New year, new works.
Digital Images, Archival Prints
New year, new works.
Josh Sender (b. 1991, New York) is an artist working with images, mostly online. He recently completed his Multidisciplinary MFA at the Mount Royal School of Art at MICA.
He has had solo exhibitions in Baltimore and New Jersey, and has also been included in group shows and screenings in New York, South Korea, Baltimore, New Jersey, and of course, the internet.
If you'd like a free print of any of the works on this site, send Sender an email!
He currently works as a Web Designer at Black & Black Creative in Chelsea, New York.
New year, new works.
Digital Images, Archival Prints
A long-term project that has been moving through various forms and iterations. Each iteration is hosted at the same domain www.itwasallveryimpressive.com.
This automatically rearranging and restarting website was only accessible in a gallery space during the installation of the second iteration of It Was All Very Impressive. The "Museum of Translated Objects" is a digital museum archiving every 3D object made available online by major art institutions. The tools constructed to translate moments of experience into information — time, maps, writing, drawing, printing — are all premised around the creation and preservation of images. The "Museum of Translated Objects" utilizes a rudimentary process for re-scanning the 3D digital objects made available. The objects are re-scanned by being photographed in 360° directly from a computer screen and the photos are photogrammetrically stitched together to generate new 3D spatial data, or new 3D objects. These new objects make up the collection of "translated" objects, and are made available in order to extend the objects' journeys through history.
Rearranging Website, Digital Archive
The second part of the second iteration of It Was All Very Impressive. Every 40 seconds 'Artifacts, Published Works' is refreshed, randomly layering fragments pulled from the 'Museum of Translated Objects' creating a new series of unique combinations every refresh.
Rearranging Website, Randomly Generated Images
The third part of the second iteration of It Was All Very Impressive. Like in 'Artifacts, Published Works,' the images from 'The Museum of Translated Objects' is the generative source for this project. The objects from the museum collection are positioned in fabricated exhibitions, creating an index of potential.
The fourth and last part of the second iteration of It Was All Very Impressive. 'That Old Present Tense' looks to fill the spaces in-between. Automatically scrolling websites with layering screens, books and prints.
depths, borders, bridges, gates, lids, pages, divider, between,
edge of the woods
between sleeping and waking
printed in the risograph publication "Pothole" by Jordan Tate
I created my own database of over 3000 emptied contemporary exhibition spaces. The database serves as a resource for mocking up exhibition ideas and proposals, and became a core conceptual aspect to my work. I began the website Exhibition Spac.es with the goal of providing this same resource for other emerging and early-career artists in establishing their online and documented presence. Exhibition Spac.es is a regularly updated free database of high-resolution emptied contemporary exhibition spaces and frames, as well as tutorials and resources to aid less digital-savvy artists compile their own non-real documentation or implied installations.
Online Archive & Resource
Digital distortions within empty contemporary spaces, bending the architecture into and onto itself.
Digital Images, Video, Archival Prints
The digital images and artworks made for Oy! On Time! were made as pieces of a proposal for a solo show I wanted to have. Oy! On Time! was held in two parts: on the browser— where one can look privately, the weight of the work heavier, offering itself as more contemplative and private, and in a gallery space— as cheap xerox transfer prints, poor translations of the digital ideal.
Pieces of Digital Proposal, Xerox Transfer Prints
The works in Vie Vying start as a small digital textures collected from different realms of digital media, and the textures are edited and multiplied and positioned in graphic design corporate mockup templates, giving them a distinct semi-recognizable shape and an implied physical form.
Layered appropriated marks from the some of the most expensive paintings in history.
Images were selected from the Web Gallery of Art's search results for 'Martyr.' The images were put through a process of digital reduction, focusing on the shapes of the bodies, but stripping the images of any historic specificity.
See the digital collection (21 images)
Photographs were created by picking fragments from the first listed image on the wikipedia article for 'Monument.' The first photograph is of a Harvest Moon rising over Washington’s Lincoln Memorial, Washington Monument, and US Capitol. Each fragmented image’s field was digitally expanded on, positioning it in a new focus as something much smaller but grander. The new monumentsThe series of photos is made up Look on my works, ye Mighty, and despair!
Video, Digital Photographs
'Lassoing Wild Horses' is one of the first objects in the Met's collection to be photographed and made available online in 360°. I created a 3D scan of the object by taking photos of the bronze on the screen, and then further iterations were made of each new version, offering further interpretations of this century-year-old bronze as it continues its journey through forms of documentation and representation.
Download the PDF (6 MB)
E-Book, Re-scanned 3d Objects
$ Landscape $ is comprised of various physical and digital ephemeral iterations. Each iteration contains dense overlapping drawings of the most expensive buildings in the world.
Ink on Wall, Digital Installation
A portrait painting offers a lasting likeness for it's sitter, be it a religious or political leader, middle class citizen or simply an artist's model. Depending on how an image survives the various changing cultural situations it's passed through, the immediate context and the sitter's identity is often lost. For 'Exhausted,' nameless portraits from throughout 15th to 19th century European art are reduced to simplified ink drawings, and then further reduced as only a 'digital selection,' barely separating the drawing from the white space of the webpage. The 'digital selection' is used as an allusion to designate something that doesn't wholly exist or hold form. The portraits are diminished to how we might view them now, as aesthetic husks of lives and memories that weren't quite influential enough.
View Web Piece
The mural portion of Contrived/Permanence is a composite drawing that consists of fragments of eight historical monuments that were built as memorials. The mural is paired with a set of postcards that pull directly from sensationalized quotes describing the source monuments.
Ink on Wall, Postcard Display Rack
Solo show consisting of 6 ink wall drawings, a projected animation and a supplemental zine. Each drawing pulls from different cultural forms of representation.
Ink on Wall, Video, Zine