About

Josh Sender (b. 1991, New York) is an artist working 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!

Professional

Contact

Day Job

He currently lives in Baltimore, Maryland and works as a Digital Designer at Black & Black Creative in Chelsea, New York.Long commute.

Design Portfolio

Josh Sender (b. 1991, New York) is an artist working online. He recently completed his Multidisciplinary MFA at the Mount Royal School of Art at MICA. Once upon a time he was an award-winning web designer.
New Work, 2016

New year, new works. Gestural distortions within empty contemporary spaces collected for Exbhition Spac.es, bending the architecture into and onto itself.

Digital Images, Archival Prints

Exhibition Spac.es, 2016

I've been using a database of over 3000 emptied contemporary exhibition spaces for the production and showing of my work own work. In 2016 I built Exhibition Spac.es to make the database available online. This online database serves as a 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. The images and resources are published under the Creative Commons Zero license (free to copy, modify, distribute and use the photos for free, including commercial purposes, without asking permission). www.exhibitionspac.es

Online Archive & Resource

It Was All Very Impressive I, 2016

'It Was All Very Impressive' is a domain that's hosted a few loosely connected website-based works. 'It Was All Very Impressive I' only existed online for a day as a series of digital artworks loosely broken down into chapters. Each project is hosted at www.itwasallveryimpressive.com

It Was All Very Impressive II, 2016

'It Was All Very Impressive' is a domain that's hosted a few loosely connected website-based works. 'It Was All Very Impressive II' was only ever accessible as a projection within a physical gallery space. The mouse cursor couldn't be controlled by the user, and rested in the middle of the screen as the website was programmed to automatically scroll and display its sub-projects one after another. One sub-project was a constantly rearranging digital museum whose collection contained every 3d-scanned object made available online by major art institutions. Another was a series of generated digital paintings composed of randomly layered fragments from the digital museum. The next two projects were composed of digital forms floating across the screen. 'It Was All Very Impressive' looked to create a lineage for this body of 3d-scanned objects, one that exists alongside and perhaps in lieu of, its current proposed history.www.itwasallveryimpressive.com

Museum of Translated Objects, 2016

This automatically rearranging and restarting website was only accessible in the 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 '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

Artifacts, Published Works, 2016

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

Mirage, or, I am Large, I Contain Multitudes, 2016

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.

Rearranging Website

That Old Present Tense, 2016

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.

Rearranging Website

On Edge, 2016

Stock images, screenshots and other photographs on borders and on edges as digital objects.
depths, borders, bridges, gates, lids, pages, divider, between,
to harrow
edge of the woods
between sleeping and waking


printed in the risograph publication "Pothole" edited by Amanda Curreri and Jordan Tate

Digital Objects

New Work, 2015

Digital distortions within empty contemporary spaces, bending the architecture into and onto itself.

Digital Images, Video, Archival Prints


New Work Trailer
Oy! On Time!, 2015

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

Vie Vying, 2015

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.

Digital Objects

blghded, 2015

Layered appropriated marks from the some of the most expensive paintings in history.

Digital Objects

Martyr Images, 2015

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)

Digital Installation

Monument Feed, 2014

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. Look on my works, ye Mighty, and despair!

Video, Digital Photographs


Seeing Lassoing Wild Horses in 360°, 2014

'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 $, 2014

'$ 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

Everyone Looks So Familiar, 2014

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.
"His online series Everyone Looks So Familiar, shows a set of Renaissance and Baroque figures rendered in the flickering line of a capture tool. All other pixel information is removed and we are left with the equivalent of a digital x-ray of these images. These works use the data of imagery to raise issues of reproduction in the digital age and the future (and perhaps unstoppable) predominance of online experiences with artwork." — Gregory Thielker

View Web Piece

Selection Drawings

Contrived/ Permanence, 2013

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

Unpublished Stories, 2013

Solo show consisting of 6 ink wall drawings, a projected animation and a supplemental zine. "Unpublished Stories is an installation of wall-based paintings, which function as visual quotations from western art history and news images, as well as a series of lyrical gestures. The objective in this series, however, is the limited use of media, which recalls paint tools from Adobe Illustrator. In one overlapped portrait, there are three variations on the same face done in Cyan, Magenta, and Yellow." — Gregory Thielker

Ink on Wall, Video, Zine

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