Rachel Rossin is a painter and programmer whose multi-disciplinary practice has established her as a pioneer in the field of virtual reality. Her work blends painting, sculpture, new media, gaming, and video to create digital landscapes that focus on entropy, embodiment, the ubiquity of technology and its effect on our psychology.
Verbal Description: Introduction
Stop 100 from Refigured (Access)
Verbal Description: Introduction
Narrator: Entering on the Gansevoort Street Lobby entrance to the Museum and moving to the right, there is an 8 and a half feet wide and 17 feet long corridor leading up to a small gallery. The Lobby Gallery is always free, no ticket required. This exhibition is titled Refigured, curated by Christiane Paul, and is a mix of sculptural and screen-based digital artwork.
In the corridor on the left, there are intro graphics for the exhibition in English and Spanish. At the end of the corridor are two glass double-doors that lead to a small gallery with gray painted walls, a dark carpet, and somewhat low lighting. A large curtain in the center, to the right of the entrance, divides the front and back of the gallery.
Close to the left wall of the gallery there are three large staggered round LED screens showing sections of the animation The Maw Of by Rachel Rossin. There is one more large monitor mounted to the back wall that shows the complete animation, as well as an iPad that visitors can use to view the Augmented Reality aspect of that artwork.
To the left of the curtain is a large-scale video projection with three embedded horizontal TV monitors and a bench in front for audience viewing. This work is titled im here to learn so :)))))) by Zach Blas and Jemima Wyman and has an extended Verbal Description on the mobile guide.
To the right of the curtain in the front are three artworks. The first artwork is titled Mother of All Demos III by American Artist. There are stanchions about 30 inches around the object, which measures approximately 50 inches wide, 29 and a half inches deep, and 59 inches high. This work has an extended Verbal Description on the mobile guide. The next artwork in the far right corner of the gallery is surrounded by a series of mirrored panels forming an L-shaped installation titled The Laughing Snake by Moreshin Allahyari. Embedded in one of the mirror panels is a touch screen monitor so that visitors can interact with an online narrative that mixes personal and imagined stories. In the corner is a snake-like sculpture suspended from the ceiling, representing a jinn figure from Arabian mythology that is the main character in the online narrative. Moving back towards the curtain separating the gallery is a series of artworks by Auria Harvey. On a large oval platform about 4 inches high is a pedestal with a sculptural object titled Ox, apotheosis representing three characters, with the main one resembling an ox. Mirroring that object is a digital model of the sculpture, titled Ox, apotheosis, on a monitor hanging from the ceiling. In the foreground of those two objects, in front of the pedestal, is a curved screen showing a virtual environment titled SITE1 that tells the origin story of the sculptural characters. Off of the platform, there is another separate empty pedestal with an ipad connected to it that allows visitors to see the Augmented Reality version of Ox, apotheosis and walk around the pedestal to engage with it in space.