In our age of accelerating pixels, bits and bytes, images are acquiring a novel and unique power. By mediating experience, they develop networks between what is real and what is virtual. As computational barometers and indicators such images link contemporary culture to other forms of knowledge acquisition, including scientific innovation, unpredictable representations and theoretical speculations and conjectures.
Remote Sensing refers to current digital technologies that can picture locations that are either toxic or inaccessible to visit. Using state-of-the-art satellite data, remote sensing apparatuses are now employed to computationally picture such spaces. An extension of digital photography, these images garner information electronically to forego onsite investigations. From outlining discrete landmasses to choreographing depictions of planetary heat maps, “being there” is not the primary method for mining data. As geography becomes digitally remapped into data sets, access to territories merge the urban with the rural, the contaminated with the pristine, and even the retreating glacier with the desert, eliciting a world view without political and tribal borders.
Such options are within our purview and provide us an agency while providing us an agency to observe an expanding picture of the world as governed by the sovereignty of nature and urgent human intervention. By considering mapping techniques which circumvent, record and align with fluctuating terrestrial processes. This set of work observes materials from a top-down perspective and how they have altered modes of representation.
Remote Sensing (42), Suzanne Anker, Photo by Raul Valverde, 2016.
Remote Sensing (36), Suzanne Anker, Photo by Raul Valverde, 2016.
Installation view of Artists Choose Artists, 2016, Parrish Art Museum, Watermill, NY.
Suzanne Anker is a visual artist and theorist working at the intersection of art and the biological sciences. She works in a variety of mediums ranging from digital sculpture and installation to large-scale photography to plants grown by LED lights. Her work has been shown both nationally and internationally in museums and galleries including the ZKM, Karlsruhe, Germany, Walker Art Center, the Smithsonian Institute, the Phillips Collection, P.S.1 Museum, the JP Getty Museum, the Medizinhistorisches Museum der Charite in Berlin, the Center for Cultural Inquiry in Berlin, the Pera Museum in Istanbul, the Museum of Modern Art in Japan, and the International Biennial of Contemporary Art of Cartagena de Indias, Colombia. Her books include The Molecular Gaze: Art in the Genetic Age, co-authored with the late sociologist Dorothy Nelkin, published in 2004 by Cold Spring Harbor Laboratory Press, Visual Culture and Bioscience, co-published by University of Maryland and the National Academy of Sciences in Washington, D.C.
You can learn more about Suzanne's work on her Website.
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