350" data-src="https://freight.cargo.site/t/original/i/17b7690f3d3985cbd13bf3fc66327574649fff8df34d84503369ef8288e74d1b/finalHang14.jpg" data-mid="237939425" border="0"  src="https://freight.cargo.site/w/1000/i/17b7690f3d3985cbd13bf3fc66327574649fff8df34d84503369ef8288e74d1b/finalHang14.jpg" /&#62;

	
&#60;img width="993" height="980" width_o="993" height_o="980" data-src="https://freight.cargo.site/t/original/i/7bd99500d8b5c7a3df416c0dfe650284ce68ec3cbce1504fe29c9753fab3aea0/12-arh-the_mystery_v5_tower-2021.jpg" data-mid="237855628" border="0" alt=" 3D visualizations of Digital Combines exhibition, curated by Claudia Hart, Bitforms Gallery, San Francisco, 2022." data-caption=" 3D visualizations of Digital Combines exhibition, curated by Claudia Hart, Bitforms Gallery, San Francisco, 2022." src="https://freight.cargo.site/w/993/i/7bd99500d8b5c7a3df416c0dfe650284ce68ec3cbce1504fe29c9753fab3aea0/12-arh-the_mystery_v5_tower-2021.jpg" /&#62;


	Repairs (2020–21) by Will Pappenheimer is a trickster installation, combining a physical assemblage with a custom augmented-reality app, loaded onto an Apple tablet with his NFT, a text file giving a bare-bones verbal description of the scene. Repairs belongs to a series of domestic tableaux constructed from readymade items that double as both still-life and stage set for a 3D animated scene. The objects—which include “a flat earther anti-science conspiracy melted earth ball” and “a small tunnel box guarded on both ends by wrathful deities from India”—are selected to evoke the social conflict that intensified following the 2016 US presidential election. In the animation, a CGI therapist speaks in a calming voice. Pappenheimer merges physical and digital components to create a site for meditation, with the intent of healing a polarizing political divide.

&#60;img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/606a5b696cde74bdcb0fd606e9d525f774c1e80fdce6e6791ebb3dd19a708fa3/tumblr_nkaue2Pzh21qzkgzqo3_1280.png" data-mid="237702108" border="0" alt="Reference image for Claudia Hart&#38;rsquo;s Hermitage 1.0, 2021" data-caption="Reference image for Claudia Hart’s Hermitage 1.0, 2021" src="https://freight.cargo.site/w/1000/i/606a5b696cde74bdcb0fd606e9d525f774c1e80fdce6e6791ebb3dd19a708fa3/tumblr_nkaue2Pzh21qzkgzqo3_1280.png" /&#62;

	Like Pappenheimer’s work, mine is a stage set, juxtaposing poetic, metaphoric objects. In my case these are works of art.&#38;nbsp; Hermitage 1.0 (2021) is a trompe-l’oeil still life with dozens of empty wooden frames. It is inspired by a photograph of the Hermitage Museum in Leningrad, taken during World War II when paintings were stripped from their frames and hidden in the countryside to prevent their pillage. Hermitage 1.0 hangs on augmented-reality wallpaper, made to be viewed through my custom Combines app, produced for this work. It is covered by a faux-wood motif, which together with small abstract paintings, provide trackable codes linked to flickering gifs of mottos inspired by Sun Tzu’s ancient Chinese military treatise The Art of War. The QR code mounted on the wall beside the tangible work links to a variant of the text you are currently reading: my “mintable.” The code links the viewer’s immediate physical surroundings to the cloud, which I think of as an agnostic version of heaven representing the ephemeral, metaphysical space of mind. It is also another associated symbol that—like markets, legal language, and the mathematical coding—endows NFTs with their magical cultural power. The specificity with which the NFT connects and defines these contexts marks a radical ontological shift, creating a new way of seeing what constitutes an object.


</description>
		
	</item>
		
		
	<item>
		<title>Illuminations, 2025</title>
				
		<link>https://claudiahart.com/Illuminations-2025</link>

		<pubDate>Mon, 11 Aug 2025 10:47:28 +0000</pubDate>

		<dc:creator>Claudia Hart</dc:creator>

		<guid isPermaLink="true">https://claudiahart.com/Illuminations-2025</guid>

		<description>
&#60;img width="2560" height="1920" width_o="2560" height_o="1920" data-src="https://freight.cargo.site/t/original/i/c94d37d6ec8b8a467367ea7576f68d74ae681e7d3c9b2106965f4244fe269299/1_Bitforms_Claudia-Hart_Install_5000px_300dpi.jpg" data-mid="236919116" border="0" alt="Claudia Hart, Installation view, bitforms gallery, 2025. Photo: Yi Hsuan Lai" data-caption="Claudia Hart, Installation view, bitforms gallery, 2025. Photo: Yi Hsuan Lai" src="https://freight.cargo.site/w/1000/i/c94d37d6ec8b8a467367ea7576f68d74ae681e7d3c9b2106965f4244fe269299/1_Bitforms_Claudia-Hart_Install_5000px_300dpi.jpg" /&#62;

Illuminations (2025)Mixed-media Installationbitforms gallery, NYC


Illuminations brings together diverse elements pulled from Hart's library of decorative patterns and icons. These symbols incorporate a variety of graphics: the heraldry of failed empires, corporate logos, linguistic pictorial symbols like emoji, mathematical signs, decorative alphabets, and tile patterns culled from world cultures. The artist uses symbols as a basic visual vocabulary to incorporate larger algorithmic patterns that she then animates. Her signs and signifiers flicker, sometimes regularly and sometimes randomly, like techniques used by hypnotists to mesmerize and bring viewers into a trance state.
&#38;nbsp;
&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/e710f9dd781f830b4d883f3bc0520c2cd33f8e834eabcd480fdc26d25ac99816/8_Bitforms_Claudia-Hart_Install_5000px_300dpi.jpg" data-mid="236919291" border="0" alt="Claudia Hart, Installation view, bitforms gallery, 2025. Photo: Yi Hsuan Lai" data-caption="Claudia Hart, Installation view, bitforms gallery, 2025. Photo: Yi Hsuan Lai" src="https://freight.cargo.site/w/1000/i/e710f9dd781f830b4d883f3bc0520c2cd33f8e834eabcd480fdc26d25ac99816/8_Bitforms_Claudia-Hart_Install_5000px_300dpi.jpg" /&#62;
&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/4a3e4c41694415a15e48076ddb7143049aece5cb8e1d054dbce49f0ac57be6c2/6_Bitforms_Claudia-Hart_Install_5000px_300dpi.jpg" data-mid="236919289" border="0" alt="Claudia Hart, Installation view, bitforms gallery, 2025. Photo: Yi Hsuan Lai" data-caption="Claudia Hart, Installation view, bitforms gallery, 2025. Photo: Yi Hsuan Lai" src="https://freight.cargo.site/w/1000/i/4a3e4c41694415a15e48076ddb7143049aece5cb8e1d054dbce49f0ac57be6c2/6_Bitforms_Claudia-Hart_Install_5000px_300dpi.jpg" /&#62;
&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/444acde4e25a98831182dcce493366f40a790cba6d9fa0ae1f1710ace66c8f27/2_Bitforms_Claudia-Hart_Install_5000px_300dpi.jpg" data-mid="236919187" border="0" alt="Claudia Hart, Installation view, bitforms gallery, 2025. Photo: Yi Hsuan Lai" data-caption="Claudia Hart, Installation view, bitforms gallery, 2025. Photo: Yi Hsuan Lai" src="https://freight.cargo.site/w/1000/i/444acde4e25a98831182dcce493366f40a790cba6d9fa0ae1f1710ace66c8f27/2_Bitforms_Claudia-Hart_Install_5000px_300dpi.jpg" /&#62;
Hart uses framing devices to unify her research-based language, drawn from different cultures and moments in history but unified by her themes, primarily dealing with the collapse of empires and the reified tropes of Western culture. The Illuminations feature dynamic 3D animated works which use motion capture, AI, and real-time encoding, brought together and encased in decorated wooden frames. The frames are fabricated through a hybrid process in which handiwork is combined with photography and a sophisticated computer-controlled printing technique produced by a “UV” printer that is driven by the same technology and takes the same form as flatbed CNC routers. Each Illuminations contains a miniature monitor in a solid state audio-visual player that showcases a looping media work, including both legacy pieces produced between 2002–2019 , and recent works from several concurrent series. Together, these animated paintings frame a poetic space: a meditation on the process of history, collapse and regeneration, mortality, and of art as a means of transcendence.


&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/ba23fd038d2b34ef8cd33985ba129aa25f8541bbd6a0ea8cdcf75cb980b98871/9_Bitforms_Claudia-Hart_Machina_5000px_300dpi.jpg" data-mid="236919391" border="0" alt="Claudia Hart Machina (Illumination), 2002-3/2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 19 min 51 sec, loop" data-caption="Claudia Hart &#38;lt;i&#38;gt;Machina&#38;lt;/i&#38;gt; (Illumination), 2002-3/2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 19 min 51 sec, loop" src="https://freight.cargo.site/w/1000/i/ba23fd038d2b34ef8cd33985ba129aa25f8541bbd6a0ea8cdcf75cb980b98871/9_Bitforms_Claudia-Hart_Machina_5000px_300dpi.jpg" /&#62;
&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/27d2256f2ec6680fd3f75125b0fd97880d64e9536ebf0b0c592cfe089850e11d/11_Bitforms_Claudia-Hart_Digital-Death_5000px_300dpi.jpg" data-mid="236919392" border="0" alt="Claudia Hart Digital Death (Illumination), 2010/2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 10 min 32 sec, loop" data-caption="Claudia Hart &#38;lt;i&#38;gt;Digital Death&#38;lt;/i&#38;gt; (Illumination), 2010/2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 10 min 32 sec, loop" src="https://freight.cargo.site/w/1000/i/27d2256f2ec6680fd3f75125b0fd97880d64e9536ebf0b0c592cfe089850e11d/11_Bitforms_Claudia-Hart_Digital-Death_5000px_300dpi.jpg" /&#62;

The Illuminations feature dynamic video works encased in decorated wooden frames. The frames are fabricated through a hybrid process in which handiwork is combined with photography and a sophisticated computer-controlled printing technique. Each Illumination contains a miniature monitor that showcases a looping video work, including both legacy pieces produced between 2002–2019 , and recent works from several concurrent series. Together, these animated paintings frame a poetic space: a meditation on the process of history, collapse and regeneration, mortality, and of art as a means of transcendence.


&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/f204f76eba9d33dcaf91c0383541bd50a6dd09574231f347a32b76bbdacb2428/5_Bitforms_Claudia-Hart_Install_5000px_300dpi.jpg" data-mid="236919685" border="0" alt="Claudia Hart, Installation view, bitforms gallery, 2025. Photo: Yi Hsuan Lai" data-caption="Claudia Hart, Installation view, bitforms gallery, 2025. Photo: Yi Hsuan Lai" src="https://freight.cargo.site/w/1000/i/f204f76eba9d33dcaf91c0383541bd50a6dd09574231f347a32b76bbdacb2428/5_Bitforms_Claudia-Hart_Install_5000px_300dpi.jpg" /&#62;

 
&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/71203953fcd5f2affb4c2725f768fafcbd7eb4f92aa3669a7eac2236e868f280/10_Bitforms_Claudia-Hart_Dream_5000px_300dpi.jpg" data-mid="236919698" border="0" alt="Claudia Hart Dream (Illumination), 2008/2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 7 min 14 sec, loop" data-caption="Claudia Hart &#38;lt;i&#38;gt;Dream&#38;lt;/i&#38;gt; (Illumination), 2008/2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 7 min 14 sec, loop" src="https://freight.cargo.site/w/1000/i/71203953fcd5f2affb4c2725f768fafcbd7eb4f92aa3669a7eac2236e868f280/10_Bitforms_Claudia-Hart_Dream_5000px_300dpi.jpg" /&#62;
&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/27d2256f2ec6680fd3f75125b0fd97880d64e9536ebf0b0c592cfe089850e11d/11_Bitforms_Claudia-Hart_Digital-Death_5000px_300dpi.jpg" data-mid="236919392" border="0" alt="Claudia Hart Digital Death (Illumination), 2010/2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 10 min 32 sec, loop" data-caption="Claudia Hart &#38;lt;i&#38;gt;Digital Death&#38;lt;/i&#38;gt; (Illumination), 2010/2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 10 min 32 sec, loop" src="https://freight.cargo.site/w/1000/i/27d2256f2ec6680fd3f75125b0fd97880d64e9536ebf0b0c592cfe089850e11d/11_Bitforms_Claudia-Hart_Digital-Death_5000px_300dpi.jpg" /&#62;
&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/ba23fd038d2b34ef8cd33985ba129aa25f8541bbd6a0ea8cdcf75cb980b98871/9_Bitforms_Claudia-Hart_Machina_5000px_300dpi.jpg" data-mid="236919391" border="0" alt="Claudia Hart Machina (Illumination), 2002-3/2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 19 min 51 sec, loop" data-caption="Claudia Hart &#38;lt;i&#38;gt;Machina&#38;lt;/i&#38;gt; (Illumination), 2002-3/2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 19 min 51 sec, loop" src="https://freight.cargo.site/w/1000/i/ba23fd038d2b34ef8cd33985ba129aa25f8541bbd6a0ea8cdcf75cb980b98871/9_Bitforms_Claudia-Hart_Machina_5000px_300dpi.jpg" /&#62;
&#38;nbsp;
New works are part of three concurrent series: Memory Theaters, Fallen Angels and Proxy Angels. Memory Theaters (2023-2025) are a remix of the artist’s 40-year archive into a series of new works. At the core of each piece is a motion capture performance where Hart enacts significant and allegorical events from her personal life. The set design features a theatrical animated environment filled with video documentations of actual live events. Memory Theaters evoke Grimm's fairy tales in an uncanny mix of experimental art history and personal memoir that bring together the past, present, and imaginary. 


&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/b94c1046b8cb7030fa1e78af1b318c37ca7e8a27111181a232864afe246cea25/14_Bitforms_Claudia-Hart_Memory-Theater-2_5000px_300dpi.jpg" data-mid="236919742" border="0" alt="Claudia Hart Memory Theater 2 (Illumination), 2023-2024 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 5 min 8 sec, loop Edition of 3, 1 AP $ 20,000" data-caption="Claudia Hart &#38;lt;i&#38;gt;Memory Theater 2&#38;lt;/i&#38;gt; (Illumination), 2023-2024 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 5 min 8 sec, loop Edition of 3, 1 AP $ 20,000" src="https://freight.cargo.site/w/1000/i/b94c1046b8cb7030fa1e78af1b318c37ca7e8a27111181a232864afe246cea25/14_Bitforms_Claudia-Hart_Memory-Theater-2_5000px_300dpi.jpg" /&#62;
Fallen Angels (2024-2025) are fictional beings crafted by the artist as part of a mythology of children from an imaginary lost “Pod” of Archangels who live at the bottom of the ocean. There are seven Archangels in Hart’s legend that have all had the misfortune of falling in love with beings who are not angels, but other species. As a result, they have found themselves banished to the ocean depths, but not before fathering the Fallen Angels, who are advanced beings with special gifts. 

&#38;nbsp;
 

&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/b538f28c0e4cf7e987c68b8fb24a3791dbef5099cef64c047eaa970cc0721c4d/16_Bitforms_Claudia-Hart_Bertile_5000px_300dpi.jpg" data-mid="236919748" border="0" alt="Claudia Hart Fallen Angel: Bertile (Illumination), 2024-2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 7 min 35 sec, loop" data-caption="Claudia Hart &#38;lt;i&#38;gt;Fallen Angel: Bertile&#38;lt;/i&#38;gt; (Illumination), 2024-2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 7 min 35 sec, loop" src="https://freight.cargo.site/w/1000/i/b538f28c0e4cf7e987c68b8fb24a3791dbef5099cef64c047eaa970cc0721c4d/16_Bitforms_Claudia-Hart_Bertile_5000px_300dpi.jpg" /&#62;
&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/8519cf867226b5e43c0069a1373b20fd11bb74d0647e7cd056b0518cbb74fc10/17_Bitforms_Claudia-Hart_Fallen-Angel_5000px_300dpi.jpg" data-mid="236919745" border="0" alt="Claudia Hart Fallen Angel: Phylophia (Illumination), 2024-2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 4 min 54 sec, loop" data-caption="Claudia Hart &#38;lt;i&#38;gt;Fallen Angel: Phylophia&#38;lt;/i&#38;gt; (Illumination), 2024-2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 4 min 54 sec, loop" src="https://freight.cargo.site/w/1000/i/8519cf867226b5e43c0069a1373b20fd11bb74d0647e7cd056b0518cbb74fc10/17_Bitforms_Claudia-Hart_Fallen-Angel_5000px_300dpi.jpg" /&#62;

Fallen Angels naturally spawned a formal variant, Proxy Angels (2025) that originated through the artist’s experiments with AI text-to-video software:

“I described myself to the AI as an angel, but still an elderly Jewish woman from NY. I described my clothing and my wings. I described locations - spots where I’ve lived but are also canonical: symbols of NY, a canonical city, and therefore a representation of collective memories, so good fodder for an AI simulator - the Staten Island Ferry, under the elevated train in Flushing (where I was born), Central Park, Columbia University (where I went to school!). I wrote short, unornamented descriptive texts of them all. The text-to-image AI produced fake photographs - most of which I discarded. But enough have survived. I think of them as a new form of street photography, an outward description of my inner life.”


&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/d7bf0d7549a5a17d899c56280c276921918375ffbf3dd01d432174a287253f98/18_Bitforms_Claudia-Hart_Proxy-Angel_5000px_300dpi.jpg" data-mid="236919802" border="0" alt="Claudia Hart Proxy Angel: 1 (Illumination), 2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 2 min, loop" data-caption="Claudia Hart &#38;lt;i&#38;gt;Proxy Angel: 1&#38;lt;/i&#38;gt; (Illumination), 2025 Video (color, sound), screen, media player, speaker, pigment suspended in resin, acrylic paint and varnish, ash wood, felt 30.5 x 26.5 x 5 in. / 77.5 x 67.3 x 12.7 cm 2 min, loop" src="https://freight.cargo.site/w/1000/i/d7bf0d7549a5a17d899c56280c276921918375ffbf3dd01d432174a287253f98/18_Bitforms_Claudia-Hart_Proxy-Angel_5000px_300dpi.jpg" /&#62;


The focal point of Hart’s exhibition is The Days, a monumental algorithmic work. The Days software was designed by Andrew Blanton, in collaboration with Hart.This work also embodies Hart’s penchant for pattern - both the decorative and the symbolic. The Days, named for the days of the week, consists of real-time animations of seven medicinal wildflowers, all native to the Arab peninsula and used for healing. Each flower is a living algorithmic form that evolves and grows. The Days are projected onto an 8-foot tondo constructed in the gallery, and imagined as a portal into another world. The goal of Hart and Blanton was to translate a meditative experience into visual form. Beginning as clearly laid out patterns, the healing flowers ebb and flow, creating organic abstractions that evolve, decay and then come together again. The result is a mesmerizing, living painting unfolding in real time with infinite variations, mutating over the course of twenty-four hours.


&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/54aadacfd250f5645323a2a7b6c37b4d31226c5ff86360cf5173def426e6e798/2_Bitforms_Claudia-Hart_Install_5000px_300dpi.jpg" data-mid="236920370" border="0" alt="Claudia Hart, Installation view, bitforms gallery, 2025. Photo: Yi Hsuan Lai" data-caption="Claudia Hart, Installation view, bitforms gallery, 2025. Photo: Yi Hsuan Lai" src="https://freight.cargo.site/w/1000/i/54aadacfd250f5645323a2a7b6c37b4d31226c5ff86360cf5173def426e6e798/2_Bitforms_Claudia-Hart_Install_5000px_300dpi.jpg" /&#62;

A new cycle of medicinal flowers restarts each day of the week at midnight, always beginning as a formal floral-patterned wallpaper, but then slowly evolving into a vast landscape filled with organic, flowing flowers, announcing itself every hour on the hour, like a meditative clock made for contemplation. During the course of the exhibition, a new species of flower appears that sparks a new, non-repeating evolution. The process takes 24 hours to unfold, then resets at noon the following day, to feature the next species in the cycle but initiating a new unfolding, related but different, unique but familiar in its pattern of growth, decay and regeneration.


&#60;img width="5000" height="3750" width_o="5000" height_o="3750" data-src="https://freight.cargo.site/t/original/i/7f2e5fa7597e7e5aecb64b53cbaf83b8b78241189c6ce6bfb764b2631868a95b/3_Bitforms_Claudia-Hart_Install_5000px_300dpi.jpg" data-mid="236920613" border="0" alt="Claudia Hart, Installation view, bitforms gallery, 2025. Photo: Yi Hsuan Lai" data-caption="Claudia Hart, Installation view, bitforms gallery, 2025. Photo: Yi Hsuan Lai" src="https://freight.cargo.site/w/1000/i/7f2e5fa7597e7e5aecb64b53cbaf83b8b78241189c6ce6bfb764b2631868a95b/3_Bitforms_Claudia-Hart_Install_5000px_300dpi.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Ghost Paintings 2024</title>
				
		<link>https://claudiahart.com/Ghost-Paintings-2024</link>

		<pubDate>Fri, 04 Oct 2024 09:13:01 +0000</pubDate>

		<dc:creator>Claudia Hart</dc:creator>

		<guid isPermaLink="true">https://claudiahart.com/Ghost-Paintings-2024</guid>

		<description>

The Armory Women (2024)
Nine computer-assisted paintings, sizes variable
Acrylic gouache paint, graphite, colored pencil, pure pigment 
submerged in plastic resin.

The Armory Women project reimagines seven little-known painters selected from the 120 women artists exhibited at the International Exhibition of Modern Art that was organized by the Association of American Painters and Sculptors in 1914. At the 2024 Armory Art Fair, Claudia Hart created a group of nine paintings,The Armory Women, in response, part of a fair section curated by Robyn Farrell, in the booth of Montreal gallery Patrick Mikhail.&#38;nbsp; To do this, Hart invented a new way to paint.&#38;nbsp; Hart’s pictures combine classical brush painting with the advanced simulation technologies normally used in scientific visualizations and 3D game environments.&#38;nbsp;

These paintings remix post-Impressionist and Fauve paintings by Marion H. Beckett, Marie Bracquemond, Emilie Charmy, Marjorie Organ Henri, Marie Laurencin,&#38;nbsp; Jacqueline Marvel, and Katharine Rhoades, with Hart’s very contemporary versions of them. Hart chose these women because she felt that they were particularly gifted: her “geniuses.”&#38;nbsp; What she then discovered when she studied them was that many were founding members of the Fauvist movement, active and celebrated in their day. Later, when the art market became powerful, they were systematically erased from history.&#38;nbsp; 

When the prices of Matisse and Derrain went to the multi-millions, the original Armory Women paintings could be purchased at small auction houses for a few thousand. They had been successfully removed from the art canon!&#38;nbsp; Hart’s Armory Women project was an attempt to reinsert them.&#38;nbsp; To do this, she invented a novel technique mixing a sophisticated computer-assisted UV printer with a variety of stylistic handpainting. UV printer technology is exactly like that of a CNC router, but spraying pigment instead of cutting, and allows an artist to accomplish what was previously impossible. Hart was able to produce, what she calls, “ghost paintings.” Her novel process is a kind of dance between the hand-made and the computer-assisted, channeling the ghosts of the past in order to re-present art history, inserting the voices of forgotten women.


&#60;img width="1500" height="1875" width_o="1500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/708819838bd696c7ea0a78d0645c9b88e37410f8a43dc39c9b31240d1461470b/JacquelineMarvel.jpg" data-mid="219197137" border="0" alt="CLAUDIA HART &#124; THE ARMORY WOMEN, JACQUELINE MARVAL 1.0 &#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, WATERCOLOR, SANDED PAINTING OF THE SAME, OAK WOOD PANEL, OAK FRAME &#124; 22.5 X 30 X 1.5 INCHES &#124; 2024" data-caption="CLAUDIA HART &#124; THE ARMORY WOMEN, JACQUELINE MARVAL 1.0 &#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, WATERCOLOR, SANDED PAINTING OF THE SAME, OAK WOOD PANEL, OAK FRAME &#124; 22.5 X 30 X 1.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/708819838bd696c7ea0a78d0645c9b88e37410f8a43dc39c9b31240d1461470b/JacquelineMarvel.jpg" /&#62;
&#60;img width="1507" height="2200" width_o="1507" height_o="2200" data-src="https://freight.cargo.site/t/original/i/1fc489eb89905f8c93ea4d0219ebcd5f902b9e69dd04a22900c9c5d9ed1d35c3/Jacqueline_Marval_rose-dans-un-vase_1922_HART-1.png" data-mid="219197236" border="0" alt="Jacqueline Marval inspiration: Rose in a Vase, 1922" data-caption="Jacqueline Marval inspiration: &#38;lt;i&#38;gt;Rose in a Vase&#38;lt;/i&#38;gt;, 1922" src="https://freight.cargo.site/w/1000/i/1fc489eb89905f8c93ea4d0219ebcd5f902b9e69dd04a22900c9c5d9ed1d35c3/Jacqueline_Marval_rose-dans-un-vase_1922_HART-1.png" /&#62;


&#60;img width="1500" height="1875" width_o="1500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/64727ae42432f90d6e307d28142d24aad28ac526a4b57a13da7c399e1d76f51f/MarjorieOrganHenri.jpg" data-mid="219197321" border="0" alt="CLAUDIA HART &#124; THE ARMORY WOMEN, MARJORIE ORGAN HENRI / ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 1.5 INCHES &#124; 2024" data-caption="CLAUDIA HART &#124; THE ARMORY WOMEN, MARJORIE ORGAN HENRI / ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 1.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/64727ae42432f90d6e307d28142d24aad28ac526a4b57a13da7c399e1d76f51f/MarjorieOrganHenri.jpg" /&#62;
&#60;img width="1818" height="2000" width_o="1818" height_o="2000" data-src="https://freight.cargo.site/t/original/i/33f8f7593a0f4bb9e7f6b5dacafc2724eb54ff8e384bc7fcae8de1e23228a0fc/Marjorie_Organ_Henri_Still_Life_c.1913.png" data-mid="219197378" border="0" alt="Marjorie Organ Henri inspiration: Still Life, c. 1913" data-caption="Marjorie Organ Henri inspiration: &#38;lt;i&#38;gt;Still Life&#38;lt;/i&#38;gt;, c. 1913" src="https://freight.cargo.site/w/1000/i/33f8f7593a0f4bb9e7f6b5dacafc2724eb54ff8e384bc7fcae8de1e23228a0fc/Marjorie_Organ_Henri_Still_Life_c.1913.png" /&#62;


&#60;img width="1500" height="1874" width_o="1500" height_o="1874" data-src="https://freight.cargo.site/t/original/i/ba952bda8bf7db1051b58c8d39866faa7c4586ae1c1c63b91b1c8e1aa7fe2e91/MarionBeckett.jpg" data-mid="219197799" border="0" alt="CLAUDIA HART &#124; THE ARMORY WOMEN, MARION H. BECKETT &#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, 3 SANDED PAINTINGS, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 2.5 INCHES &#124; 2024" data-caption="CLAUDIA HART &#124; THE ARMORY WOMEN, MARION H. BECKETT &#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, 3 SANDED PAINTINGS, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 2.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/ba952bda8bf7db1051b58c8d39866faa7c4586ae1c1c63b91b1c8e1aa7fe2e91/MarionBeckett.jpg" /&#62;
&#60;img width="1600" height="2000" width_o="1600" height_o="2000" data-src="https://freight.cargo.site/t/original/i/0fd9fc92299cf02805e0f87c812bd26e6be86185fc3fa534dcbb86f9a18beb3e/Marion_H_Beckett_Still_Life_c.1920.jpg" data-mid="219197808" border="0" alt="Marion H. Beckett inspiration: Still Live, c. 1920" data-caption="Marion H. Beckett inspiration: &#38;lt;i&#38;gt;Still Live&#38;lt;/i&#38;gt;, c. 1920" src="https://freight.cargo.site/w/1000/i/0fd9fc92299cf02805e0f87c812bd26e6be86185fc3fa534dcbb86f9a18beb3e/Marion_H_Beckett_Still_Life_c.1920.jpg" /&#62;
&#60;img width="1500" height="1875" width_o="1500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/9d352968a1986fe223ef2c4f22a2f5add1da9f1f77c52c179294c7d02d97a93d/MarieLaurencin.jpg" data-mid="219197814" border="0" alt="CLAUDIA HART &#124; THE ARMORY WOMEN, MARIE LAURENCIN &#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, SANDED PAINTING, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 2.5 INCHES &#124; 2024" data-caption="CLAUDIA HART &#124; THE ARMORY WOMEN, MARIE LAURENCIN &#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, SANDED PAINTING, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 2.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/9d352968a1986fe223ef2c4f22a2f5add1da9f1f77c52c179294c7d02d97a93d/MarieLaurencin.jpg" /&#62;
&#60;img width="1176" height="1542" width_o="1176" height_o="1542" data-src="https://freight.cargo.site/t/original/i/dd680782d53edbbc3c3550ec5f22587a33ed0dbef77fdf97635166aecbf0df5c/Marie_Laurencin_Flowers_1924-topaz.png" data-mid="219197823" border="0" alt="Marie Laurencin inspiration: Flowers, 1924" data-caption="Marie Laurencin inspiration: &#38;lt;i&#38;gt;Flowers&#38;lt;/i&#38;gt;, 1924" src="https://freight.cargo.site/w/1000/i/dd680782d53edbbc3c3550ec5f22587a33ed0dbef77fdf97635166aecbf0df5c/Marie_Laurencin_Flowers_1924-topaz.png" /&#62;
&#60;img width="1500" height="1875" width_o="1500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/864473b3f83276713b1effb6102354c215d7d49bc6518d8a4791d1605d40865a/MarieBraquemond.jpg" data-mid="219197827" border="0" alt="CLAUDIA HART &#124; THE ARMORY WOMEN, MARIE BRACQUEMOND / ACRYLIC GOUACHE, PIGMENT IN RESIN, 2 SANDED PAINTINGS, CHALK, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 2.5 INCHES &#124; 2024" data-caption="CLAUDIA HART &#124; THE ARMORY WOMEN, MARIE BRACQUEMOND / ACRYLIC GOUACHE, PIGMENT IN RESIN, 2 SANDED PAINTINGS, CHALK, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 2.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/864473b3f83276713b1effb6102354c215d7d49bc6518d8a4791d1605d40865a/MarieBraquemond.jpg" /&#62;
&#60;img width="1984" height="2694" width_o="1984" height_o="2694" data-src="https://freight.cargo.site/t/original/i/81bc20509b8d0dcce51df384966a7447b14bc805719a2c00e424c99cb2d767fc/Marie_Bracquemond_Iris-dans-un-vase_1919.png" data-mid="219197828" border="0" alt="Marie Braquemond inspiration: Iris in a Vase, 1919" data-caption="Marie Braquemond inspiration: &#38;lt;i&#38;gt;Iris in a Vase&#38;lt;/i&#38;gt;, 1919" src="https://freight.cargo.site/w/1000/i/81bc20509b8d0dcce51df384966a7447b14bc805719a2c00e424c99cb2d767fc/Marie_Bracquemond_Iris-dans-un-vase_1919.png" /&#62;


&#60;img width="1500" height="1875" width_o="1500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/29e07773f2ed678677e4f0c74643ed6d7d697235c7ee67ee137b30dd38a0101d/EmilieCharmy.jpg" data-mid="219197836" border="0" alt="CLAUDIA HART / THE ARMORY WOMEN, EMILIE CHARMY 1.0&#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, 2 SANDED PAINTINGS, CHALK, ASH WOOD PANEL, PINE FRAME &#124; 24 X 300 X 2.5 INCHES &#124; 2024" data-caption="CLAUDIA HART / THE ARMORY WOMEN, EMILIE CHARMY 1.0&#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, 2 SANDED PAINTINGS, CHALK, ASH WOOD PANEL, PINE FRAME &#124; 24 X 300 X 2.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/29e07773f2ed678677e4f0c74643ed6d7d697235c7ee67ee137b30dd38a0101d/EmilieCharmy.jpg" /&#62;
&#60;img width="3000" height="4005" width_o="3000" height_o="4005" data-src="https://freight.cargo.site/t/original/i/6241bc5be00de38a160c0f9fcfbb6b247e3f4185d7da329654fec2976e7cff58/Emilie_Charmy_fleurs-et-fruits_1904_HART-1.jpg" data-mid="219197839" border="0" alt="Emily Charmy inspiration: Flowers and Fruits, 1904" data-caption="Emily Charmy inspiration: &#38;lt;i&#38;gt;Flowers and Fruits&#38;lt;/i&#38;gt;, 1904" src="https://freight.cargo.site/w/1000/i/6241bc5be00de38a160c0f9fcfbb6b247e3f4185d7da329654fec2976e7cff58/Emilie_Charmy_fleurs-et-fruits_1904_HART-1.jpg" /&#62;
&#60;img width="1500" height="1875" width_o="1500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/f70906947b1b911c03e87e334da0fb93e4b32f4d4e0d8efe1f5cda3934f76d0d/EmilieCharmy_2_60in_testPrint_NOTforRepro.jpg" data-mid="219197918" border="0" alt="CLAUDIA HART &#124; THE ARMORY WOMEN, EMILIE CHARMY 2.0&#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, 2 SANDED PAINTINGS, CHALK, ASH WOOD PANEL, OAK FRAME &#124; 36 X 60 X 1.5 INCHES &#124; 2024" data-caption="CLAUDIA HART &#124; THE ARMORY WOMEN, EMILIE CHARMY 2.0&#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, 2 SANDED PAINTINGS, CHALK, ASH WOOD PANEL, OAK FRAME &#124; 36 X 60 X 1.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/f70906947b1b911c03e87e334da0fb93e4b32f4d4e0d8efe1f5cda3934f76d0d/EmilieCharmy_2_60in_testPrint_NOTforRepro.jpg" /&#62;
&#60;img width="3000" height="4044" width_o="3000" height_o="4044" data-src="https://freight.cargo.site/t/original/i/31c84fefe39007c0415f6319764672559c5ee12c1c024b5a02f6678b085fa84a/Emilie_Charmy_floral-still-life_date-unknown_HART-2.png" data-mid="219197922" border="0" alt="Emily Charmy inspiration: Floral Still Life, date unknown" data-caption="Emily Charmy inspiration: &#38;lt;i&#38;gt;Floral Still Life&#38;lt;/i&#38;gt;, date unknown" src="https://freight.cargo.site/w/1000/i/31c84fefe39007c0415f6319764672559c5ee12c1c024b5a02f6678b085fa84a/Emilie_Charmy_floral-still-life_date-unknown_HART-2.png" /&#62;
&#60;img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/88278b4f73c3f84aa5f39514f051a114f31cf3241e06cf4c6c2085d6899cb6fb/JacquelineMarvel-2_60inch.jpg" data-mid="219198000" border="0" alt="CLAUDIA HART &#124; THE ARMORY WOMEN, JACQUELINE MARVAL 2.0&#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, ASH WOOD PANEL, OAK FRAME &#124; 36 X 60 X 1.5 INCHES &#124; 2024" data-caption="CLAUDIA HART &#124; THE ARMORY WOMEN, JACQUELINE MARVAL 2.0&#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, ASH WOOD PANEL, OAK FRAME &#124; 36 X 60 X 1.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/88278b4f73c3f84aa5f39514f051a114f31cf3241e06cf4c6c2085d6899cb6fb/JacquelineMarvel-2_60inch.jpg" /&#62;
&#60;img width="3000" height="3752" width_o="3000" height_o="3752" data-src="https://freight.cargo.site/t/original/i/d08abf597a1191c402f4189fdcbc6be0a8af932911515102f3edd46533816ff9/Jacquline_Marvel_flowers_1916-1921_HART-2.png" data-mid="219198003" border="0" alt="Jacqueline Marval inspiration: Rose in a Vase, c. 1916-21" data-caption="Jacqueline Marval inspiration: &#38;lt;i&#38;gt;Rose in a Vase&#38;lt;i&#38;gt;, c. 1916-21" src="https://freight.cargo.site/w/1000/i/d08abf597a1191c402f4189fdcbc6be0a8af932911515102f3edd46533816ff9/Jacquline_Marvel_flowers_1916-1921_HART-2.png" /&#62;

&#60;img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/896ca9051d833e67468d2b24a158e6e9fa8eaa615456f69150a1d73c4d6b0e15/KatharineNashRhoades_60inch.jpg" data-mid="219198011" border="0" alt="CLAUDIA HART &#124; THE ARMORY WOMEN, KATHARINE NASH RHOADES &#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, ASH WOOD PANEL, OAK FRAME &#124; 36 X 60 X 1.5 INCHES &#124; 2024" data-caption="CLAUDIA HART &#124; THE ARMORY WOMEN, KATHARINE NASH RHOADES &#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, ASH WOOD PANEL, OAK FRAME &#124; 36 X 60 X 1.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/896ca9051d833e67468d2b24a158e6e9fa8eaa615456f69150a1d73c4d6b0e15/KatharineNashRhoades_60inch.jpg" /&#62;
&#60;img width="3006" height="3994" width_o="3006" height_o="3994" data-src="https://freight.cargo.site/t/original/i/807ff6acd5c8b85112e4936d5d63f494fa3b7d7537d7ef69ddea2cbd91c4c90e/Katharine_Nash_Rhoades_Larkspur_1908-1914_PhillipsCollection.png" data-mid="219198161" border="0" alt="Katharine Nash Rhoades inspiration: Larkspur, c. 1908-14" data-caption="Katharine Nash Rhoades inspiration: &#38;lt;i&#38;gt;Larkspur&#38;lt;/i&#38;gt;, c. 1908-14" src="https://freight.cargo.site/w/1000/i/807ff6acd5c8b85112e4936d5d63f494fa3b7d7537d7ef69ddea2cbd91c4c90e/Katharine_Nash_Rhoades_Larkspur_1908-1914_PhillipsCollection.png" /&#62;


Jacqueline Marval was born in 1866 near Grenoble. She was known then as Marie-Josephine Vallet, and grew up to become a married school teacher and a mother. After the death of her child, her marriage failed, and at the age of 29, she fled to Paris, to become a seamstress specializing in spectacularly embroidered clothing, self taught, for which she was celebrated.&#38;nbsp; In Paris she met painters, living in the artists’ quarter&#38;nbsp; Montparnasse. There she met Henri Matisse and George Rouault, to then join them at the Ecole de Beaux Arts in the class of Gustave Moreau - the famous Symbolist painter.&#38;nbsp; At that time, male painters could be subsidized by the state,&#38;nbsp; but women were forbidden. So Marie-Josephine paid for private tutoring there, which was permissible,&#38;nbsp; with her embroidery earnings.

As a painter, Valet changed her identity and her personal style, transforming into Jaqueline Marval. The class of Moreau broke from him, choosing color over representation, embracing&#38;nbsp; instead a wild colorful style. They were called Fauves - The Wild Beasts. Jacqueline was the only woman; in my mind, she was a peer of Matisse,with a talent far beyond that of Andre Derain, another well-known painter from the group. In 1901, Marval submitted nine of her nudes to the Salon des Independent, established 15 years early by Cezannne, Toulouse-Lautrec and Pissaro. All were all accepted. Marval was the first woman painter of seductive nudes, and even more significantly, the first woman nude self-portraitist, staring brazenly into the eyes of her viewers. Ambrose Vuillard, a celebrated gallerist of that era, bought all of them, to then re-sell all of them. At the same time, Berthe Weill, the first and only woman gallerist in early 20th-century Paris, exhibited Maval, along with Suzanne Valedon, another celebrated woman painter who began her Ecole training&#38;nbsp; as nude model, one of the only ways a woman could enter a Beaux Arts class without payment.&#38;nbsp; Weill also showed and sold the first paintings of Matisse and Picasso. Towards the end of her life, Marval fell into poverty.She died of cancer at the Hôpital Bichât, a public hospital in Paris, in 1932. In 2022, this painting, her Roses in a Vase was sold at Auction for $3,500.

 
&#60;img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/88278b4f73c3f84aa5f39514f051a114f31cf3241e06cf4c6c2085d6899cb6fb/JacquelineMarvel-2_60inch.jpg" data-mid="219198000" border="0" alt="CLAUDIA HART &#124; THE ARMORY WOMEN, JACQUELINE MARVAL 2.0&#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, ASH WOOD PANEL, OAK FRAME &#124; 36 X 60 X 1.5 INCHES &#124; 2024" data-caption="CLAUDIA HART &#124; THE ARMORY WOMEN, JACQUELINE MARVAL 2.0&#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, ASH WOOD PANEL, OAK FRAME &#124; 36 X 60 X 1.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/88278b4f73c3f84aa5f39514f051a114f31cf3241e06cf4c6c2085d6899cb6fb/JacquelineMarvel-2_60inch.jpg" /&#62;

The most recent auction prices for Matisse were close to $81 million. The Fauvist painter, Andre Derain, now sells for $25 million. In 2023, Marval’s Roses in a Vase was again put up for auction with an evaluation price of $3,850 to $5000 along with this painting, her Flowers, from the same period. Neither sold.


&#60;img width="1500" height="1875" width_o="1500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/29e07773f2ed678677e4f0c74643ed6d7d697235c7ee67ee137b30dd38a0101d/EmilieCharmy.jpg" data-mid="219197836" border="0" alt="CLAUDIA HART / THE ARMORY WOMEN, EMILIE CHARMY 1.0&#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, 2 SANDED PAINTINGS, CHALK, ASH WOOD PANEL, PINE FRAME &#124; 24 X 300 X 2.5 INCHES &#124; 2024" data-caption="CLAUDIA HART / THE ARMORY WOMEN, EMILIE CHARMY 1.0&#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, 2 SANDED PAINTINGS, CHALK, ASH WOOD PANEL, PINE FRAME &#124; 24 X 300 X 2.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/29e07773f2ed678677e4f0c74643ed6d7d697235c7ee67ee137b30dd38a0101d/EmilieCharmy.jpg" /&#62;

Émilie Charmy was the granddaughter of the bishop of Lyon, born Émilie Espérance Barret in 1878 into a bourgeoisie family in Saint-Etienne, France. She was orphaned at age 15, and therefore educated at a private Catholic school to become a teacher, her education including “cultural” refinement - meaning playing the piano and the production of floral paintings. Émilie&#38;nbsp; had larger ambitions.&#38;nbsp; She&#38;nbsp; adopted the pseudonym Charmy and began a serious training in art in the studio of Jacques Martin in Lyon, where she was introduced to the work of the Post-Impressionists. Her goals briadened, so in 1902 she fled for Paris and Montaparnasse where she met Jacqueline Marvel, Matisse and the other Fauves. Like Marvel, she was invited to participate in the Impressionist’s Salon d'Automne in 1905. Charmy also caught the attention of the art dealer Berthe Weill, who also supported&#38;nbsp; both Marie Laurencin and Suzanne Valedon. These were women breaking from traditional notions of&#38;nbsp; gender - what was then the femme-peintre - &#38;nbsp;signaling a radical&#38;nbsp; expansion in the visibility of female artists.

&#60;img width="1500" height="1875" width_o="1500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/f70906947b1b911c03e87e334da0fb93e4b32f4d4e0d8efe1f5cda3934f76d0d/EmilieCharmy_2_60in_testPrint_NOTforRepro.jpg" data-mid="219197918" border="0" alt="CLAUDIA HART &#124; THE ARMORY WOMEN, EMILIE CHARMY 2.0&#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, 2 SANDED PAINTINGS, CHALK, ASH WOOD PANEL, OAK FRAME &#124; 36 X 60 X 1.5 INCHES &#124; 2024" data-caption="CLAUDIA HART &#124; THE ARMORY WOMEN, EMILIE CHARMY 2.0&#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, 2 SANDED PAINTINGS, CHALK, ASH WOOD PANEL, OAK FRAME &#124; 36 X 60 X 1.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/f70906947b1b911c03e87e334da0fb93e4b32f4d4e0d8efe1f5cda3934f76d0d/EmilieCharmy_2_60in_testPrint_NOTforRepro.jpg" /&#62;


What made Charmy’s art distinctive and provocative in its own time was that it seemed to elude simple gendered expectations. The critics were unanimous in finding virile qualities in her expressive, rough and physical style, as well as in her subjects - erotic nudes -&#38;nbsp; paintings of her friends and peers.&#38;nbsp; The French novelist Roland Dorgelès described Charmy as "a great free painter; beyond influences and without method, she creates her own separate kingdom where the flights of her sensibility rule alone."&#38;nbsp; Here work tends towards abstract and I think of it as foreshadowing Abstract Expressionism. To me, Charmy was forty years before her time. The most famous quote about her also came from Dorgelès, “Émilie Charmy, it would appear, sees like a woman and paints like a man.”&#38;nbsp; Although meant as a compliment, his remark is naively demeaning but nevertheless indicates that Dorgeles intuited Charmy's resistance to traditional gender roles, making&#38;nbsp; her extraordinary&#38;nbsp; for her time -&#38;nbsp; hybrid, a post-human Cyborg - a woman of the future. Interestingly, Dorgelès was the recipient of the Prix Femina,&#38;nbsp; a French literary prize awarded each year by an exclusively female jury. The prize,&#38;nbsp; established in 1904, was awarded to&#38;nbsp; both male or female writers, until it was abandoned in the 1950s. Sadly, however, the effects of this were limited -&#38;nbsp; like all of her femme-peintre peers, and unlike the Modernist patriarchs Picasso, Matisse, Cezannae, et. al - Charmy never achieved market status, so she fell out of the public eye after the Second World War, continuing to paint into the 1970s. She died in Paris In 1974 at the age of 96.


&#60;img width="1500" height="1875" width_o="1500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/9d352968a1986fe223ef2c4f22a2f5add1da9f1f77c52c179294c7d02d97a93d/MarieLaurencin.jpg" data-mid="219197814" border="0" alt="CLAUDIA HART &#124; THE ARMORY WOMEN, MARIE LAURENCIN &#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, SANDED PAINTING, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 2.5 INCHES &#124; 2024" data-caption="CLAUDIA HART &#124; THE ARMORY WOMEN, MARIE LAURENCIN &#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, SANDED PAINTING, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 2.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/9d352968a1986fe223ef2c4f22a2f5add1da9f1f77c52c179294c7d02d97a93d/MarieLaurencin.jpg" /&#62;

I studied art history at NYU in the mid 1970s. At that time, I learned about Marie Laurencin, but had no idea she was an artist. I thought her sole accomplishment was as being the “muse” and lover of Guillaume Apollinaire, the poet, playwright, short-story writer, novelist, art critic, and a powerful figure in Paris during the first decades of the 20th century. This is what I was taught, but I was taught wrong!

 Last year, from October 22, 2023 – January 21, 2024, the Barnes Foundation, with its major collection of French Impression, staged a show with her: Marie Laurencin: Sapphic Paris. As the New York Times review described it: “This show emphasizes Laurencin’s vision of a sapphic world without men, which makes it the first of its kind in a major institution.”

In Paris, in her twenties,&#38;nbsp; Laurencin was also a&#38;nbsp; part of the femme-peintre group that included Suzanne Valedon, Emilie Charmy, and Jacqueline Marval, supported by the art dealer Berthe Weill. Like Charmy, Laurencin practiced an intentionally naive pictorialism that took its cues from the Fauves, but favored pastels and the color pink.&#38;nbsp; Both made erotic nudes of their friends and decorative flower paintings.&#38;nbsp; 

Art Net is my source for tracking the auction and market value of The Armory Women and it is market value that actually determines how The Armory Women fare in art history.&#38;nbsp; It explains who we know and who we don’t.

In her thirties, Marie married a German bisexual Baron, moving with him to Spain during World War I. In Madrid and Barcelona, she socialized with&#38;nbsp; Diego Rivera and collaborated with Francis Picabia on his Dadaist magazine, 391.
Back in Paris and newly single in the 1920s, Laurencin spent her 40s winning critical and financial acclaim. She adopted her lover, Suzanne Moreau-Laurencin, to assure that Suzanne could inherit her fortune. Among her collectors were Albert Barnes, whose foundation produced her 2023 retrospective. 

In the 1930s, she was awarded the Legion of Honor, France’s highest national decoration.Three decades after her death, in 1956, the Japanese collector Masahiro Takano established the Marie Laurencin Museum in Nagano-Ken, Japan, the first institution dedicated to a female artist in Japan. In 1989, Takano paid $1.4 million one of her paintings at Sotheby’s, making Laurencin the third-most-expensive female artist at auction that year following Mary Cassatt and Georgia O’Keeffe. Laurencin’s artworks generated $29.3 million at auction over two years in 1989 and 1990, with the average lot price of $84,100, according to Artnet Price Database.

In the 1990s, the stock market crashed repeatedly.&#38;nbsp; Laurencin’s prices depreciated along with the entire Impressionist and Modern art markets. A decade later, her average lot went for $9,500, with $1.6 million in total sales annually.&#38;nbsp; Laurencin’s prices never fully recovered, but her historical legacy is assured.


&#60;img width="1500" height="1875" width_o="1500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/864473b3f83276713b1effb6102354c215d7d49bc6518d8a4791d1605d40865a/MarieBraquemond.jpg" data-mid="219197827" border="0" alt="CLAUDIA HART &#124; THE ARMORY WOMEN, MARIE BRACQUEMOND / ACRYLIC GOUACHE, PIGMENT IN RESIN, 2 SANDED PAINTINGS, CHALK, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 2.5 INCHES &#124; 2024" data-caption="CLAUDIA HART &#124; THE ARMORY WOMEN, MARIE BRACQUEMOND / ACRYLIC GOUACHE, PIGMENT IN RESIN, 2 SANDED PAINTINGS, CHALK, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 2.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/864473b3f83276713b1effb6102354c215d7d49bc6518d8a4791d1605d40865a/MarieBraquemond.jpg" /&#62;


I love this still life by Marie Bracquemond. I think of it as a Baroque version of Impressionism, more sensual and physical and dark - Monet meets Caravaggio (I’m thinking of his 16th century Bacchus!).&#38;nbsp; Her story is perhaps typical to women painters of her era. In 1859, she was accepted into the studio of the canonical Neoclassical painter Jean-Auguste-Dominique Ingres. Along with the skills she learned, she encountered problems that followed her throughout her life, later writing that she feared Ingre and that he treated his female students differently than his male. She wrote: "The severity of Monsieur Ingres frightened me...because he doubted the courage and perseverance of a woman in the field of painting... He would assign to them only the painting of flowers, of fruits, of still lifes, portraits and genre scenes." That quote and much of what we know about Bracquemond comes from a biography written by her son Pierre about his parents, Felix and Marie. Felix ran a successful print studio working with Claude Monet, Edgar Degas and Paul Gauguin. According to Pierre, the domineering Felix resented Marie’s career and loathed her Impressionist style, playing an active role in isolating her from the Impressionist movement. She withdrew from public life, and spent most of her time alone, painting in her garden. Despite being referred to as one of “the three great ladies” of Impressionism by Henri Focillon, one of the celebrated French art historians of the early 20th century, the work of Marie Bracquemond to this day remains obscure.


&#60;img width="1500" height="1875" width_o="1500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/64727ae42432f90d6e307d28142d24aad28ac526a4b57a13da7c399e1d76f51f/MarjorieOrganHenri.jpg" data-mid="219197321" border="0" alt="CLAUDIA HART &#124; THE ARMORY WOMEN, MARJORIE ORGAN HENRI / ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 1.5 INCHES &#124; 2024" data-caption="CLAUDIA HART &#124; THE ARMORY WOMEN, MARJORIE ORGAN HENRI / ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 1.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/64727ae42432f90d6e307d28142d24aad28ac526a4b57a13da7c399e1d76f51f/MarjorieOrganHenri.jpg" /&#62;
While I don’t think she was as gifted a painter as the rest in&#38;nbsp; my collection of Armory Women, Marjorie Organ Henri (1836-1930) is one of my favorite characters in it (along with Marie Laurencin). I think this is because she was spirited, a force of nature and also very funny!

Marjorie Organ was born in Ireland, the daughter of a wallpaper designer. Her family moved to New York in 1895, where she studied at Dan McCarthy's National School of Caricature. In 1902, at the age of 16, she joined the staff of the New York Evening Journal, where she worked as an illustrator and a cartoonist. There she created "Little Reggie and the Heavenly Twins", my about a foolish man manipulated and teased by a pair of beautiful girls; "The Wrangle Sisters", about best girlfriends and socialites, "Strange What a Difference a Mere Man Makes!", "Girls Will Be Girls", "The Man Haters' Club" and "Lady Bountiful".

In 1908, when she was a student of the New York School of Art, she met its director, the widowed painter Robert Henri, who was one of the leaders of the AshCan School, the New York equivalent Fauvism - taking place at the same time but very different. Ashcan artists&#38;nbsp; painted the working classes, and their paintings were dark and rough. Three weeks later, the two married and Marjorie’s life as a raucous cartoonist ended, instead she painted, exhibiting at the Armory Show in New York City, the Society of Independent Artists (1919-24, 26-28), the McDowell Club (1917-18), the New York Society of Women Artists (1927, 1932), the Morton Gallery (1928) and others, and also managed her husband's business and social life. Henri died in 1929, and Marjorie, although 15 years younger, died the following year.

&#60;img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/896ca9051d833e67468d2b24a158e6e9fa8eaa615456f69150a1d73c4d6b0e15/KatharineNashRhoades_60inch.jpg" data-mid="219198011" border="0" alt="CLAUDIA HART &#124; THE ARMORY WOMEN, KATHARINE NASH RHOADES &#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, ASH WOOD PANEL, OAK FRAME &#124; 36 X 60 X 1.5 INCHES &#124; 2024" data-caption="CLAUDIA HART &#124; THE ARMORY WOMEN, KATHARINE NASH RHOADES &#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, GRAPHITE, ASH WOOD PANEL, OAK FRAME &#124; 36 X 60 X 1.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/896ca9051d833e67468d2b24a158e6e9fa8eaa615456f69150a1d73c4d6b0e15/KatharineNashRhoades_60inch.jpg" /&#62;
Katharine Nash Rhoades is another Armory Woman very little known today, although this painting, Larkspur, is in the prestigious Phillips Collection of Modern and contemporary art, acquired in 1964.&#38;nbsp; This work, and another purchased at the same time, are the only remaining paintings of Rhoades early Modern works.The rest she destroyed shortly before her death in 1965. 

Most of what I know about Rhoades comes from an impressive feminist history of the period, Modernism and the Feminine Voice: O’Keeffe and the Women of the Stieglitz Circle (2007), by Kathleen Pyne.&#38;nbsp; When Roades destroyed her art works in 1964, she also destroyed all of her letters to Alfred Stieglitz because of their apparently traumatic history. Stieglitz was an early street photographer whose journal and 291 gallery were the cultural centers of&#38;nbsp; early twentieth-century Greenwich Village in New York. Katharine Nash Rhoades and her friend Marion Beckett became part of the Stieglitz circle at 291 in 1911. At that time, the experimental art world was influenced by the theories of sexologists Ellis and Ellen Key, Sigmund Freud, and Henri Bergson -&#38;nbsp; who believed that processes of immediate experience and intuition were more important than abstract rationalism and science for understanding reality. Part of this creed was a belief that women’s essential nature was more like a child’s than that of a man, making women a source of primal creativity.

Katharine and Marion were eager to join the 291 circle and be taken seriously as artists. They needed the mentorship of Steiglitz to do this. Steiglitz pursued Rhoades relentlessly to become and to publicly share their erotic life with the 291 community. Rhoades, not wanting to suffer the social consequences that would befall her at the age of 27 (but not the 48-year-old Steiglitz), refused him. Nevertheless, Rhoades continued to entertain Stieglitz in intimate studio visits, writing him scores of personal letters and&#38;nbsp; poetry in the course of their five-year relationship, that she ultimately destroyed before her death. Steiglitz hung an exhibition of Katharine’s and her friend Marion H. Beckett’s paintings at the 291 gallery in 2015. I couldn’t find any documentation of it in the 291 magazine of that period - aside from one abstract drawing by Rhoades. Steiglitz continued to pressure Rhoades until 1917, when Georgia O’Keeffe arrived on the scene and Stieglitz found his perfect muse. In her later life, Roades became an arts manager, establishing art libraries in New York and at the Smithsonian in Washington DC.

 
&#60;img width="1500" height="1874" width_o="1500" height_o="1874" data-src="https://freight.cargo.site/t/original/i/ba952bda8bf7db1051b58c8d39866faa7c4586ae1c1c63b91b1c8e1aa7fe2e91/MarionBeckett.jpg" data-mid="219197799" border="0" alt="CLAUDIA HART &#124; THE ARMORY WOMEN, MARION H. BECKETT &#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, 3 SANDED PAINTINGS, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 2.5 INCHES &#124; 2024" data-caption="CLAUDIA HART &#124; THE ARMORY WOMEN, MARION H. BECKETT &#124; ACRYLIC GOUACHE, PIGMENT IN RESIN, 3 SANDED PAINTINGS, ASH WOOD PANEL, PINE FRAME &#124; 24 X 30 X 2.5 INCHES &#124; 2024" src="https://freight.cargo.site/w/1000/i/ba952bda8bf7db1051b58c8d39866faa7c4586ae1c1c63b91b1c8e1aa7fe2e91/MarionBeckett.jpg" /&#62;

This still life by Beckett is clearly masterful, a beautiful example of Post Impressionism that reminds me a bit of a Van gogh. Marion Beckett was known as a portrait painter. Like her best friend Katharine Nash Rhoades, she was a member of Alfred Stieglitz’s circle in New York, and like Rhoades, did not benefit personally from that culture. In my mind, quite the opposite. Marion, Katharine Rhoades and Agnes Ernst Meyer were known as the "Three Graces" of the 291 scene. Agnes Ernst Meyer described Marion as one of "the most beautiful young women that ever walked this earth", although&#38;nbsp; shy and reserved. 

Beckett’s portrait of Mrs. Eduard J. Steichen was exhibited in the 1913 Armory Show. In 1915, Beckett and Rhodes had a joint exhibition at Stieglitz’s 291 Gallery, with no documentation surviving. In 1917, Beckett presented another show, also of portraits, at Marius de Zayas's Modern Gallery..&#38;nbsp; Among the works presented were portraits of Alfred Stieglitz, Eugene Meyer and Georgia O'Keeffe, used&#38;nbsp; to illustrate a Vanity Fair article in 1922 and a New York Sun article about O'Keeffe's work in 1923. In 1925, Marion exhibited in New York at Montross Gallery. 

In 1926, Marion Beckett quit painting, adopted two daughters, and with her sister Estelle, ran the Beckett Water Supply Company until she died in 1949. Fifteen of her paintings were stored by family members until 1997, including the portraits of O'Keeffe and Agnes Meyer. There is no record of these works having been sold.The Georgia O’Keeffe portrait is currently a stock image in the public domain. 
</description>
		
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	<item>
		<title>Six Figures 2024</title>
				
		<link>https://claudiahart.com/Six-Figures-2024</link>

		<pubDate>Thu, 11 Jul 2024 18:14:59 +0000</pubDate>

		<dc:creator>Claudia Hart</dc:creator>

		<guid isPermaLink="true">https://claudiahart.com/Six-Figures-2024</guid>

		<description>&#60;img width="2329" height="1863" width_o="2329" height_o="1863" data-src="https://freight.cargo.site/t/original/i/34bd1c85ab54c12e8ab6e66ddb8139508cffdb2d73784c8d785f3b46e7cd8b18/BaselTourism_6Figures_Web.jpg" data-mid="214506155" border="0"  src="https://freight.cargo.site/w/1000/i/34bd1c85ab54c12e8ab6e66ddb8139508cffdb2d73784c8d785f3b46e7cd8b18/BaselTourism_6Figures_Web.jpg" /&#62;

Six Figures
2024
augmented reality intervention
INTERVIEW


Six Figures was created for a custom augmented app, produced by the city of Basel, and curated by the city’s House of Electronic Art (HEK). It guides visitors throughout the historic Swiss city, known for its art fair and Modern art museums, to historically significant locations. Using the ARTour app, a user can see virtual monuments created by contemporary artists through the camera of their smart device. For the ARTour, Hart created an intervention at theTinguely Fountain, a work of art created by Basel artist Jean Tinguely in 1977. Hart's piece adds six virtual caryatids (a female embodiment of the column in Greek architecture) to the merry goings-on of the machine sculptures. These dancing figures&#38;nbsp; carry vases of various bouquets of flowers above their heads: roses, tulips, daisies,&#38;nbsp; dahlias, irises and daffodils. The flowers are in a continuous process of withering and regenerating – all at their own pace. The motif of wilting flowers is a recurring motif in the&#38;nbsp; artist's work, referring both to a memento mori and to the still precarious position of&#38;nbsp; women in art. The different shapes of the vases are inspired by historical objects, such&#38;nbsp; as urns or well-known vases from classical modernism, which Hart interprets in virtual&#38;nbsp; 3D models. We encounter Hart's sculptures of women at eye level. They invite us to look&#38;nbsp; at the flowers and give the impression that they have just emerged from the water. The&#38;nbsp; work is complemented by a sound design by Edmund Campion. His composition&#38;nbsp; Processing History, which has been adapted to fit the app, refers to the growth of cells,&#38;nbsp; which are renewed every seven years. This biological clock refers to the change and&#38;nbsp; passing of time, which can also be experienced in the continuous cycle of the growth&#38;nbsp; and decay of flowers. The virtual figures and objects are overlaid with a moving,&#38;nbsp; animated pattern – this is also a recurring element in Hart's art, a kind of digital tapestry in which bodies become media screens.&#38;nbsp; 

Excerpt from a text by HEK curator, Sabine Himmelsbach


SIX FIGURES, an Augmented-Reality Intervention, 2024 from Claudia Hart on Vimeo.

&#60;img width="3000" height="1996" width_o="3000" height_o="1996" data-src="https://freight.cargo.site/t/original/i/993461b98173085ae1818a567df7080d29893fa01b07b0d744735e72ca6a4ef2/OversizedScreenShot_colorCorrected.png" data-mid="214506239" border="0"  src="https://freight.cargo.site/w/1000/i/993461b98173085ae1818a567df7080d29893fa01b07b0d744735e72ca6a4ef2/OversizedScreenShot_colorCorrected.png" /&#62;
&#60;img width="2338" height="1080" width_o="2338" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ce2632e77f98025ace432029218ce0d781fa7ab8647fe8efecb653b5b9da1db5/image_123650291-2.JPG" data-mid="214506208" border="0"  src="https://freight.cargo.site/w/1000/i/ce2632e77f98025ace432029218ce0d781fa7ab8647fe8efecb653b5b9da1db5/image_123650291-2.JPG" /&#62;
&#60;img width="2338" height="1080" width_o="2338" height_o="1080" data-src="https://freight.cargo.site/t/original/i/1613c8fb52bf4209f01873c522210d735162ede2f56e800ffaea7e0882176baf/image_123650291-3.JPG" data-mid="214506209" border="0"  src="https://freight.cargo.site/w/1000/i/1613c8fb52bf4209f01873c522210d735162ede2f56e800ffaea7e0882176baf/image_123650291-3.JPG" /&#62;
&#60;img width="2338" height="1080" width_o="2338" height_o="1080" data-src="https://freight.cargo.site/t/original/i/b75d8a7f58702a4deb57080d951e1b71192eb24d967fb5f17bc269c7865dfafb/image_123650291.JPG" data-mid="214506210" border="0"  src="https://freight.cargo.site/w/1000/i/b75d8a7f58702a4deb57080d951e1b71192eb24d967fb5f17bc269c7865dfafb/image_123650291.JPG" /&#62;


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	<item>
		<title>Russian Roulette and Ruins Paintings 2024-2020</title>
				
		<link>https://claudiahart.com/Russian-Roulette-and-Ruins-Paintings-2024-2020</link>

		<pubDate>Tue, 23 Jan 2024 10:47:03 +0000</pubDate>

		<dc:creator>Claudia Hart</dc:creator>

		<guid isPermaLink="true">https://claudiahart.com/Russian-Roulette-and-Ruins-Paintings-2024-2020</guid>

		<description>
Russian Roulette (2020-2024)
Various installations: Paintings on wood panels, augmented-reality wallpapers, 3D animation + audio installation with Queen Elizabeth bot

In 2021, a high-profile NFT platform invited Hart to create a game that they intended to auction as interactive tokens. She worked on the game mechanics, animations, and 3d images for nine months.&#38;nbsp; Right before the&#38;nbsp; planned release date, the platform shut down - bankrupt!&#38;nbsp; Hart took the collapse as an opportunity, and instead of an on-line gambling game intended as a critique of crypto-culture, she produced paintings using the same visuals and in the course of this, produced a hybrid form where the virtual and the tangible are fluidly mixed. She calls these works “ghost” paintings.
Her technique is to start each work by hand-painting mosaic patterns appropriated from the historical architecture of failed empires. She then builds a 3D computer model of a still life in a 3D simulated setting, framed in a shallow game space. Inside this game world, she uses a virtual-reality painting software to improvise gestural painting on the polygon models in the 3D setting, using a&#38;nbsp; sophisticated water-color simulator.&#38;nbsp; She then layers in other photographs - of handmade, tangible paintings - produced on an underlayer, made with traditional gouache paint. 
Through her layering, Hart’s paintings have an uncanny sense of being both ancient and high-tech at the same time, with pentimento traces created using different techniques produced in different eras. Hart layers the traditional and the futurist, moving backwards and forwards in time in the same objects, which are then mounted on Russian Roulette augmented-reality wallpaper (2023). The wallpaper deploys the heraldry of collapsed empires: logos of USA tech corporations and&#38;nbsp; bankrupt crypto currencies. These symbols act like QR codes, triggering Hart’s Russian Roulette app. Through the app one can see animations taken from The Art of Survival: Aphorisms by an Old Girl, a series of Mp4 movies, enacted by an open-source “Queen Elizabeth'' bot.&#38;nbsp; Russian Roulette is liminal: an allegorical Satan’s brew but here filled with irony and humor.


&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/beedca3ea70a5b6c7f14a6f21abc3e10267a79228be1e93850dd8dccf3b4db24/1-RussianRoulette_FirstPrize.1_LR.jpg" data-mid="202540271" border="0" alt="Russian Roulette Series, First Prize.01, acrylic gouache, pigment in resin, sanded painting of the same, cherry wood panel, oak frame, 24 x 30 x 1.5 inches, 2022/2023 " data-caption="Russian Roulette Series, First Prize.01, acrylic gouache, pigment in resin, sanded painting of the same, cherry wood panel, oak frame, 24 x 30 x 1.5 inches, 2022/2023 " src="https://freight.cargo.site/w/1000/i/beedca3ea70a5b6c7f14a6f21abc3e10267a79228be1e93850dd8dccf3b4db24/1-RussianRoulette_FirstPrize.1_LR.jpg" /&#62;
&#60;img width="2000" height="1388" width_o="2000" height_o="1388" data-src="https://freight.cargo.site/t/original/i/871268e968fc75fb199a2a1ecedc5ea241091ca378809e7a335f32bb8147c966/2-RussianRoulette_SecondPrize.1_LR.jpg" data-mid="202540272" border="0" alt="Russian Roulette Series, SecondPrize.01, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2023 " data-caption="Russian Roulette Series, SecondPrize.01, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2023 " src="https://freight.cargo.site/w/1000/i/871268e968fc75fb199a2a1ecedc5ea241091ca378809e7a335f32bb8147c966/2-RussianRoulette_SecondPrize.1_LR.jpg" /&#62;
&#60;img width="1657" height="2000" width_o="1657" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b2ced0d93f731eba0fa4be3e2091e123423632864f42f9b5669675e073767997/3-Russianroulette_thirdprize.1_LR.jpg" data-mid="202540279" border="0" alt="Russian Roulette Series, Third Prize.01, acrylic gouache, pigment in resin, sanded painting of the same, cherry wood panel, pine frame, 21.5 x 30 x 1.5 inches, 2021/2023 " data-caption="Russian Roulette Series, Third Prize.01, acrylic gouache, pigment in resin, sanded painting of the same, cherry wood panel, pine frame, 21.5 x 30 x 1.5 inches, 2021/2023 " src="https://freight.cargo.site/w/1000/i/b2ced0d93f731eba0fa4be3e2091e123423632864f42f9b5669675e073767997/3-Russianroulette_thirdprize.1_LR.jpg" /&#62;
&#60;img width="2000" height="1405" width_o="2000" height_o="1405" data-src="https://freight.cargo.site/t/original/i/dd11d2d740ba7fff21a5fa9cd784e6d98d4dbba9e45bd55d993b0cfafab4a9a6/4-RussianRoulette_FirstPrize.2_LR.jpg" data-mid="202540280" border="0" alt="Russian Roulette Series, FirstPrize.02, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2023 " data-caption="Russian Roulette Series, FirstPrize.02, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2023 " src="https://freight.cargo.site/w/1000/i/dd11d2d740ba7fff21a5fa9cd784e6d98d4dbba9e45bd55d993b0cfafab4a9a6/4-RussianRoulette_FirstPrize.2_LR.jpg" /&#62;
&#60;img width="2000" height="1359" width_o="2000" height_o="1359" data-src="https://freight.cargo.site/t/original/i/068a7477f0c5cb1ff0e7d848667ec1764febbd541a3daf65633190824072c0b0/5-RussianRoulette_SecondPrize.3_LR.jpg" data-mid="202540281" border="0" alt="Russian Roulette Series, SecondPrize.03, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2024 " data-caption="Russian Roulette Series, SecondPrize.03, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2024 " src="https://freight.cargo.site/w/1000/i/068a7477f0c5cb1ff0e7d848667ec1764febbd541a3daf65633190824072c0b0/5-RussianRoulette_SecondPrize.3_LR.jpg" /&#62;
&#60;img width="2000" height="1343" width_o="2000" height_o="1343" data-src="https://freight.cargo.site/t/original/i/679945104ffbcd659d36b035bea2a1e4542ef2b9ec20af7c5a71c61c75a945ca/6-RussianRoulette_ThirdPrize.2_LR.jpg" data-mid="202540282" border="0" alt="Russian Roulette Series, Third Prize.02, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2024 " data-caption="Russian Roulette Series, Third Prize.02, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2024 " src="https://freight.cargo.site/w/1000/i/679945104ffbcd659d36b035bea2a1e4542ef2b9ec20af7c5a71c61c75a945ca/6-RussianRoulette_ThirdPrize.2_LR.jpg" /&#62;
&#60;img width="2000" height="1356" width_o="2000" height_o="1356" data-src="https://freight.cargo.site/t/original/i/99a99eb8b76404faf1ee571f449de6fbc676cf3c527a368e7dc174df6682f3a6/7-RussianRoulette_FirstPrize.3.jpg" data-mid="202540283" border="0" alt="Russian Roulette Series, First Prize.03, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2024 " data-caption="Russian Roulette Series, First Prize.03, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2024 " src="https://freight.cargo.site/w/1000/i/99a99eb8b76404faf1ee571f449de6fbc676cf3c527a368e7dc174df6682f3a6/7-RussianRoulette_FirstPrize.3.jpg" /&#62;
&#60;img width="2000" height="1348" width_o="2000" height_o="1348" data-src="https://freight.cargo.site/t/original/i/798815b2c52237018132297995161c0d900951f5c328fd8f949a7d9de54d90c5/8-RussianRoulette_ThirdPrize.3_LR.jpg" data-mid="202540284" border="0" alt="Russian Roulette Series, Third Prize.03, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2024 " data-caption="Russian Roulette Series, Third Prize.03, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2024 " src="https://freight.cargo.site/w/1000/i/798815b2c52237018132297995161c0d900951f5c328fd8f949a7d9de54d90c5/8-RussianRoulette_ThirdPrize.3_LR.jpg" /&#62;
&#60;img width="1500" height="2000" width_o="1500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/ee6f40898ae751fb695499078d0715257a59d5b8ebf7780b32091617c79c971e/11.5-RussianRoulette_ThirdPrize.3_DARKER.png" data-mid="202983319" border="0" alt="Russian Roulette Series, Third Prize.03:Night, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2024 " data-caption="Russian Roulette Series, Third Prize.03:Night, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2024 " src="https://freight.cargo.site/w/1000/i/ee6f40898ae751fb695499078d0715257a59d5b8ebf7780b32091617c79c971e/11.5-RussianRoulette_ThirdPrize.3_DARKER.png" /&#62;
&#60;img width="2000" height="1347" width_o="2000" height_o="1347" data-src="https://freight.cargo.site/t/original/i/af15a0045a476be77083b2bd4a9affc69d6675d63b76d50c32e2f09e7c6b015e/9-RussianRoulette_FirstPrize.4_LR.jpg" data-mid="202540289" border="0" alt="Russian Roulette Series, First Prize.04, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2024 " data-caption="Russian Roulette Series, First Prize.04, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2024 " src="https://freight.cargo.site/w/1000/i/af15a0045a476be77083b2bd4a9affc69d6675d63b76d50c32e2f09e7c6b015e/9-RussianRoulette_FirstPrize.4_LR.jpg" /&#62;
The Ruins (2019-2025)
Paintings on wood panels, augmented-reality wallpaperThe Ruins implements still lifes, the classical form of a memento mori, to contemplate the decay of western civilization. In this work, Hart revises the canons of modernist painting and the manifestos of failed utopias. The piece is a meditation on the flow of history, expressed as a cycle of decay and regeneration.
The Ruins is an antidote to a world in crisis, navigating from a Eurocentric paradigm of fixed photographic capture into a reality of malleable and inherently unstable computer simulations and systemic collapse. It presents a different notion of time, a present that viewers experience through the possibility of simulation technologies that use scientific data to model natural forces, the crystallization of past, future and present into a perpetual now. Hart’s&#38;nbsp; interpretation of still lifes are based on low&#38;nbsp; resolution polygon models that she crafts in as 3D-computer graphics. These models, hearkening to the idea of a poor copy or image popularized by Hito Steryl, are computer-made replications of copyright-protected paintings. Taken from works by Matisse and Picasso, patriarchs of the Modernist canon, these forms cover The Ruins in flirtatious copyright infringement.


&#60;img width="1660" height="2000" width_o="1660" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b249186d41787449254411a590430cd2bf324db5c8297d3b0341a5a376699928/10-TheRuins_Picasso1.jpg" data-mid="202540295" border="0" alt="Claudia Hart, Picasso 1.0, acrylic gouache, pigment in resin, sanded painting of the same, ash panel, oak frame, 21.5 x 30 x 2 inches, 2021/2023" data-caption="Claudia Hart, Picasso 1.0, acrylic gouache, pigment in resin, sanded painting of the same, ash panel, oak frame, 21.5 x 30 x 2 inches, 2021/2023" src="https://freight.cargo.site/w/1000/i/b249186d41787449254411a590430cd2bf324db5c8297d3b0341a5a376699928/10-TheRuins_Picasso1.jpg" /&#62;


&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/168a572a1cc0fe50bc03fae7c259f5b4900531d133cc645d57750b12767ab90a/11-TheRuins_Picasso2.jpg" data-mid="202540297" border="0" alt="The Ruins Series, Picasso .02, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2023 " data-caption="The Ruins Series, Picasso .02, acrylic gouache, pigment in resin, sanded painting of the same, ash wood panel, pine frame, 24 x 30 x 2.5 inches, 2023 " src="https://freight.cargo.site/w/1000/i/168a572a1cc0fe50bc03fae7c259f5b4900531d133cc645d57750b12767ab90a/11-TheRuins_Picasso2.jpg" /&#62;
&#60;img width="1835" height="1872" width_o="1835" height_o="1872" data-src="https://freight.cargo.site/t/original/i/2ced6ceb5553da02be0eef72443d26a9aa6d0cfc5c26efadf4842de16f5d34ff/13-TheRuins_The-Yellow-Medusa_LR.jpg" data-mid="202540323" border="0" alt="The Ruins Series, The Yellow Medusa, pigment in resin, ash wood panel and cherry wood panel, oak frame, 10.5 x 14 x 1.5 inches, 2021/2023" data-caption="The Ruins Series, The Yellow Medusa, pigment in resin, ash wood panel and cherry wood panel, oak frame, 10.5 x 14 x 1.5 inches, 2021/2023" src="https://freight.cargo.site/w/1000/i/2ced6ceb5553da02be0eef72443d26a9aa6d0cfc5c26efadf4842de16f5d34ff/13-TheRuins_The-Yellow-Medusa_LR.jpg" /&#62;

&#60;img width="2000" height="1334" width_o="2000" height_o="1334" data-src="https://freight.cargo.site/t/original/i/64c70237004ec5ded3f5348bdee368c9c8d75209e89eac145e7c929fbacc5f15/14-TheRuins_The-Still-Life-of-Henri-Fantin-Latour_LR.jpg" data-mid="202540326" border="0" alt="The Ruins Series,Claudia Hart, The Still Life of Henri Faintin Latour, acrylic gouache, pigment in resin, sanded painting of the same, ash panel, pine frame, 24 x 30 x 2.5 inches, 2023 " data-caption="The Ruins Series,Claudia Hart, The Still Life of Henri Faintin Latour, acrylic gouache, pigment in resin, sanded painting of the same, ash panel, pine frame, 24 x 30 x 2.5 inches, 2023 " src="https://freight.cargo.site/w/1000/i/64c70237004ec5ded3f5348bdee368c9c8d75209e89eac145e7c929fbacc5f15/14-TheRuins_The-Still-Life-of-Henri-Fantin-Latour_LR.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/7b2f999870ace27a7c02800ac59b7165e3eee435464773e3d51341a00367b06a/15-TheRuins_Redon-Passes-Through-Me-LR.jpg" data-mid="202540332" border="0" alt="The Ruins Series, Redon Passes Through Me 1, acrylic gouache, pigment in resin, ash panel, oak frame, 21.5 x 30 x 2 inches, 2021" data-caption="The Ruins Series, Redon Passes Through Me 1, acrylic gouache, pigment in resin, ash panel, oak frame, 21.5 x 30 x 2 inches, 2021" src="https://freight.cargo.site/w/1000/i/7b2f999870ace27a7c02800ac59b7165e3eee435464773e3d51341a00367b06a/15-TheRuins_Redon-Passes-Through-Me-LR.jpg" /&#62;

&#60;img width="1660" height="2000" width_o="1660" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b249186d41787449254411a590430cd2bf324db5c8297d3b0341a5a376699928/10-TheRuins_Picasso1.jpg" data-mid="202540295" border="0" alt="The Ruins Series, Picasso 1.0, acrylic gouache, pigment in resin, sanded painting of the same, ash panel, oak frame, 21.5 x 30 x 2 inches, 2021/2023 " data-caption="The Ruins Series, Picasso 1.0, acrylic gouache, pigment in resin, sanded painting of the same, ash panel, oak frame, 21.5 x 30 x 2 inches, 2021/2023 " src="https://freight.cargo.site/w/1000/i/b249186d41787449254411a590430cd2bf324db5c8297d3b0341a5a376699928/10-TheRuins_Picasso1.jpg" /&#62;
&#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/b6b9538e11d8deabffa75aa1441282bf029c6f0df3347d44c777cef2a6f8fb26/0-Ruins-Installation--2022--Honor-Fraser-Gallery--with-augmented-reality-MatisessesqueWallpaper-.jpg" data-mid="202540262" border="0" alt="Ruins Installation, 2022, Honor Fraser Gallery, with augmented-reality Matisessesque wallpaper and QR codes linking to web-based augmented-reality app." data-caption="Ruins Installation, 2022, Honor Fraser Gallery, with augmented-reality Matisessesque wallpaper and QR codes linking to web-based augmented-reality app." src="https://freight.cargo.site/w/1000/i/b6b9538e11d8deabffa75aa1441282bf029c6f0df3347d44c777cef2a6f8fb26/0-Ruins-Installation--2022--Honor-Fraser-Gallery--with-augmented-reality-MatisessesqueWallpaper-.jpg" /&#62;
&#60;img width="2000" height="1094" width_o="2000" height_o="1094" data-src="https://freight.cargo.site/t/original/i/a7d79153bce7c4609012b7447a36402b9bc1172b4571ea0448664344cbaae61c/12-TheRuins_Morandi_Night-Day.jpg" data-mid="202540321" border="0" alt="The Ruins Series, Morandi Day and Morandi Night, pigment in resin, walnut wood panel and cherry wood panel, oak frame, each 10.5 x 14 x 1.5 inches, 2021 and 2022 " data-caption="The Ruins Series, Morandi Day and Morandi Night, pigment in resin, walnut wood panel and cherry wood panel, oak frame, each 10.5 x 14 x 1.5 inches, 2021 and 2022 " src="https://freight.cargo.site/w/1000/i/a7d79153bce7c4609012b7447a36402b9bc1172b4571ea0448664344cbaae61c/12-TheRuins_Morandi_Night-Day.jpg" /&#62;


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